Typology and individual forms of expression of the genre modification of a literary portrait. Vernyaeva T.A., Sukhodolsky G.V.

Portrait(French portrait, from Old French portraire; Italian ritratto; there is, including in the Russian tradition, a term for P. - parsuna - from Latin persona - "personality; person", which is usually used for those types and types of portrait and in those epochs of the development of fine arts, when all its formal and figurative features) - an individualized image (fine art) or description (literature) of a group of people (group P.) or individual person(individual P.).

P. - one of the leading genres of the Renaissance visual arts and literature, the purpose of which is a detailed and thorough or idealized and generalized interpretation visual features models. P. are found in painting, graphics, engraving, miniature, sculpture, as well as in the literature of the epoch of the Great Britain. The portrait genre is always based on a memorial beginning, which can have different interpretations and goals. But in all cases the main task Renaissance P. - perpetuating the appearance of a particular person and partly his glorification and glorification.

The problem of similarity in the Renaissance portrait

One of the main problems of P.'s art, including Renaissance art, is the problem of the similarity between the image and the hero himself portrayed (character, model, original). Therefore, the most important criterion for portraiture is the identity of the formal artistic image created by the artist with the original itself. The similarity in the art of P. appears not only as a consequence of the correct transfer of the external appearance of the model, but also as the result of an adequate disclosure of his spiritual essence, character, and individual personality traits. The artist equally reveals the individuality of the model and points to its role and place in the social structure of society and historical era. And here both typical and ideal, as well as its specific, are equally important. individual characteristics. No less important for painting in the epoch of Renaissance will be the problem of the customer, where the latter, along with the artist, exerts a certain, and often very significant, influence on the formation and features of the artistic image.

In the Renaissance, P. in the first place can depict a real-life contemporary, and he is created with the help of natural impressions. P. can also show a certain, as a rule, historical character (historical P.) who ever existed in reality, observing his specific portrait features, recreated on the basis of the personal memoirs of the master or the opinions and assessments of his contemporaries. And also on the basis of auxiliary (literary, memorial, visual, documentary, etc.) material. P. of a historical character can be created and only thanks to the imagination of the artist, and then fictitious physiognomic features are realized in him (imaginary P.). A vivid example of historical or imaginary P. will, as a rule, be monumental and decorative ensembles dedicated to the cycles “uomini famosi” or “uomini illustri”.

P. of the era of V. is distinguished not only by a consistent desire for a reliable (“realistic” in the Renaissance sense of this term) depiction of the external appearance of the model, but also by the desire to show her inner world, meaning and dignity human personality. P. is recreated artistic means image of human individuality, not a literal copy human face(figures) also found in the Renaissance ("portrait mask"). Renaissance painting is one of the means of artistic characterization of the individual personality of the era, repetition in plastic forms, lines and colors of a living face, showing through the composition, color system, details and attributes, through the character of the main character's attire and interpretation of the space surrounding him (landscape, architectural view , interior), the place of the depicted personality in the World and Society, the attitude of the artist towards her and the surrounding social environment.

Elements of the composition of the portrait

Diverse details and attributes play a huge role in creating a portrait image. It is they who refine, develop and enrich the portrait characteristics of the model, making it more convex and visual. They help to understand, often quite complex and multifaceted, the individuality of the portrait image, take into account the requirements of the time and the will of the customer, in all possible completeness characterize the personality of the model. These details and attributes include V. surrounding a person the world of things and particular features of the compositional construction of the portrait image, enhancing its unique individuality. Among them, relying on abundant pictorial material Renaissance P., we note the following iconic details and attributes: a window, a mirror, a portrait or portrait miniature depicted on the wall or in the hands of a character, details of architecture (column), sculptures or monuments of classical antiquity introduced into the artistic space of P., a border in the foreground , draperies, knightly vestments, items of military equipment, items of religious worship, items that speak of the social status of models, coats of arms, heraldic signs, initials, inscriptions, letters, notes, books, notes, animals, flowers and plants, jewelry, minerals, scattered coins, watches, vanitas attributes, etc.

Principles of interpretation of the portrait image

In Renaissance painting, the objective depiction of a character is invariably accompanied by the artist’s own and personal attitude to the model, which reflects the worldview, aesthetic views of the artist himself and his era, which inevitably gives the portrait image not only recognizable signs of the time, but also subjective authorial coloring. Renaissance portraiture is necessarily an ideological and figurative interpretation of the personality through the depiction of the hero’s appearance and the formal structure of the work of art itself, which seemed extremely important for the anthropomorphic and individualistic conceptual world and culture of the Renaissance era. to the most open and "realistic" interpretation of the model, carefully conveying all the details and nuances of its appearance and environment. At the same time, especially at certain stages in the development of the art of V. (High Renaissance), Renaissance P. is distinguished by an idealized approach in depicting the main character. But in all cases, the artist was certainly faced with the task of reflecting the essence of the person being portrayed, showing her individual character and understanding his essence.

