V.L. Truth Analysis of works of art (graphics, painting, sculpture, architecture)

ANALYSIS ALGORITHM

WORKS OF ART

In the academic discipline "Culturology"

The purpose of studying the discipline "Culturology" by students is to form an understanding of the socio-cultural meaning of future professional activity in the development of systemic knowledge about culture as an integrity; implementation of a conscious choice of values ​​in the world of modern culture.

One of the forms of studying the course of cultural studies are practical exercises. According to the curriculum, there are 2 of them. Each practical lesson includes one task, to which it is necessary to give a detailed and reasoned answer in writing.

Practical work is handed over to the teacher on the day of the test. Without completed practical work, the student is not allowed to pass the test.

Each student does their own practical work. Scope of work - up to 6 typewritten pages on A4 sheet, printed at 1.5 spacing, font - Times New Roman, size 14, all margins should be 2 cm. page numbering.

The work must include:

1. Title page indicating the name of the university and faculty, surname, initials of the student, code, semester of study, academic discipline, place (city) and year of writing.

2. The question of practical task No. 1, a photo of an architectural monument, name, photo, surname, name of the architect and your statement of the task.

3. Question of practical task No. 2, photo of the painting, title, photo, surname, name of the artist and your statement of the task.

4. List of used literature and Internet resources, indicating pages and sites. When using monographs and study guides after the year of publication, you must indicate the total number of pages in this book. When using articles from dictionaries, encyclopedias, journals, collections, you should indicate the pages on which these articles are published.

Approximate design of a written analysis of a work of art

Practice #2

Task: Give a meaningful analysis of the work of architecture of your city (village, district).

Church of the Intercession on the Nerl (Intercession on the Nerl) is a white-stone church in the Vladimir region of Russia, one and a half kilometers from Bogolyubov.

This is a masterpiece of world architecture, the pinnacle of creativity of the Vladimir masters of the heyday of the Vladimir-Suzdal principality.

The dating of the temple according to N. N. Voronin is accepted in the literature - 1165, based on the message from the Life of Andrei Bogolyubsky that the Church of the Intercession was built in memory of the deceased son of the Grand Duke - Izyaslav Andreevich.

The church was consecrated in honor of the Feast of the Intercession of the Mother of God, established in Rus' in the middle of the 12th century at the initiative of Andrei Bogolyubsky. This is probably the first Church of the Intercession in Rus'. According to the legend contained in the Life of Andrei Bogolyubsky, the white stone for the construction of the church was taken out of the Bulgar kingdom conquered by Andrei Bogolyubsky. However, this legend is refuted both by historical facts and by the fact that the stone of the Church of the Intercession is distinguished by its exceptional whiteness (this is the highest quality stone of all the white stone Vladimir-Suzdal churches), and the stone in the Volga Bulgaria has a gray-brown tint. At the end of the 18th century, due to the low profitability of the Intercession Church, the abbot of the Bogolyubsky Monastery tried to dismantle the temple for building material for the construction of the monastery bell tower, but the lack of funds did not allow work to begin.

The location of the temple is unique: the Church of the Intercession is built in a lowland, on a water meadow. Previously, near the church there was a place where the Nerl flows into the Klyazma (now the riverbeds have changed their position). The church was located almost on the river "arrow", making out the crossroads of the most important water trade routes. The Church of the Intercession is built on a man-made hill. The usual strip foundation, laid at a depth of 1.6 m, was continued by the base of the walls, 3.7 m high, which were covered with clay soil of an artificial hill lined with white stone. Thus, the foundation went to a depth of more than five meters. This technology made it possible to resist the rise of water during river floods (up to 3 m).

From the temple of the XII century, without significant distortion, the main volume has survived to our time - a small, slightly elongated along the longitudinal axis (about 8 x 7 m without taking into account the apses, the side of the dome square is about 3.2 m) quadrangle and head. The temple is of the cross-domed type, four-pillared, three-apse, one-domed, with arched-columnar belts and perspective portals. The walls of the church are strictly vertical, but thanks to the exceptionally well-found proportions, they look tilted inward, which achieves the illusion of a greater height of the structure. In the interior, the cross-shaped pillars taper upwards, which, despite the small size of the temple, creates an additional feeling of “altitude” of the interior. The divisions of the northern and southern walls of the temple are asymmetrical, the eastern curtains are very narrow. However, the sum of the protrusion of the side apses and the width of the eastern sections of the walls is almost equal to the width of the middle sections of the walls, and due to this, the composition of the temple looks balanced when viewed from any side. Multi-shaft pilasters with semi-columns on the outer side of the walls of the Church of the Intercession on the Nerl correspond to the inner shoulder blades. Their total thickness is about one and a half times wider than the walls, and this creates a very clear constructive "drawing" of the temple.

