Cultural studies and art history
: Portrait in the works of F. New stage in the development of portrait art, which is now not limited to capturing the individual features of a person but penetrates into his inner world, was marked by the work of F. Rokotov's amazing talent quickly brought him fame and recognition at court, but the best works belong to the Moscow period of his life, where the artist's talent in the field of intimate chamber art flourished portraits. The chamber intimate portrait created by Rokotov constitutes an entire era in Russian portraiture.
The answer to question number 49 " Russian art K.18v.: Portrait in the works of F.S. Rokotova, D.G. Levitsky, V.L. Borovikovsky.
A new stage in the development of portrait art, which is now not limited to capturing the individual features of a person, but penetrates into his inner world, was marked by the work of F. S. Rokotov. Rokotov's amazing talent quickly brought him fame and recognition at court, but the best works date back to the Moscow period of his life, where the artist's talent for intimate, intimate portraits flourished.The type of portrait created by Rokotov chamber intimate portrait constitutes an entire era in Russian portrait painting. He possessed a rare gift that allows him to masterfully convey the inner world of a person, his trepidation and warmth. His models seem to emerge from the shimmering twilight, the facial features are slightly blurred, as if shrouded in haze. The canvases of the master are characterized by a richness of shades of tone, exquisite color combinations. Soft, muted tones create an atmosphere of intimacy: there is nothing ostentatious or spectacular in his portraits. The artist is attracted inner beauty person. Examples of works: "Portrait of Maykov" - a grassy-green caftan of the poet with red lapels and gold embroidery, lace frill painted somewhat carelessly. The artist focused on the face: it is a little mocking, a little puffy (edematous), narrowed eyes. All this speaks of a person who loves to live for his own pleasure. Rokotov reaches his true heights of skill in a number of female portraits. “Portrait of A.P. Struyskaya” (1772) Rokotov showed the loftiness of the image of a young woman. Her figure in the portrait seems unusually light and airy. This work is called "Russian Mona Lisa". “Portrait of Countess Santi” amazing work 18th century by the subtlety of the transfer of the image, by the colors, by the charming combinations of olive and pink tones. A bouquet of modest wild flowers on the chest of this lady brings a special sophistication. Rokotov's portraits are history in faces.
Less subjectively portrait D. G. Levitsky. His painting is more material and solid, the coloring is more intense, he knows how and loves to extract decorative effects, changing the nature of the arrangement of saturated color spots on the canvas. Therefore, Levitsky willingly painted ceremonial portraits that were not inferior to the best Western European examples in terms of representativeness, the ability to use accessories, background, pose, gesture, and picturesque brilliance. In his paintings, one can feel the weight of velvet, the rustling of a mass of silk, the cold sheen of metal, the prickly roughness of gold embroidery, transparency and play. precious stones. However, all this pictorial luxury does not prevent the artist from demonstrating the vigilance of a psychologist in his best ceremonial portraits. Actively worked on chamber portraits. Levitsky to create extremely convincing and exhaustive portrait characteristics of the people of his time. A classic example of style classicism in the portrait genre is the famous “Portrait of Catherine II the Legislator in the Temple of the Goddess of Justice”. In the portrait description of Catherine the Great, what is so valued in classicism generally significant, official and high, obscuring the personal and emotional side of the soul. Among them the best works belong to the portraits of "Smolyanka", pupils of the Smolny Institute. The series, painted by Levitsky, consists of seven large portraits in life size. Institute girls are depicted in full growth against the background of a conditional decorative landscape or lush curtains falling in heavy wide folds. With this technique, the artist emphasizes that the subject of the image here is not real life, but the theater. In the composition of all portraits, a somewhat lowered horizon is deliberately chosen - the artist shows his heroines from the same point from which the viewer from the stalls looks at the stage. The originality of the idea lies, first of all, in the fact that before us are not portraits in the usual sense of the word, but portraits-pictures in which this or that action is revealed. The heroines of Levitsky dance, play the harp, perform theatrical roles. All portraits vary, in essence, the same theme of blooming, cheerful youth; in all portraits, the bright, optimistic sense of life of the artist, marked by genuine humanism, is affirmed with equal force. The enormous gift of the painter-decorator, characteristic of Levitsky, manifested itself in that amazing accuracy, almost material tangibility, with which the fabrics of clothes, the transparency of lace, the brilliance of satin, the shimmer of golden threads woven into matte velvet are conveyed in Smolyanki. Levitsky's drawing is distinguished by impeccable fidelity and sharp expressiveness.
V.L. Borovikovsky - from his teachers, he adopted a brilliant technique, ease of writing, compositional skill and the ability to flatter the person being portrayed. By 1790 he had become one of the most famous portrait painters.