Portrait typology

In the epoch of V., a diverse typology of P. takes shape, which depends on its purpose and utilitarian function, the features of the formal-figurative solution, and the nature (material) of execution. Therefore, in the Renaissance P., the following types and types can be distinguished. First of all, this is a division into monumental P.: sculptural monuments, including equestrian monuments with their emphasized classicism of figurative structure ( Donatello, Verrocchio, Leonardo da Vinci, Giambologna), P. in tombstones, which has its own typological feature ( Arnolfo di Cambio, Tino da Camaino, Jacopo della Quercia, Bernardo Rossellino, Antonio Rossellino, Antonio Pollaiolo, Pietro Lombardo, Guglielmo della Porta, Giovanni Montorsoli, Pierre Bontan, Germaine Pilon, Leone Leoni, Pompeo Leoni), P. in monumental painting- fresco, where you can highlight the so-called "hidden portraits" ( Francesco del Cossa, Filippino Lippi, Domenico Ghirlandaio, Rafael), mosaic. And the second large group Renaissance P. is easel P.: paintings, as well as reliefs and busts, where the classicized component of Renaissance P. is most clearly seen ( Mino da Fiesole, Antonio Rossellino, Francesco Laurana, Domenico Gagini, Verrocchio, Benvenuto Cellini), graphic sheets, often conveying the immediate and impulsive appearance of the model ( Albrecht Dürer, Hans Holbein the Younger, French pencil portrait of the 16th century), engravings ( Albrecht Dürer), portrait miniatures with their exquisite delicacy of portraiture (Nicholas Hilliard). One should also highlight such a type of sculptural P. as P. on medals ( Pisanello, Guarino da Verona, Sperandio, Vittore Gambello) and coins ( medal art), full, despite the size of the monuments, of genuine greatness and heroism in the interpretation of the depicted character, P. on gems (glyptics).

In turn, monumental and easel painting can be donor painting ( Masaccio, Jan van Eyck, Hans Memling), front ( Piero della Francesca, Bronzino, Giorgio Vasari, Titian, Alonso Sanchez Coelho), mounted ( Titian), heroic ( Andrea del Castagno), chamber, intimate, characteristic, caricature (P. jesters and dwarfs); historical ( Andrea del Castagno), imaginary, mythological ( Bronzino), theatrical, family ( Titian, Lorenzo Lotto, Hans Holbein the Younger, Franz Pourbus the Elder), children's (Girolamo Bedoli, Bronzino, Titian, Hans Holbein the Younger, Jan Gossaert); P. in full growth ( Titian, Parmigianino, Lucas Cranach the Elder, Hans Holbein the Younger), generational ( Giulio Romano, Pontormo, Bronzino, Titian, Lorenzo Lotto, Giovanni Battista Moroni, Lucas Cranach the Elder, Hans Holbein the Younger, Franz Floris), belt ( Leonardo da Vinci, Andrea del Sarto), chest ( Antonello da Messina, Giovanni Bellini, Giorgione, Jan van Eyck, Master of Flemal, Rogier van der Weyden, Hans Memling, Hans Holbein the Younger, Jean Fouquet, Francois Clouet); profile ( Pisanello, Piero della Francesca, Fra Filippo Lippi, Botticelli, Piero Pollaiolo, Leonardo da Vinci), three-quarter ( Antonello da Messina, Botticelli, Giovanni Bellini, Giorgione, Titian, Jan van Eyck, Master of Flemal, Rogier van der Weyden, Albrecht Dürer, Lucas Cranach the Elder, Jean Fouquet), en face (full face) ( Botticelli, Bronzino, Hans Holbein the Younger), from different points of view ( Lorenzo Lotto), sitting ( Rafael, Bronzino), standing ( Titian, Hans Holbein the Younger) etc. According to the number of characters depicted on one P., and according to the number of portrait images included in one portrait ensemble, P. is divided into individual ( Sandro Botticelli, Domenico Ghirlandaio, Leonardo da Vinci, Raphael, Bronzino, Giorgione, Titian, Tintoretto, Jan van Eyck, Rogier van der Weyden, Petrus Christus, Hans Memling, Albrecht Dürer, Lucas Cranach the Elder), double ( Piero della Francesca, Hans Memling), double ( Jan van Eyck Frankfurt master), and group, not only in easel, but also in monumental painting ( Francesco del Cossa, Andrea Mantegna, Melozzo da Forli, Domenico Ghirlandaio, Raphael, Giorgio Vasari, Francesco Salviati, Titian, Dirk Jacobs). A specific type of portraiture, very characteristic of the Renaissance era, which is distinguished by the emergence of the artist’s self-consciousness, is a self-portrait, which can exist both independently ( Lorenzo Ghiberti, Leonardo da Vinci, Raphael, Titian, Tintoretto, Parmigianino, Francesco Salviati, Albrecht Dürer), and enter the group P. ( Sandro Botticelli, Raphael).