The walls of the church are decorated with carved reliefs. The central figure in the composition of the three facades of the temple is King David seated on a throne with a psalter (stringed musical instrument) in his left hand, blessing with his right hand with two fingers. Lions, birds and female masks are also used in the design. The original interior paintings of the temple are completely lost (knocked down during renovation in 1877). The refinement of proportions and the overall harmony of the temple is noted by many researchers; often the Church of the Intercession is called the most beautiful Russian temple.

The bright image of the graceful temple embodied the deep sadness of the Russian prince for his dead son. In me, his contemplation causes a feeling of quiet sadness and peace.

The water surface, flood meadows and miraculously growing above their expanse in all its infinite grace, sparkling with dazzling whiteness, a light one-domed temple (which is quite rare for temples), makes me associate with a candle.

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Principles of analysis of works of fine art

Basic principles of analysis and description of works of fine art

The approximate amount of what you need to know is

• –Introduction to the study of the discipline "Description and analysis of a work of art."

Key concepts of the discipline: art, artistic image; morphology of art; type, genus, genre of art; plastic temporary, synthetic art forms; tectonic and pictorial; style, "language" of art; semiotics, hermeneutics, literary text; formal method, stylistic analysis, iconography, iconology; attribution, connoisseurship; aesthetic evaluation, reviewing, quantitative methods in art history.

• – Aesthetic theory of art: the artistic image is a universal form of art and artistic thinking; the structure of a work of art; space and time in art; historical dynamics of art forms; synthesis of arts in the historical and cultural process.
• – Morphology of art: classification of art forms; genre as a category of artistic morphology.
• – Specific features of the plastic arts as types: architecture, sculpture, graphics, painting.
• – Semiotics and hermeneutics of art in the context of description and analysis of a work of art: languages ​​of art, sign approach to the study of art, work of art as text, hermeneutic understanding of text.
• – Methodological foundations for the analysis of a literary text: formal stylistic, iconographic, iconology.

Like any science, the theory of art history has its own methods. Let us name the main ones: the iconographic method, the method of Wölfflin, or the method of formal stylistic analysis, the iconological method, the method of hermeneutics.

The founders of the iconographic method were the Russian scientist N.P. Kondakov and the Frenchman E. Mal. Both scientists were engaged in the art of the Middle Ages (Kondakov was a Byzantine painter, Mal studied the Western Middle Ages). This method is based on the "history of the image", the study of the plot. The meaning and content of the works can be understood by examining what is depicted. One can understand the ancient Russian icon only by deeply studying the history of the appearance and development of images.

The problem is not what is depicted, but how it is depicted, the famous German scientist G. Wölfflin was engaged. Wölfflin entered the history of art as a "formalist", for whom the understanding of art is reduced to the study of its formal structure. He proposed to conduct a formal-stylistic analysis, approaching the study of a work of art as an "objective fact", which should be understood primarily from itself.

The iconological method of analyzing a work of art was developed by the American historian and art theorist E. Panofsky (1892-1968). This method is based on a “culturological” approach to revealing the meaning of a work. To comprehend the image, according to the scientist, it is necessary not only to use iconographic and formal-stylistic methods, creating a synthesis from them, but also to be familiar with the essential tendencies of a person’s spiritual life, i.e. worldview of the era and personality, philosophy, religion, social situation - all that is called "symbols of the times." Here, the art critic requires vast knowledge in the field of culture. This is not so much the ability to analyze, but the requirement of synthesizing intuition, because in one work of art, as it were, a whole era is synthesized. Thus, Panofsky brilliantly revealed the meaning of some engravings by Dürer, works by Titian, and others. All these three methods, with all their pluses and minuses, can be used to understand classical art.