He was conscientious and industrious, and did everything perfectly: the numerous copies that he was ordered more than once, and even those portraits in which he was required to follow some fashionable model. He excelled in the formal portrait (many of his works in this genre were revered as models), and in the intimate, and in the miniature. He created a portrait of Paul I, as well as ceremonial portraits - an amazingly beautiful and exotic portrait of Murtaza Kuli-khan, a magnificent portrait of A.B. Kurakin, a portrait of Derzhavin. Most clearly, his talent was revealed in a series of female portraits, executed in the same years. They are not as spectacular as men's, small in size, sometimes similar in compositional solution, but they are distinguished by exceptional subtlety in the transfer of characters, elusive movements of mental life and are united by a gentle poetic feeling. For the beautiful female images Borovikovsky, in the style of sentimentalism, created a certain style of portrait: a half-length image, a figure immersed in thought, leaning his hand on some kind of stand, and a quiet landscape serves as a background for the languid curve of the body in light light clothes.Portrait of M. I. Lopukhina - this portrait is designed to reveal not social significance and the social position of the person being portrayed, but the deeply intimate aspects of his character. An example empire portrait can serve as the work “Portrait of M.I. Dolgoruky "- in this work the ideal of a woman of the era Patriotic War 1812. Animation, rise of feelings, awakening national consciousness was fertile ground, ready to grow the seeds of sublimely heroic ideas. In the image of Dolgoruky there is no languid bliss, relaxation and thoughtfulness of young ladies of the 1790s. On the contrary, the depth of feelings depicted is harmoniously combined with external restraint in their manifestation. Feelings M.I. Dolgorukaya are subject to will, hidden sadness is hidden by a gentle smile. The strict simplicity that distinguishes the appearance of the princess was expressed in the restrained grace of movements, in the simplicity of the costume, which perfectly reveals the harmony of her figure, in the nature of the jewelry (pearl jewelry on her head and in a long string of pearls on her neck). A fairly detailed development of the face is combined here with the generalization of the ideally beautiful forms of her figure, neck, hands.
As well as other works that may interest you |
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| 11020. | Networks based on fiber optic cables | 86KB | |
| Networks based on fiber optic cables Standard: 10/100/1000 Base FX FX − Fiber Optic − optical fiber In contrast to twisted pair, optical pulses are transmitted through optical fiber rather than electrical impulses. Therefore, it is not possible to connect fiber optics to electronic devices, it is necessary to convert ... | |||
| 11021. | The main subsystems operating in networks | 28KB | |
| The main subsystems operating in networks. In any network, there are several subsystems that are vital to the operation of the network. addressing system. In order for network nodes to communicate with each other, each node needs a unique address, the address could only be unique ... | |||
| 11022. | Wireless technologies | 353.5KB | |
| Wireless Technologies Radio signals are used to transmit data over the air. Any signal has 2 characteristics: Radiated power Frequency The communication range depends on the radiated power. Any radio emission is harmful to health and the environment. | |||
| 11023. | Basic terms and concepts of Networks and Telecommunications | 40KB | |
| Basic terms and concepts of Networks and Telecommunications. frame data packet. In most networks, only one node can transmit at a time using the shared media principle. Thus, if you transfer a file in a monolithic block ... | |||
| 11024. | Using hubs and switches | 74KB | |
| Using hubs and switches physical layer Switch is a link-level device. Both of them are used to build the star topology in twisted-pair and fiber networks. Hubs: The hub is not capable of any... | |||
| 11025. | Network topologies | 90.5KB | |
| Network topologies A topology is a diagram of the connection of network nodes. There are 3 simplest topologies on the basis of which a lot of mixed topologies are built. Each network segment can have only one topology at a time. Common bus all nodes connect | |||
| 11026. | Network boards | 25KB | |
| Network Cards A network card is a link layer device. Each card connects a computer to a separate network or to different segments of the same network. According to the Ethernet standard, up to 4 network cards, including built-in ones, can be installed in a computer. Network card can be and deskret | |||
| 11027. | Models for building computer networks | 90KB | |
| Models for constructing computer networks. Open systems are called systems built from components from different manufacturers according to the principle of a designer. In such systems, the rules for the interaction of blocks and the connection between them are standardized. Concrete Device Separate... | |||
| 11028. | Modems. Examples of technologies that use modems | 100KB | |
| Modems. A modem is a link-level device that connects computers to a communication line that was not originally intended for data transmission. Examples of technologies that use modems: Connection via city telephone lines Dial Up By phone... | |||
A portrait is an artistic image, i.e. - not only the image is outwardly similar to the original, but also the artist's desire to convey the inner world of a person, his character, spiritual impulses. In addition, the portrait image is a living reality, these are the ideals with which life values the artist and the person being portrayed, this is the style of the era, which determines the form of the portrait and the nature of the figurative means. Purpose of creation portrait image- discover " main idea personality”, to make its content explicit. In order to set himself such a task, the portrait painter must see in the model an individuality that attracts him as an artist. But individual consciousness is a historically conditioned concept. In Russia, it was formed in the XVIII century.
In Russian art, the portrait genre became dominant in the second half of the 18th century. During this period there is a rapid development national culture which allowed Russia to take one of the leading places in European culture. Russian culture is acquiring new features that distinguish it from Old Russian and medieval culture, the secular direction becomes decisive. The same processes take place in Russian art. In the second half of the 18th century, the self-consciousness of Russian society came to the following “conclusions”: a person felt himself in a strong connection with the era, became actor time. Portrait painters gradually acquire the ability to see the personalities of the characters from different points of view, in different aspects, including their public role. Development human psychology has already led to an understanding of the individual identity of the individual, to a free orientation in the variability of characters.
In portraiture of the 2nd half of the 18th century. the ardent desire of Russian masters for the truth of life was clearly manifested. Along with ceremonial portraits, portraits of progressive public figures were created, in which all attention was paid to the transfer of the inner world of a person, the strength of his mind and the nobility of aspirations. The works of Russian portrait painters of this time give a deep characterization of the people of the 18th century.