Stages of portrait development

The boundaries of the Renaissance portrait genre do not have a clear fixation and are very mobile, and often painting itself can be combined in one work with elements of other genres - religious, historical, mythological, landscape, still life, everyday genre.

The individual features of the Renaissance P. were partly outlined already in the art of the Proto-Renaissance ( Giotto, Simone Martini). But firmly in all the variety of types, forms, images, local art schools and national specifics they established themselves in the 15th century. Now the final formation of an independent portrait is taking place, which is undergoing a characteristic evolution from profile to three-quarter, which significantly enriches the possibilities of creating a more developed portrait characteristic. The latter is distinguished by the glorification of the image, a bright and strong individuality in the interpretation of the model, the passion of nature and strength of character - the paired profile of P. Federico II da Montefeltro and his wife Battista Sforza of the work Piero della Francesca(c. 1465; Uffizi, Florence); three-quarter chest P. cardinal Ludovico Trevisan work Andrea Mantegna(1459 - 1460; Prussian State Museums cultural heritage, Berlin); the so-called P. "Condottiere" work Antonello da Messina(1475; Louvre, Paris). Additional examples can be found in the monuments of the monumental and easel painting (Masaccio, Pisanello, Andrea del Castagno, Domenico Veneziano, Domenico Ghirlandaio, Sandro Botticelli, Piero della Francesca, Pinturicchio, Andrea Mantegna, Antonello da Messina, Gentile and Giovanni Bellini), in statuary plastic ( Donatello and Verrocchio), in sculptural portraits ( Antonio Rossellino, Desiderio da Settignano, Mino da Fiesole, Francesco Laurana, Benedetto da Maiano), in medal art(Pisanello).

Renaissance anthropocentrism, a synthetic approach to model interpretation, ideal characteristic models, the creation of a world of images full of peace, harmony and clarity comes through especially brightly in the portrait work of the masters of the High Renaissance. Here, first of all, one should portrait art Leonardo da Vinci, Raphael, partly Andrea del Sarto, Giorgione, early Titian. These masters further deepen the content of portrait images, making them extremely complex, deep, and multifaceted. The characters of their P. have a balanced and balanced view of the world, they are distinguished by faith in the power of the intellect, a sense of personal freedom and dignity, they are in spiritual harmony with themselves and the world around them - P. Baldassare Castiglione works Raphael(1514 - 1515; Louvre, Paris). At this time, there was a complication and renewal of the means of artistic expression, which also affected portraiture, which helped to enrich the figurative possibilities of Renaissance painting - this is the famous sfumato Leonardo da Vinci and coloristic searches, still very harmonious and major, in Titian.

A special stage in the development of the Renaissance portrait is associated with the Late Renaissance and with Mannerism ( late Titian, Paolo Veronese, Tintoretto, Lorenzo Lotto, Savoldo, Alessandro Moretto, Moroni, Parmigianino, Andrea del Sarto, Sebastiano del Piombo, Pontormo, Bronzino, El Greco). The political situation is changing, ideas about the World and Society, the view of the role and place of man in the World. The self-consciousness of the artist also becomes different, which affects the abundance of surprisingly fascinating in its content, passionate, but also extremely sad in essence, autobiographical prose ( Pontormo, Benvenuto Cellini) and on the interest in the pictorial self-portrait ( Michelangelo, Titian, Tintoretto, Parmigianino, Francesco Salviati). Hamlet's expression "the connection of times has broken up" fully reflects that tragic, full of drama and passion perception of the world and the human person, characteristic of this time and immeasurably far from clarity and harmony, with all the conventionality of these definitions, the previous Renaissance attitude to the World, Man and transparent the power of portraiture.

Recommended reading

Campbell L. Renaissance Portraits: European Portrait Painting in the 14th, 15th and 16th Centuries. New Haven and London, 1990; Grashchenkov V.N. Portrait in Italian painting Early Renaissance. M., 1996

Portrait (from French portrait - image, description of appearance) - an integral part of the structure of the character. A literary portrait is a three-dimensional concept. It includes not only internal features hero, constituting the essence of a person's character, but also external, complementary, embodying the typical, characteristic and individual. “A good painter must paint two main things: a person and the representation of his soul” - this is how Leonardo da Vinci formulated the task facing the artist. The portrait of the character is one of the important components of the work, organically merged with the composition of the text and the idea of ​​the author.