It is difficult to understand the art of the XX century. and especially the second half of the 20th century, the art of postmodernism, which a priori is not designed for our understanding: in it the absence of meaning is the meaning of the work. The art of postmodernism is based on a total game principle, where the viewer acts as a kind of co-author of the process of creating a work. Hermeneutics is understanding through interpretation. But I. Kant also said that any interpretation is an explanation of what is not obvious, and that it is based on a violent act. Yes it is. In order to understand contemporary art, we are forced to join this "game without rules", and modern art theorists create parallel images, interpreting what they see.

Thus, having considered these four methods of understanding art, it should be noted that every scientist dealing with a particular period in the history of art always tries to find his own approach to revealing the meaning and content of a work. And this is the main feature of the theory of art.

• - Factographic study of art. Attribution of a work of art: attribution and connoisseurship, attribution theory and the history of its formation, principles and methods of attribution work.

The history of connoisseurship is vividly and in detail described by domestic art scholars. V.N. Lazarev (1897-1976) ("History of connoisseurship"), B.R. wipper (1888-1967) ("On the problem of attribution"). In the middle of the XIX century. a new type of "connoisseur" of art appears, the purpose of which is attribution, i.e. establishing the authenticity of the work, time, place of creation and authorship. The connoisseur has a phenomenal memory and knowledge, impeccable taste. He has seen many museum collections and, as a rule, has his own method of attributing a work. The leading role in the development of knowledge as a method belonged to the Italian Giovanni Morelli (1816-1891), who for the first time tried to deduce some regularities in the construction of a painting, to create a "grammar of the artistic language", which was to become (and became) the basis of the attribution method. Morelli made a number of valuable discoveries in the history of Italian art. Morelli's follower was Bernard Bernson (1865-1959), who argued that the only true source of judgment is the work itself. Burnson lived a long and colorful life. V.N. Lazarev, in a publication on the history of connoisseurship, enthusiastically described the entire creative path of the scientist. No less interesting in the history of connoisseurship is the German scientist Max Friedlander (1867-1958). Friedlander considered the basis of the attribution method to be the first impression received from the seen work of art. Only then can one proceed to scientific analysis, in which the smallest detail can matter. He admitted that any research can confirm and supplement the first impression or, conversely, reject it. But it will never replace it. A connoisseur, according to Friedländer, must have an artistic flair and intuition, which “like a compass arrow, despite fluctuations, show us the way.” In domestic art history, many scientists and museum workers were engaged in attribution work and were known as connoisseurs. B.R. Wipper distinguished three main cases of attribution: intuitive, random, and the third - the main way in attribution - when the researcher approaches the establishment of the author of the work using various methods. The defining criterion of Wipper's method is the texture and emotional rhythm of the painting. Texture refers to paint, the nature of the stroke, etc. Emotional rhythm is the dynamics of sensual and spiritual expression in a painting or any other form of fine art. The ability to understand rhythm and texture is the essence of a correct understanding and appreciation of artistic quality. Thus, numerous attributions and discoveries made by connoisseurs, museum workers, have made an undeniable contribution to the history of art: without their discoveries, we would not have recognized the true authors of the works, taking fakes for originals. There have always been few real experts, they were known in the art world and their work was highly valued. The role of the connoisseur-expert especially increased in the 20th century, when the art market, due to the huge demand for works of fine art, was filled with fakes. Not a single museum, collector will buy a work without a thorough examination. If the first connoisseurs made their conclusions on the basis of knowledge and subjective perception, then the modern expert relies on the objective data of technical and technological analysis, namely: X-ray transmission of the picture, determination of the chemical composition of the paint, determination of the age of the canvas, wood, soil. This way, mistakes can be avoided. Thus, the opening of museums and the activities of connoisseurs were of great importance for the formation of the history of art as an independent humanitarian science.

• – Emotional and aesthetic evaluation of a work of art. Genre forms, methods of art history research.

Primitive analysis algorithm:

Algorithm for the analysis of works of art

1. Meaning of the title of the painting.
2. Genre affiliation.
3. Features of the plot of the picture. Reasons for painting. Search for an answer to the question: did the author convey his intention to the viewer?
4. Features of the composition of the picture.
5. The main means of artistic image: color, drawing, texture, chiaroscuro, style of writing.
6. What impression did this work of art have on your feelings and mood?
7. Where is this piece of art located?