Vladimir Lukich Borovikovsky is a prominent representative of the portrait painters of the 18th century. His portraits, in my opinion, are very vital and deep, they convey the essence of the person depicted on him. Portrait of Maria Ivanovna Lopukhina, presented in the exhibition Tretyakov Gallery, attracted my attention more than others, it is about this work of Borovikovsky that I would like to tell.
1. Vladimir Lukich Borovikovsky
In the second half of the 18th century, portraiture reached its peak. Generations of artists who performed at the turn of the 60s - 70s, in the shortest time put forward the Russian portrait among the best works of world art. At this time they are creating major painters F. S. Rokotov, D. G. Levitsky and V. L. Borovikovsky. They create a brilliant gallery of portraits of contemporaries, works that glorify the beauty and nobility of human aspirations. The portrait of this period combines great depth and significance in the image of a person, personality. Artists recreated the image of a person using various pictorial means: exquisite color shades, additional colors and reflexes, the richest system of multi-layer overlaying of paints, transparent glazes, subtle and virtuoso use of the texture of the colorful surface. All this determined the significant place of the domestic portrait in contemporary European painting.Russian portrait painter V.L. Borovikovsky was born in Ukraine, in Mirgorod, on July 24 (August 4), 1757. He was born into a poor Cossack family. In 1774, by family tradition, entered military service in the Mirgorod regiment, but did not participate in campaigns. After completing his military service with the rank of lieutenant, he retired and began painting. He studied with his father, an icon painter, Luka Borovik (Lukyan Borovikovsky), was engaged in church painting in the spirit of the Ukrainian baroque (icons for the Trinity Church in Mirgorod, 1784). The allegories created by the artist in 1787 to decorate the solemn journey of Catherine II to the Crimea (not preserved) attracted attention to him high society, and at the end of 1788 Borovikovsky was invited to St. Petersburg.
In the capital, with which all his further work is connected, he became close to the famous architect, poet and musician N.A. Lvov, with whom Borovikovsky lived for the first ten years, and also met D.G. Levitsky, G.R. Derzhavin, E.I. Fomin and other intellectuals of his time.
Since 1792, Borovikovsky took lessons from the Austrian painter I.B. Lumpy-father, used the advice of D.G. Levitsky. He continued to work enthusiastically on religious orders, combining the baroque with the classic beginning (compositions for iconostasis - Boris and Gleb Cathedral in Torzhok, 1790-1792; Joseph Cathedral in Mogilev, 1793-1794; like his Mirgorod icons, only partially survived).
The skill of Borovikovsky quickly grew stronger, after a few years of living in St. Petersburg, he became one of the most famous portrait painters. I.B. Lampi left him his studio when he left St. Petersburg. The Academy of Arts appreciated the success of the artist and in 1795 awarded him the title of academician, and later (in 1802) - adviser to the St. Petersburg Academy of Arts.
Borovikovsky turned to various forms portrait - intimate, ceremonial, miniature. His best works were created mainly in the 1790s, such as portraits of M.I. Lopukhina (1797, Tretyakov Gallery), E.N. Arsenyeva (second half of the 1790s, Russian Museum), E.A. Naryshkina (1799) and others. Borovikovsky depicted a "private" person in his portraits; shrouded in a light haze, Borovikovsky's models are in a state of languid intoxication with the harmony of their inner life and the nature around them.
The thoughtfulness of the picture, the skillful use of the brush, the freshness of color, the ability to depict all kinds of fabrics and clothes put V.L. Borovikovsky in a row famous portrait painters, although he did not receive a thorough classical education.
In the portraits of V.L. Borovikovsky shows the tenderness of the brush, the thin delicate drawing, the correctness of the forms and always the expression of thought on the face depicted by him.
2. Portrait of Maria Ivanovna Lopukhina
The portrait of Maria Ivanovna Lopukhina is the most poetic and feminine of all created by the artist. At the same time, he discovers the established moral and aesthetic ideal of V.L. Borovikovsky.
The texture of the portrait is smooth: Borovikovsky, following the manner of Levitsky of the 80s and 90s, paints with liquid paints, merging into a dense layer in which open strokes are rarely visible. This texture perfectly contributes to the identification of volume, its linear contours.
The heroine of the portrait of V.L. Borovikovsky - Maria Ivanovna Lopukhina (1779-1803), nee Countess Tolstaya, lived a very short life. She died at the age of twenty-three, barely getting married.
Her portrait is painted in late XVIII centuries, when artists are increasingly occupied with the world of human feelings, experiences and moods.
It was during these same years that the beauty and grandeur of nature, its aesthetic value, began to be realized in art. She sees a reflection human soul, subtle harmonies to the inner world.
The image of M.I. Lopukhina captivates the viewer with gentle melancholy, unusual softness of facial features and inner harmony. This harmony is conveyed by the entire artistic structure of the picture: both by the turn of the head and the expression on the woman's face, it is also emphasized by individual poetic details, such as roses plucked and already drooping on the stem. This harmony is easy to catch in the melodious smoothness of the lines, in the thoughtfulness and subordination of all parts of the portrait.
The face of M.I. Lopukhina, perhaps, is far from the classical ideal of beauty, but it is full of such inexpressible charm, such spiritual charm that next to it many classical beauties will seem like a cold and inanimate scheme. The captivating image of a tender, melancholy and dreamy woman is conveyed with great sincerity and love, the artist reveals her spiritual world with amazing persuasiveness.