Each artist has his own way of creating words. character image part of his poetics. There are also objective methods of portrait characteristics. The development of portrait art is closely connected with the change and evolution of literary and artistic styles. So, a portrait in sentimentalism is distinguished by a certain picturesqueness, it reflects the sensual world of the hero. In romantic aesthetics, a bright detail dominates, emphasizing one or another feature of character, revealing the infernal or sacred essence of the soul. The picturesqueness of the portrait description is achieved due to the abundance of colorful means and metaphors.

The emphasis on any one detail is characteristic of any type of portrait (sentimentalist, romantic, realistic, impressionistic). For example, a portrait of Silvio from A. S. Pushkin's story "The Shot": "Gloomy pallor, sparkling eyes and thick smoke coming out of his mouth, gave him the appearance of a real devil." Or the description of the revolutionary Shustova in L. N. Tolstoy's novel "Resurrection": "... a short plump girl in a striped chintz blouse and curly blond hair that bordered her round and very pale, mother-like face." It is the use of epithets defined for aesthetics that gives these portraits a different romantic or realistic intonation. In both portraits, one detail is named - “pallor”. But in the guise of Silvio, this is the “pallor” of a fatal hero, while in Leo Tolstoy it is the painful pallor of a heroine who languishes in a gloomy prison. The clarification - "a very pale, mother-like face" (although the reader has never seen and will never see a portrait of this girl's mother in the text of the novel) - enhances the reader's compassion for the revolutionary.

Detailed portrait. Artists of the word give a detailed description of the hero's appearance: height, hair, face, eyes, as well as some characteristic individual features designed for visual perception.

A detailed portrait usually covers all aspects of the hero's appearance, down to his costume, movements, and gestures. Such a portrait is given, as a rule, at the first presentation of the character and is accompanied by the author's commentary, and in the process of plot development, additional strokes are superimposed on it.

This type of portrait is especially common in the novels of I. S. Turgenev. The reader immediately gets an idea of ​​the writer's favorite characters. Particularly vivid details abound in portrait characteristics female images in the novel Rudin. Sometimes I. S. Turgenev deliberately intrigues the reader and presents the portrait of the heroine gradually or in a variety of guises.

In the story “Asya”, the author describes in detail the figure, gestures, but does not show those details of the portrait that would make it possible to guess the character of the heroine: her eyes were hidden by a large straw hat, so the reader cannot yet get a complete picture of the girl. Then Asya is portrayed either as a playful child dressed as a young man, or as an innocent peasant woman, or as a secular young lady. She is for a long time remains a mystery both to Mr. K and to the reader.

F. M. Dostoevsky in the novel "Crime and Punishment", before introducing the main character, first gives a description of his miserable closet. This detailed outline of the dwelling precedes the portrait of Raskolnikov and creates a certain mood for holistic perception image.

An important detail is the introduction of the very description of appearance: "By the way, he was remarkably good-looking, with beautiful dark eyes, dark Russian, taller than average, thin and slender." In the epilogue, when Raskolnikov finds hope, his "beautiful dark eyes" are illuminated by light, "deep thoughtfulness" no longer darkens the young man's face.

Psychological picture. In this portrait description, not so much external signs, so much psychological features. The social details of the image-character are also noted here. The authors use various artistic techniques to reveal the inner world of the hero.

A. S. Pushkin, representing the main character in the novel "Eugene Onegin", does not give detailed description Onegin’s appearance and the environment that shaped him, as was customary in a classic Western novel, and only jokingly remarks at the end of Chapter VII: “I sing a young friend and his many whims ...” The poet begins the novel with “the thoughts of a young rake”, and this is already an important psychological characteristic of the image and reveals the meaning of the epigraph to the entire novel, where the main properties of nature suffering from the “Russian melancholy” were named.

Many researchers have noted that Andrei Bolkonsky in Leo Tolstoy's novel "War and Peace" is an artistic continuation of the image of Eugene Onegin. A skeptical attitude towards the world is characteristic of both heroes. However, it is important for Tolstoy to show not only the inner world of the hero, but also the society that Bolkonsky despises.

Everything in his figure, from the tired, bored look to the quiet measured step, represented the sharpest contrast with his little lively wife. He, apparently, was not only familiar with everyone in the living room, but was already so tired that it was very boring for him to look at them and listen to them ... "

L. N. Tolstoy very carefully selected details to characterize the characters. He considered it necessary to note both the psychological and social characteristics of the hero's character. This is evidenced by preparatory work writer. L. N. Tolstoy wrote “questionnaires” for each character under the following headings: “property, social, love, poetic, mental, family”. For example, the image of Nikolai Rostov:

“Property. Luxuriously lives according to his father, but prudent.