A pensive, languid, sad-dreamy look, a gentle smile, the free ease of a slightly tired pose; smooth, rhythmically falling down lines; soft, rounded shapes; a white dress, a lilac scarf and roses, a blue belt, ash-colored hair, a green background of foliage, and finally a soft airy haze that fills the space - all this forms such a unity of all means of pictorial expression, in which the creation of the image is revealed more fully and deeply.
The portrait of Lopukhina is painted against the backdrop of a landscape. She is standing in the garden, leaning on an old stone console. The nature, among which the heroine retired, resembles a corner of a landscape park noble estate. She personifies beautiful world full of natural beauty and purity. Withering roses, lilies evoke a slight sadness, thoughts about the outgoing beauty. They echo the mood of sadness, trepidation, melancholy in which Lopukhina is immersed. In the era of sentimentalism, the artist is especially attracted by the complex, transitional states of the inner world of a person. Elegiac dreaminess, languid tenderness permeate the entire artistic fabric of the work. Thoughtfulness and a slight smile of Lopukhina betray her immersion in the world of her own feelings. The entire composition is permeated by slow, flowing rhythms. The smooth curve of the figure, the gently lowered hand is echoed by the sloping branches of trees, white trunks of birches, ears of rye. Indistinct blurry contours create a feeling of light air environment, a transparent haze in which the figure of the model and the nature surrounding it are "immersed".
The contour flowing around her figure - now lost, then appearing in the form of a thin, flexible line - evokes the contours in the memory of the viewer. antique statues. Falling, converging or forming smooth folds, the finest and most spiritual features of the face - all this makes up, as it were, not painting, but music.
A portrait is an artistic depiction of a face specific person and at the same time its interpretation by the artist. The portrait depicts the external features of a person, and through them - his inner world.
Why are pictorial portraits created?
This is not a rhetorical question. Here is how Albrecht Dürer answered him: "I write to preserve the images of men after their death." The Renaissance artist Leon Battista Alberti said something like this: “A painting makes absent people present, and the dead seem alive.” Many other artists of past centuries could have answered the same way.
But then photography was invented, and a portrait can be obtained quickly, without investing in it as much work as it takes to write a picturesque portrait. Why does the portrait genre not disappear, but continues to develop and improve? Yes, over the long history of its existence, the portrait has undergone both ups and downs, but has not exhausted itself.
Varieties of the portrait
Not always a portrait is limited only to the external data of a person. Within the portrait genre, there are subgenres: historical portrait, portrait-picture (a person is depicted in the surrounding nature or architecture. Attributes, background and costume helped to display the entire range of qualities of a person or his social group), portrait-type (collective image), allegorical portrait (for example, "Catherine II in the form of Minerva"), family portrait, self-portrait, group portrait, etc.
Here is an example of a historical portrait.
V. Vasnetsov "Portrait of Ivan the Terrible" (1897)
Such a portrait can be painted only on the basis of the artist's study of antiquities and impressions from theatrical productions.
And here is a portrait-type.
B. Kustodiev "Merchant for tea" (1918)
Group portraits were usually intended for ceremonial interiors.
I. Repin. Group portrait " Solemn meeting State Council"
This portrait was intended for the hall of the St. Petersburg Mariinsky Palace, the interiors of which are extremely luxurious, and a “modest” portrait would be lost against their background.
By nature, a portrait can be ceremonial (usually against an architectural or landscape background, as a rule - in full height), chamber (often half-length or chest image), miniature.
The similarity of the portrait with the original
Is similarity important in a portrait? Undoubtedly. But, besides the external similarity, there must be an internal similarity, i.e. it is the internal similarity that convinces the viewer that this is how the portrayed person should be.
But the people depicted on the canvases of old artists are not known to us, we cannot be sure that their appearance corresponds to the original. How, then, to determine whether a good portrait or not? So, is there something in the portrait that is more important than the exact appearance?
A well-painted portrait should show the inner essence of the model from the point of view of the artist: not only physical, but also spiritual features. This need was formulated even during the approval of the European portrait. In 1310, Pietro d'Abano said that the portrait should reflect both the appearance and the psychology of the model. The French portrait painter Maurice Quentin de Latour spoke of his models: “They think that I capture only the features of their faces, but without their knowledge I I descend into the depths of their soul and take possession of it entirely.
A very important point in custom portraits is the embodiment in the canvas of both the expectations of the model and her real appearance. As A. Sumarokov wrote:
Fufana ordered her portrait to be painted,
But she said to the painter:
You see, I'm crooked;
However, write that I am not like that.
A person's judgments about his own personality, about his appearance, character and inner world are far from identical with what the artist thinks about this. And the more their views diverge, the sharper the conflict between the requirements of the customer and the will of the artist can be.
Epoch and portrait
A good portrait is also an idea of the way of life of people of certain eras, their ideals and ideas about a person. A good portrait gives the modern viewer the opportunity to learn about the life and customs of the time to which the portrait belongs. A portrait is a kind of story.
O. Kiprensky "Portrait of Evgraf Davydov"
Here we have a portrait of the hussar Yevgraf Davydov by Orest Kiprensky. This is a portrait of a specific person, but looking at this portrait, we learn about what the uniform of the hussars of that time was, hairstyle, internal state military - the picture depicts the era. And, of course, the portrait genre makes it possible to recognize the ideal of personality that was characteristic of that time. That is, it is a kind artistic portrait hero of his time.
Social status, nationality, age, religious and moral signs, character, and so on - all this should be present in a good portrait. You can learn to convey the similarity with the model, but at the same time not acquire the ability to express its character - this is much more difficult to achieve.
Portrait Features
An important point is the look: the model can look directly at the viewer, as if inviting him to a conversation, or past. From this, the depicted person seems more thoughtful and calm. If the turn of the head is directed in one direction, and the pupils in the other, that is, the person looks around, as it were, then movement occurs in the portrait. If the gaze and movement are directed in the same direction, the model appears calmer. The portrait is not characterized by the expression of strong feelings, because. they are short-term and do not characterize a person completely.
Through the expression of the eyes, the soul is visible, especially through the gaze fixed on the viewer. In addition, “a look directed at the viewer is addressed to all mankind” (A. Karev).
V. Perov "Portrait of Vladimir Ivanovich Dahl"
Another essential tool psychological characteristics- arms. Take a look at the portrait of V.I. Dahl by V. Perov. One of the critics described the portrait as follows: “... his gaze expresses calmness: he has done his job. It is impossible not to pay attention to lovely hands old man: this long fingers any surgeon would envy. Indeed, Dahl was a wonderful surgeon, and he was equally successful in both hands, which is very important during the operation.
A lot can be said about a person and his posture.
V. Serov "Portrait of actress Yermolova"
Emphatically proud posture emphasizes the greatness of a person. It happens that self-conceit is portrayed in this way, but Maria Nikolaevna Ermolova really was great actress. According to Stanislavsky, the greatest actor he has ever seen.
portraits contemporary artist A. Shilov is attracted by photographic accuracy, but this, as we already know, is not enough for a good portrait. Through the expression of the eyes of the heroes of his portraits, the soul is always visible. Like in this portrait.
A Shilov "Portrait of Olenka" (1981)
artists and sculptors saw the embodiment of the beauty and harmony of man.
In his famous "Discobolus" sculptor of the 5th century. BC e Miron seeks, first of all, to convey a sense of movement with the stability and monumentality of the lines of the body, without focusing the attention of the audience on the features of the face.
A special tenderness and warmth emanates from the statue of Aphrodite, the goddess of love and beauty, sculpted by the sculptor Praxiteles in the 4th century BC. BC. for a temple in Crete. There is no divine majesty in this image, the image breathes amazing peace and chastity.
The Roman portrait is associated with the cult of ancestors, with the desire to preserve their appearance for
descendants. This contributed to the development of a realistic portrait. It is distinguished by individual characteristics of a person: greatness, restraint or cruelty and despotism, spirituality or arrogance.
Praxiteles.
Aphrodite of Knidos
Albrecht Durer. self-portrait
Miron. Discus thrower. Fragment.
4th century BC uh
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L. da Vinci.
L. da Vinci.
Madonna Litta
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In the Middle Ages, the sensual-plastic language of sculpture corresponds to the idea of the abstraction of the image, its connection
With divine spirit. Despite the limitation religious art norms and rules, images appear full of exciting beauty and deep human feeling.
The portrait art of the Renaissance seems to combine the precepts of Antiquity and the Middle Ages. It sounds again solemn anthem powerful man with his unique physical appearance, spiritual world, individual traits of character and temperament.
In "Self-portrait" by Albrecht Dürer
(1471-1528) one can guess the artist's desire to find an idealized hero. The images of the universal geniuses of the 16th century, the masters of the High Renaissance - Leonardo da Vinci and Rafael Santi - personify the ideal person of that time.
AT 17th century the main criterion of artistry is material world perceived through the senses. The imitation of reality replaced in the portrait the incomprehensibility and inexplicability of the mental manifestations of a person, his diverse spiritual impulses. The charm of soft velvet and airy silk, fluffy fur and fragile glass, delicate, matte leather and sparkling hard metal is conveyed at this time with the highest skill.
Among the well-known portrait masterpieces of that time, the "Lute Player" of Micheland-
jelo dacaravaggio(1573-1610), in which
Rum artist develops a motif taken from real everyday life.
On the Sunset XVI century in the work of the Spanish artist El Greco (1541-1614) arises new type portrait, which conveys the unusual inner concentration of a person, the intensity of his
spiritual life, immersion in one's own inner world. To do this, the artist uses sharp contrasts in lighting, original coloring, jerky movements or
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frozen postures. Spirituality
and the pale elongated faces with huge dark, as if bottomless, eyes imprinted by him are distinguished by their unique beauty.
Portraits of the Great Dutchman
Rembrandt (1606-1669) not without os-
innovations are considered the pinnacle of portrait art. They are rightly called portraits-biographies. Rembrandt was called the poet of suffering and compassion. People who are modest, needy, forgotten by everyone are close and dear to him. The artist has a special love for the “uni-
married and offended." By the nature of his work, he is compared with F. Dostoevsky. His portraits-biographies reflect the complex, full of hardships and deprivations of the fate of ordinary people who, despite the severe trials that have befallen them, have not lost their human dignity.
and spiritual warmth.