Public. Tact, gaiety, everlasting courtesy, little by little of all the talents.

Poetic. Everyone understands and feels little by little.

mental. Limited, speaks well. Passionate about fashion.

Love. He loves no one hard, a little intrigue, a little friendship ... "

The writer sought to convey the characters of people in their versatility, development and movement. This is what achieves the amazing plasticity and relief of Tolstoy's images.

In the portrait characteristics of Leo Tolstoy, the author's attitude to the hero is always felt. No matter how much the writer calls Vera Rostova beautiful and no matter how much he describes the correct features of her face, the reader still does not believe in her beauty, because she was cold, prudent and alien to the "Rostov breed", the world of Natasha and Nikolenka.

In the novel "Resurrection" L. N. Tolstoy replaces individually characteristic pictorial details, when they refer to a character belonging to high society, with negative details associated with the hero's belonging to a certain class, such a hero often does not even have a name. In the first version of the work, a detailed portrait of the juror merchant is given: "...long-haired, gray-haired, curly-haired, with very small eyes." In the final version of the text, the portrait of the merchant is stripped of everything individualized, leaving only one socially defining feature: "A tall, fat merchant."

I. S. Turgenev uses the principle of "secret psychology" in creating a portrait. The writer hides his attitude towards the characters. He can have both positive and negative characters equally beautiful.

However, with a purposeful selection of vocabulary, Turgenev makes the reader feel the falsity of the nature of Panshin or Varvara Pavlovna from the novel " Noble Nest". Lavretsky's wife “was calm and self-confidently affectionate, so that everyone in her presence immediately felt at home; moreover, from her whole captivating body, from her smiling eyes, from her innocently sloping shoulders and pale pink hands, from her light and at the same time, as it were, tired gait, from the very sound of her voice, slow, sweet, - elusive, like a delicate smell, insinuating charm, soft, yet bashful, negligence ... ".

An important role in the psychological portrait is played by subject matter and various literary reminiscences. A vivid example of a detailed psychological portrait is the description of Pechorin's appearance.

M. Yu. Lermontov gives several descriptions of his appearance, as if gradually revealing the phenomenon of the “hero of the century”. In the chapter "Bel" Maxim Maksimych only notices the strangeness of this amazing person, the author is already setting the reader up to perceive Pechorin's exclusivity. In the chapter "Maxim Maksimych" a detailed psychological portrait of the protagonist is presented, and "the habits of a decent person", and "an aristocratic hand", "secrecy of character" are noted.

The comparison of Pechorin with a Balzac coquette becomes especially significant. This reminiscence spoke volumes to Lermontov's contemporaries. In O. Balzac's story "The Thirty-Year-Old Woman" and in his even more famous "Theory of Gait", the psychological motivation is given for the manner of behaving, to please people, to hide contempt for them. With this comparison, M. Yu. Lermontov included in the portrait a whole range of psychological details that make it possible to explain the inner world of the hero.

Satirical and ironic portrait. In satirical portraiture, psychological detail and poetic metaphor play an important role. The means of artistic expression are based on the techniques of the comic. The strength of ridicule and denunciation depends on the degree of discrepancy between the appearance and essence of the phenomenon, between the form and content of the image, deed and character. In various artistic aesthetics, the comic technique is used in portraiture.

Pushkin creates a type of parodic portrait in the novel "Eugene Onegin" when he introduces Olga to the reader: "Eyes, like the sky, blue, // Smile, linen curls, // Movement, voice, light body, // Everything in Olga ... but any novel // Take it and find it right // Her portrait...”

It seems strange to Onegin that Lensky is in love with Olga: "...I would choose another if I were like you, a poet..." : // She is round, red in the face, // Like this stupid moon // In this stupid sky.

An ironic combination of details is found in the portrait of Lensky. It is especially important that in one of the published texts of "Eugene Onegin" there was a clarification "with the soul of a Goettingen philistine", and not, as we now read, "with a straight Goettingen soul ...". Specifying the peculiarity of the burgher nature of the hero, the author prepares the reader for the fact that the poet "an ordinary fate awaited." His romantic enthusiasm is just a tribute to fashion.

M. E. Saltykov-Shchedrin creates a gallery of satirical portraits in his “Provincial Essays”. The author often uses the technique of "effective phraseology", based on special shades of intonation.

In the chapter “Porfiry Petrovich”, in addition to vivid details, an important role is played by rhetorical figures that introduce satirical tones into the image: “He is not tall, but meanwhile his every body movement sprinkles with unbearable grandeur ...

What a pity that Porfiry Petrovich did not grow tall: he would have been an excellent governor! Nor can it be said that there was much grace in his whole posture; on the contrary, the whole of it is somehow complicated by a ridge; but how much calmness in this pose! How much dignity in this look, fading from an excess of greatness!