Barely crossed the threshold separating the XVII century. from XVIII, we will see in the portraits a different breed of people, different from their predecessors. The courtly aristocratic culture brought to the fore the Rococo style with its refined seductive, thoughtfully languid, dreamily absent-minded
M. Caravaggio. lute player
Portrait of a man with a hand on his chest.
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E. Delacroix. Frederic Chopin
images. Drawing portraits of artists Antoine Watteau (1684-1721), Francois Boucher (1703-1770) and others.
light, mobile, their coloring is full of graceful modulations, it is characterized by a combination of exquisite halftones.
The search for the heroic, significant, monumental in art is connected in the 18th century. with revolutionary change. One of the ingenious sculptural portraits of world art is the monument to Peter I French sculptor Etienne Maurice Falcone(1716-1791), erected in St. Petersburg in 1765-1782. It is conceived as an image of a genius and creator. Indomitable energy, emphasized by the swift movement of the horse and rider, is expressed in the imperious gesture of an outstretched hand, in a courageous open face, on which fearlessness, will, clarity of spirit.
19th century introduced into the art of portraiture the variability of artistic tastes, the relativity of the concept of beauty. Innovative searches in painting are now directed towards rapprochement with reality, towards the search for the diversity of images.
In the period of romanticism, the portrait is perceived as an image of the inner "I" of a person endowed with free will. Real romantic pathos appears in the portrait of F. Chopin by the French romantic artist Eugene Delacroix (1798-1863). Before us is a real psychological portrait that conveys the passion, ardor of the composer's nature,
E. Falcone. its inner essence. The picture is filled with fast-
Monument to Peter I in St. Petersburg
A. Osmerkin. Portrait of Avetov
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dramatic movement. This effect is achieved by turning the figure of Chopin, intense coloring of the picture, contrasting chiaroscuro, fast, intense strokes, a clash of warm and cold tones.
The artistic structure of the portrait of Delacroix is consonant with the music of Etude in E major for piano by Chopin. Behind it is a real image - the image of the Motherland. After all, once, when his beloved student was playing this etude, Chopin raised his hands with an exclamation: “Oh, my Motherland!”
Chopin melody, genuine
and powerful, was the main means of expression, his language. The power of his melody is in the strength of its impact on the listener. It is like a developing thought, which is similar to the unfolding of the plot of a story or the content of a historically important message.
AT portraiture XX-XXI centuries conditionally, two directions can be distinguished. One of them continues the classical traditions of realistic art, glorifying the beauty and greatness of Man, the other is looking for new abstract forms and ways of expressing his inner world.
F. Bush. Concert.
A. Watteau. Mezzetin.
Find on the spreads of the textbook those portraits that are discussed in the text. Compare them with each other, identify similarities and differences. Give your own interpretation of their images.
Which portraits will you attribute to the traditional classical direction, and which - to abstract art. Argument your opinion.
Compare the language of different directions of portraiture. Determine the expressiveness of lines, color, color, rhythm, composition of each of them.
Listen to musical compositions. Pick up for the portraits those works that are consonant with the images imprinted on them.
Prepare an album, a newspaper, an almanac, a computer presentation (optional) on the topic “Portrait genre in the culture of different times”.
Include in them information about artists, sculptors, graphic artists, as well as poems, prose passages, fragments of musical works that are consonant with the images of your portrait gallery.
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Portrait in Russian art
It is believed that the portrait is the most indisputable achievement of our national school, it is thanks to him that Russian painting has reached the European level. XVIII century in Russia it is called the age of the portrait. The best Russian artists wrote in the portrait genre: F. Rokotov, D. Levitsky, O. Kiprensky, K. Bryullov, I. Repin, M. Vrubel and others.
In the middle of the eighteenth century the portrait becomes a part of everyday life, associated with architecture, furniture, utensils, the inhabitants of the dwelling themselves, their costumes, habits.
Thanks to the "portrait harmonies" of the Russian artist
Fyodor Stepanovich Rokotov(1735-1808) a special emotional vocabulary was formed to express the impressions of the viewer: “half-flickering, half-burning of colors”, “unsteadiness, airiness”, “mysteriousness and mystery”, “vibration of light and color”, “poetic fragility of feelings”, “secrecy of spiritual manifestations ”, etc. In addition to technical pictorial innovations, the artist opens up new opportunities for a chamber intimate portrait in expressing the spiritual world of a person as the main criterion for his dignity. It is often believed that Rokotov endowed the models with his own spirituality.
A special place in the artist's work is occupied by the portrait of A. Struyskaya (1772). He is a prime example poeticization of the image by means of painting. The airy, transparent manner of writing creates a feeling of lightness of fabrics and bottomlessness of the background. With the help of light, Rokotov skillfully highlights the face and at the same time combines the entire composition of the portrait into a single whole. It is no coincidence that this portrait is often called the "Russian Mona Lisa".
Almost a hundred years ago the poet Yakov Petrovich Polonsky(1819-1898) saw a portrait of Maria Lopukhina painted by a Russian artist at his acquaintances Vladimir Lukich Borovikovsky(1787-1825). A portrait by that time too
was almost a hundred years old. The poet remained in thought for a long time in front of a small canvas. He knew practically nothing about this woman. He only knew that for some reason her life had turned out unhappily and that she died quite young. The poet thought: “What a miracle - painting! Everyone would have long ago forgotten this beautiful Lopukhina, if not for the brush of the painter ... "
And Poems began to form in his head:
She has long passed - and there are no longer those eyes
And there is no smile that silently expressed Suffering - a shadow of love and thought - a shadow of sadness. But Borovikovsky saved her beauty.
So, part of her soul did not fly away from us.
And there will be this look and this beauty of the body
To attract indifferent offspring to her,
Teaching him to love, suffer, forgive, dream...
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We remember Lopukhina because Borovikovsky wrote it. And if we didn’t know who is depicted in the portrait, would he like him less or touch him less? Of course not! That is why this portrait will forever excite that the artist created beautiful image women of sad and bright beauty, pure and tender souls.
Love painting, poets! Only she, the only one, was given the Soul of a changeable sign Transferred to the canvas.
Do you remember how from the darkness of the past, Barely wrapped in satin, From the portrait of Rokotov again
Did Struyskaya look at us?
Her eyes are like two fogs, Half smile, half cry, Her eyes are like two deceptions,
Covered in mist of failures.
F. Rokotov. Portrait of A. Struiskaya
A combination of two riddles, Half-delight, half-fright, A fit of insane tenderness, An anticipation of mortal torments.
When the darkness comes And the storm approaches, From the bottom of my soul Her beautiful eyes flicker.
Select the musical works of Russian composers (romances, chamber-instrumental music), which can be used as a background, contributing to a deeper perception of portraiture.
Compare artistic features portraits of Rokotov and Borovikovsky with features famous portrait Leonardo da Vinci "La Gioconda" What do they have in common, what distinguishes them?
Find epithets in the text of the poem,
metaphors, comparisons. How do they pour the perception of the image of A. Struyskaya?V. Borovikovsky.Portrait of Maria Lopukhina
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Portraits of our great compatriots
The portrait genre occupies a significant place in the work of the Russian artist Ilya Efimovich Repin
(1844-1930). Appeal to portrait gallery of this artist gives an opportunity to modern viewers to learn about his many creative connections with figures of national science, culture, art - scientists, writer-
mi, painters, musicians, Metse-
I. Repin. A. Borodin
I. Repin. Self-portrait.
Consider pictures of people. Determine at what time they were created, what personality traits (appearance, character traits, hobbies, social affiliation, etc.) the artists sought to emphasize in them. What means of expression helped you understand this?
Listen to two fragments from the works of A. Borodin - "Nocturne" from string quartet No. 2, exposition of Symphony No. 2 ("Bogatyrskaya"). Which of these fragments is consonant with the
composer third? Find common means of expressiveness of portrait and music.
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nats who have contributed to the cultural heritage of Russia.
Famous people in the portraits are depicted by Repin in different mental states: dreamy contemplation (composer A. Borodin), active action (composer, pianist, conductor, founder of the St. Petersburg Conservatory A. Rubinstein), calm reflection (writer L. Tolstoy), deep meditation (picture collector, philanthropist, creator of the collection of the State Tretyakov Gallery P Tretyakov).
In each portrait, the painter depicts his heroes with those
metas that are the essence of their professional activity, - a writer with a book in his hands, a musician-performer at the conductor's stand, the creator of an art collection surrounded by paintings. This tradition also took place in portraits of the 18th century.
I. Repin. Portrait of Leo Tolstoy
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I. Repin. Anton Rubinstein
Consider the portrait of A. Rubinstein. Make a guess about which composition you are familiar with he conducts.
Listen to the introduction to the opera "Khovanshchina" by M. Mussorgsky - "Dawn on Moscow River. What are the features of the development of this musical picture should be emphasized to the performing conductor?
Look at the portrait of the writer L. Tolstoy. Which emotional condition conveyed in it by the artist?
Read an excerpt from L. Tolstoy's novel "War and Peace" (the scene of Sonya and Natasha) as a dialogue, by roles. What character traits of the heroines does the writer reveal? Which of the spheres of society in the early XIX century. (war? peace?) describes?
What knowledge enriches you acquaintance
With various works of art - a picturesque portrait, a literary text?
Artistic and creative task
Draw sketches of costumes, scenery,
take background music for this scene.
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How the gallery started
... Pavel Mikhailovich Tretyakov ... walked from room to room, wondering where to place new acquisitions. Everything in the office is packed. against windows
- “Princess Tarakanova”, above the large sofa - “Halt of prisoners”, above the corner, along one wall - “Hunters”. In a wide pier - "Fisherman" and "Wanderer" also Perov. No, there was obviously nowhere to hang in the living room. Pavel Mikhailovich again went into the dining-room and finally chose a seat with difficulty. Hanging pictures, he said, sighing:
Close, how tight!
Stop buying, - Alexander Stepanovich Kaminsky screwed up his eyes slyly, who came with Sonya to visit his relatives.
Pavel Mikhailovich, turning around, silently gave him an indignant look. The architect smiled disarmingly in response and calmly, cheerfully advised:
Then build a room.
Tretyakov left the paintings, looked at his son-in-law.
I. Repin. Portrait of P. M. Tretyakov- Do you think? I myself think so. For a long time already, - he said, after a pause, - And for the project
will you take?..
... He went out into the air ... and plunged into the dense shadow of a pear orchard. Tretyakov was infinitely sorry to destroy this glorious corner of the garden. But his place already belonged to the gallery.
Nothing to postpone, Sasha. Its time to begin. Just be a friend, see to it that you are more careful with pears ...