Satirical portraits of M. E. Saltykov-Shchedrin are created with the help of the grotesque, hyperbolization and fantasy. Often one detail is generalized, and the metonymic image reaches the level of typification. The use of diminutive forms of vocabulary allows you to convey the author's irony.

A.P. Chekhov uses the expressive detail of the portrait, which can replace the description of appearance. So, in the story "Thick and thin" there are no portrait characteristics. A.P. Chekhov focuses on smells.

The thin one smelled of "ham and coffee grounds" and the "thick" smelled of "sherry and orange blossom." The title of this story is a literary reminiscence, allowing the reader to immediately recall Gogol's detailed description of officials in one of the lyrical digressions of Dead Souls, which presents satirical generalizing portraits of "thick" and "thin".

With the help of taste associations, A.P. Chekhov also represents female nature in the story “A Woman from the Point of View of a Drunkard”: “A woman is an intoxicating product that has not yet guessed to impose an excise tax ... A woman under 16 years old is distilled water. .. From 20 to 23 - Tokay. From 23 to 26 - champagne. 28 - cognac with liqueur. From 32 to 35 - beer from the Vienna factory. From 40 to 100 - fusel oil ... "

A wide variety of portrait characteristics can be observed in epic texts. The authors of epic works use portraits-descriptions, portraits-comparisons, portraits-impressions, portraits-metaphors. Other means of artistic expression in the transfer of the appearance of the hero are used in lyrics and drama. In lyrical genres, the portrait is found in ballads, poems, epigrams, songs, parodies, as well as in “personal” lyrics.

Introduction to Literary Studies (N.L. Vershinina, E.V. Volkova, A.A. Ilyushin and others) / Ed. L.M. Krupchanov. - M, 2005

Photography experienced its rapid development in the middle of the 19th century. Created as an alternative to painting, photography eventually turned into an independent form of fine art, when the history of the photo portrait began. The first photographic experiments immediately aroused great interest. Particularly attractive was the illusion of ease of image acquisition. The quality of the photographer's work was assessed by the degree of achievement of external similarity, and photographic errors were corrected manually by retouchers. For example, eyes were drawn, which in photographic portraits of that time often turned out to be closed. At the request of customers, the photographs were painted with watercolors.

Portraits with character

Bulky cameras were used to create a portrait. The photographic materials used in that era required long exposures and did not allow capturing fleeting movements. But, on the other hand, due to the fact that a person remained in front of the camera lens for a long time, the portraits captured not only the external features of a person, but also revealed the features of his character. This approach to photography can be seen in the works of the famous Russian photographer Sergei Levitsky. His famous photographic portraits are famous Russian writers and public figures of the XIX century, such as N. A. Nekrasov, I. A. Goncharov, F. I. Tyutchev, I. A. Herzen and many others. In addition, in 1877 he received the title of their photographer. Imperial Majesty and created portraits of four generations of the Romanov dynasty.

Photo by Moses Nappelbaum

As a rule, portrait photographers at the end of the 19th century created their work in the same style: repetitive accessories were used, works were performed on a white or gray background, group “three-tiered” compositions lined up. Photographer Moses

Experimenting with poses

Nappelbaum in his works challenges established traditions. He rejects the static poses that create a feeling of artificiality, stops using plain gray backgrounds and instead of the traditional composition offers live scenes of people communicating. Nappelbaum argued that movement must be felt in a portrait, otherwise there would be no life in it. Modern portrait photographers are also guided by this principle.

For example, in the old photographic portraits of the American photographer Rodney Smith, everything is important - posture, gesture, direction of gaze. All this creates in his portraits the energy inherent only to him. To date, Smith's work has won 75 awards and is exhibited in prestigious galleries around the world. With the invention of portable cameras, it became possible to abandon studio shooting and the need to pose in front of the camera. This provoked the development of a new genre - a reportage portrait. The famous photographer Andranik Kochar in his pictures refuses to search for expressive poses, but captures individual moments in a person's behavior during communication.

Visual images created with the help of light saturate the picture with warmth and life or, as in the works of Robert Mapplethorpe, on the contrary, make it almost lifeless. In his works, Mapplethorpe built light and composition in such a way as to emphasize the coldness, alienation, loneliness of the depicted, which seemed to be in a vacuum.

Speaking about his work, portrait photographer Arnold Newman noted that in order to make a good portrait, you need to think not only about the personal qualities of the person posing, but also about the house in which he lives and works, you need to know how he behaves in Everyday life and understand what makes this person a person.

The meaning of a portrait photo

Photography is important not only from an artistic point of view, it is a memorable historical document and is included in the arsenal of scientific tools and evidence. For example, photographs of ethnologists, geographers, reporters, travelers often have a high artistic value, but at the same time turned into important historical documents. The same can be said about the portrait genre. The typology of portraits is very diverse. These include both studio and reportage portraits, psychological and children's portraits, they can be both color and black and white. Over time, photographic portraits become scientific, historical and documentary evidence of the era.

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 similar 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.

Born in ancient times, the portrait reached high level development in ancient Eastern, especially in ancient Egyptian sculpture, where he played mainly the role of a "double" portrayed in the afterlife. Such a religious and magical purpose of the ancient Egyptian portrait led to the projection of individual features onto the canonical type of image. certain person. In ancient Greece, during the classical period, idealized sculptural portraits of poets, philosophers, public figures. 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. Picturesque Faiyum portraits (Egypt, 1st-4th 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 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. expressive portrait images medieval Japanese painters and sculptors, masters of portrait miniature came from living observations Central Asia, Azerbaijan, Afghanistan (Kemaleddin Behzad), Iran (Reza Abbasi), India.

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 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 marked the portraits of Rembrandt's work. 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 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, 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 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 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. 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).

Great French Revolution of 1789-94, national liberation movements of the first half of XIX in. 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. expanding geography national schools portrait, many stylistic trends arise, 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 and 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 .

Achievements French masters impressionism and artists close to them (E. Manet, O. Renoir, E. Degas, sculptor O. Rodin) were brought 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. 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 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 best achievements portrait art of the XIX-XX 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, etc.), 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, 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 own, 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, there are easel portraits (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. In ancient Greece, the right to be imprinted in a statue was obtained primarily by 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 was opened by an 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, BUT. 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 of the human soul amaze 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). The heroic spirit of the era of the French Revolution was embodied 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 trends 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. Manet 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 showed contradictory trends in art, which was looking for new means of expressing a complex mental life modern man (P. Picasso, BUT. Matisse and etc.).
In the history of Russian art, the portrait occupies a special place. Compared with Western European painting, in Russia the portrait genre arose rather late, but it was he who became the first secular genre in art, the development of artists began with it. real world. 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, dynamics inner life man, "souls are 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.).

Any typological characteristic is a certain typological "portrait" social community. At the same time, depending on the goals, one and the same community can be "portraited" by different typologies to obtain the most complete and versatile scientific portrait, or for comparison, different communities can be "portraited" by one typology.

Our study involved the solution of two problems: 1) compiling a psychological portrait of one professional group - psychologists; 2) comparative analysis typological portraits of various professional communities: psychologists, teachers and engineers.

The respondents were students (the total sample size was 758 people), receiving psychological, pedagogical and engineering specialties. They formed the following groups:

1. Students of the Faculty of Psychology of all specializations 1-5 courses of the 1995/1996 academic year and 1st year of the 1996/1997 academic year of St. Petersburg State University (SPbGU), 321 people in total. Hereinafter, the group will be called "Students-Psychologists of St. Petersburg State University".

2. Students of the Faculty of Psychology 1-4 courses of the 1995/1996 academic year of the Magnitogorsk State Pedagogical Institute (MGPI), hereinafter referred to as “MSPI psychology students”. There are 168 people in total.

3. Students of the Faculty of Russian Language and Literature of the 1st and 5th courses of the 1995/1996 academic year of the Moscow State Pedagogical Institute, hereinafter referred to as “students-teachers”. Only 98 people.

4. Students of the mechanical and technological faculties of the 1st, 3rd and 4th courses of the 1995/1996 academic year of the Magnitogorsk Mining and Metallurgical Academy (MGMA), hereinafter referred to as “engineer students”. There are 171 people in total.

For psychological portraiture, two typological questionnaires were used: EPQ by G. Eysenck and D. Keirsey.

The EPQ questionnaire allows you to assess the personality of a particular person by a combination of assessments by factors: extraversion-introversion, neuroticism-stability. This typology can be represented as a matrix, the rows of which characterize the orientation (introversion - less than 7 points; the norm is 7-15 points; extraversion - more than 15 points), the columns correspond to the levels of emotional stability (neuroticism - more than 16 points; the norm is 8 - 16 points ; stability - less than 8), and the elements are statistically normal and deviating from it types. Thus, nine types are obtained: the norm (N), four "intermediate" (melancholic choleric - MH; choleric sanguine - XS; sanguine phlegmatic - SF; phlegmatic melancholic FM) and four "pure" accentuated types (melancholic - M, choleric - X, sanguine - C, phlegmatic - F).

In table. 1 shows a typological portrait of psychology students at St. Petersburg State University.