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In this article we will consider a portrait in the art of Russia. The value of this genre lies in the fact that the artist tries to convey with the help of materials the image of a real person. That is, with proper skill, we can get acquainted with a certain era through a picture.
In addition, painters try not only to depict external attributes, but also to convey the internal state of the person who poses.
in art
The portrait in the way we understand it today stood out relatively recently. Only in the middle of the seventeenth century, the historian at the court of the French king Louis XIV, André Félibien, suggested calling this word exclusively images of people.
Until that time, this term meant all images, be it an animal, a plant or a mineral. In the animals there was a slightly different attitude than now. They could be summoned to court, tortured and judged according to legal norms.
Following Felibien, he expressed the idea that animals have exclusively generic characteristics, they do not have human individuality. Also today, icons are not considered portraits, because they are not written from the original.
Thus, the portrait in art and literature appeared a long time ago, but in ancient times it was understood as any “pictorial work”.
The development of this genre is due to two things - the improvement of writing technique (composition, anatomy, etc.), as well as a change in the perception of a person's place in the world. The greatest flourishing of portraits falls on the eighteenth century, when ideas about individuality and the realization of the ideal in the personal prevailed in Western Europe.
Early period
Actually, the portrait in the art of Russia originated only at the border of the seventeenth and eighteenth centuries. Before that, there were images in medieval style when individuality faded into the background.
basis early period Russian painting is made up of icons. It was these works that lasted until the seventeenth century.
But the changes began at a late period Kievan Rus. Similar group portraits of the family of Svyatoslav, the daughters of Yaroslav the Wise, have survived to this day. There are also several examples of drawings with some personality, such as the one with the temple in hand. So he was rewarded for donating to construction work.
The first attempts to move away from canonical and church writing towards secular painting occurred during the reign of Ivan the Terrible. We see his images in some books. Such a step was made solely thanks to which he decided and legalized the reflection of kings, princes and people on icons.
Parsuna
In the seventeenth century painting continues to improve. We see that the portrait in the art of Russia is becoming more and more personality traits. There is such a genre as "parsuna". It's a corruption of the word "person".
Similar works were still created on tempera boards, that is, in the style of icon painters, but they displayed images of people in their lifetime. The most ancient such painting was the parsun of Mikhail Vasilyevich Skopin-Shuisky.
True, it was created as a tomb portrait "mantle". But the prince depicted on it was written "resurrected", revived in better world, therefore its features are different from the canonical faces on the icons.
Gradually, there is a departure from church dogma, technologies are borrowed from Europe. So, from the territory of the Commonwealth comes the "Sarmatian portrait", a genre of depicting the gentry.
In addition, painters from the countries of Western Europe to teach local artists. Created "titulary" (special books, which depicted exemplary portraits of European rulers).
Peter's era
Actually, the "portrait" in the art of Russia appears only during the reign of Peter the Great. It was this period that became a turning point in the life of the country. Art reflected the trend of new trends.
The portraits have volume and depth, the artists master the perspective. An understanding of the play of light and shadow is born, experiments with colors on the canvas begin. There is also a final separation of church and secular art.
Now painting is divided into three currents - archaic, Russian and Russian school.
The first is inherent in the transition from "parsuna" to easel painting. The second is represented by the works of foreign masters in Russia. The domestic school was expressed in the works of Nikitin, Antropov, Vishnyakov, Matveev and Argunov.
It is noteworthy that the Russian artists of this period first mastered, so to speak, "caught up" with the Europeans. But after a few years, completely independent works appear, with their own vision. That is, the development of world-class local centers of painting begins.
Late 18th century
Gradually, the portrait in Russian art becomes the property of the middle strata of society. If until the middle of the eighteenth century only noble persons close to royal family, now portraits appear not only of nobles and landowners, but even of several peasants. The latter, in particular, took place solely due to educational ideas in society.
In the fifties and sixties of the eighteenth century, portraits of Empress Elizabeth Petrovna set a special tone. Many noble families ordered canvases similar to this sample.
The researchers also see the independent path of domestic masters as important. They expressed their vision in colors and attributes more characteristic of the Baroque, in comparison with European artists who worked in the Rococo style.
The works of Russian painters are simply overflowing colorful images, faces filled with life, ruddy and rosy-cheeked ladies.
Classicism and the Silver Age
Gradually there is a retreat towards intimacy. At the end of the eighteenth century, it is already difficult to distinguish between Western European and Russian portraits. Genre in fine arts enters the global arena. Only now there are no bright and magnificent baroque forms.
There is a transition through Rococo to neoclassicism and pre-romanticism. Sentimental and light notes appear. main feature this period was historicism. That is, the tone was set by the ceremonial portraits of the imperial family.
This era is reflected in the works of Shchukin, Rokotov, Borovikovsky and Levitsky.
Later comes realism, which is inherent in the paintings of Repin, Surikov and Serov.
silver Age Russian painting gave the world such masters as Malevich, Vrubel, Malyutin, Somov, Konchalovsky and others.
The portrait in contemporary art is determined not by ideology, as it was in Soviet times, but by financial side question.
But between the paintings of Malevich and our time there is whole era Soviet Union.
Here the ideas of the first wave of avant-gardism, Moscow and Leningrad school, "Builders of Bratsk". Fundamental feature was socialist realism.
Thus, today we got acquainted with the history of the portrait in Russian art.