Table Matrix typological portrait of SPbU psychology students according to the EPQ method (in %)

The matrix portrait is a typological portrait "full face". It has the maximum completeness of reflection in terms of the selected properties, but does not have a geometric visual form. Visibility is provided by "profile" portraiture. The “profile” portrait of St. Petersburg State University psychology students can be written as a multiset of types: 19.3 N; 12.5 MX; 34.3 CS; 3.4 SF; 1.9 FM; 16.2 X; 9.3 C; 0.3 F; 2.8 M

Having fixed the order of enumeration of types, we obtain a one-dimensional statistical distribution, which can be compared with a graphic image in the form of a profile similar to the known psychological profiles according to G.I. Rossolimo. The only difference is that the scales of the profile obtained by us are scaled as a percentage.

Type profile of psychology students at St Petersburg University according to the EPQ method

It clearly follows from the graph that type XC prevails among psychology students at St. Petersburg State University,

H and X types are common (from 15% to 20%). MX and C types make up about 10% of students. The remaining four types (SF, FM, M and F) make up less than 5% of the sample.

"Profile" portraiture makes it easy to compare the typological portraits of representatives of different professional communities. Type profiles can be presented in the form of a table (Table 2) and a graph.

Table Profiles of types of students of different universities and specialties

according to the EPQ method (in %)

It can be seen that among psychologists and engineers, students of the CS type prevail (34.5% and 30%, respectively), teachers of this type are much less (18.4%).

Among the students-teachers, the majority of MX and X types (respectively 24.5% and 23.5%). The percentage of H-type students is approximately the same in all groups (within 20-24%).

Profiles of types according to the EPQ method of representatives of various professional

community

Comparing the profiles of the types of students from different universities and specialties according to the criterion ??, we obtained the following results:

1. Typological profiles of psychology students from St. Petersburg State University and Moscow State Pedagogical Institute do not differ significantly according to the EPQ method (???9.48

2. The profiles of the types of students of the psychological faculties of St. Petersburg State University and Moscow State Pedagogical Institute differ significantly from the profile of the types of student teachers of the Moscow State Pedagogical Institute (respectively, level).

3. Typological profiles of psychology students at St. Petersburg State University and engineering students do not have significant differences (???6,16

4. The psychological profiles of student teachers and engineers differ by 0.1% significance level (???21.43 with ??5).

The main difference between student teachers and students of other professions is greater neuroticism and introversion of the former.

D. Keirsey's technique allows you to determine whether a person belongs to one of the sixteen personality types. The questionnaire includes four main scales of predispositions: 1) extraversion - introversion (E - I); 2) sensory - intuition (S - N); 3) thinking - feeling (T - F) and 4) decision - perception (J - P). By this method, we obtained psychological portraits all groups of test subjects.

Let us present a typological portrait of SPbU psychology students, presenting it as a “full face” in the form of a matrix (Table 3) and a “profile” in the form of a graph.

Table Matrix typological portrait of students-psychologists of St. Petersburg State University according to the method of D. Keirsey (in %)

Profile of types of students-psychologists of St. Petersburg State University

according to the method of D. Keirsey

It can be seen that the majority of SPbU psychology students belong to ENFP (25.5%) and ENFJ (17.8%) types, about 10% are INFJ, INFP and ESFJ types. ISFJ and ESTJ students make up 7.2% and 5.3% respectively; the rest are less than 5%.

Let's present graphically profile psychological portraits of students - representatives of various professional groups.

Profiles of types of students of different professional

generalities according to the method of D. Keirsey

The most common types among psychology students at St Petersburg University and Moscow State Pedagogical Institute are ENFP, ENFJ and ESFJ types (respectively 25.5% and 20.2%, 17.8% and 13.7%, 11.2% and 21.4%). Most student teachers belong to the ISFJ (15.3%), ESFJ (14.3%) and ENFJ (14.3%) types. ESFJ (20.4%), ESTJ (12.2%) and ISTJ (11.6%) types prevail among engineering students. Representatives of ESTP, ISTP, ENTJ, ENTP, INTJ and INTP are less than 5% in all groups.

Comparing the profiles of the types of students from different universities and specialties according to the criterion ??, we obtained the results presented in Table. 4. The typological profile of students-psychologists of St. Petersburg State University according to the method of D. Keirsey differs significantly from the profiles of students of various specialties in Magnitogorsk. The profile of psychology students of the Moscow State Pedagogical Institute is closest to the profile of SPbU psychology students, the difference with the profile of student teachers is more significant, and with the profile of types of engineering students - the largest.

Table Values?? when comparing typological profiles

students of different universities and specialties according to the method of D. Keirsey

Note: ??11, ???19.68* - 5% level, ???24.72** - 1% level, ???31.26*** - 0.1% level.

LITERATURE

1. Almanac psychological tests. M., 1996.

2. Ovchinnikov B.V., Pavlov K.V., Vladimirova I.M. Your psychological type. SPb., 1994.