Algorithm for analyzing works of architecture

1. What is known about the history of the creation of an architectural structure and its author?
2. Indicate the belonging of this work to the cultural and historical era, artistic style, direction.
3. What embodiment did Vitruvius' formula find in this work: strength, usefulness, beauty?
4. Indicate artistic means and techniques for creating an architectural image (symmetry, rhythm, proportions, light and shade and color modeling, scale), tectonic systems (post-beam, lancet-arch, arch-dome).
5. Indicate the belonging to the type of architecture: three-dimensional structures (public: residential, industrial); landscape (landscape or small forms); urban planning.
6. Indicate the connection between the external and internal appearance of an architectural structure, the connection between the building and the relief, the nature of the landscape.
7. How are other types of art used in the design of its architectural appearance?
8. What impression did the work have on you?
9. What associations does the artistic image evoke and why?
10. Where is the architecture located?

Algorithm for analyzing works of sculpture

1. The history of the creation of the work.
2. About the author. What place does this work occupy in his work?
3. Belonging to the artistic era.
4. The meaning of the title of the work.
5. Belonging to the types of sculpture (monumental, memorial, easel).
6. The use of material and the technique of its processing.
7. Dimensions of the sculpture (if it is important to know).
8. The shape and size of the pedestal.
9. Where is this sculpture located?
10. What impression did this work have on you?
11. What associations does the artistic image evoke and why?

More:

Sample Questions for Analyzing a Work of Art

Emotional level:

• What impression does the work make?
• What mood is the author trying to convey?
• What sensations can the viewer experience?
• What is the nature of the work?
• How do the scale, format, horizontal, vertical or diagonal arrangement of parts, the use of certain architectural forms, the use of certain colors in the picture and the distribution of light in the architectural monument help the emotional impression of the work?

Subject level:

• What (or who) is in the picture?
• What does the viewer see when standing in front of the facade? In interiors?
• Who do you see in the sculpture?
• Highlight the main thing from what you saw.
• Try to explain why this seems to be the main thing for you?
• By what means does the artist (architect, composer) single out the main thing?
• How are objects arranged in the work (subject composition)?
• How are the main lines drawn in the work (linear composition)?
• How are volumes and spaces compared in an architectural structure (architectural composition)?
• Story level:
• Try to retell the plot of the picture.
• Try to imagine what events can happen more often in this architectural structure.
• What can this sculpture do (or say) if it comes to life?

Symbolic level:

• Are there objects in the work that symbolize something?
• Do the composition of the work and its main elements have a symbolic character: horizontal, vertical, diagonal, circle, oval, color, cube, dome, arch, vault, wall, tower, spire, gesture, pose, clothes, rhythm, timbre, etc. .?
• What is the title of the work? How does it relate to its plot and symbolism?
• What do you think the author of the work wanted to convey to people?

Plan for analysis of a painting

1. 1. Author, title of the work, time and place of creation, history of the idea and its implementation. Model selection.
2. 2. Style, direction.
3. 3. Type of painting: easel, monumental (fresco, tempera, mosaic).
4. 4. Choice of material (for easel painting): oil paints, watercolor, gouache, pastel. Characteristics of the use of this material for the artist.
5. 5. Genre of painting (portrait, landscape, still life, historical painting, panorama, diorama, icon painting, marina, mythological genre, everyday genre). Characteristics of the genre for the artist's works.
6. 6. Picturesque plot. Symbolic content (if any).
7. 7. Picturesque characteristics of the work:

• color;
• light;
• volume;
• flatness;
• color;
• artistic space (the space transformed by the artist);
• line.

9. Personal impression received when viewing the work.

Specifics:

• Composition scheme and its functions
  • size
  • format (vertically and horizontally elongated, square, oval, round, aspect ratio)
  • geometric patterns
  • main composition lines
  • balance, the ratio of parts of the image with each other and with the whole,
  • viewing sequence
• Space and its functions.
  • Perspective, vanishing points
  • flatness and depth
  • spatial plans
  • distance between the viewer and the work, the viewer's place in the space of the picture or outside it
  • point of view and presence of angles, horizon line
• Chiaroscuro, volume and their role.
  • volume and plane
  • line, silhouette
  • light sources, time of day, lighting effects
  • emotional impact of light and shadow
• Color, color and its functions
  • predominance of tonal or local color
  • warm or cold colors
  • linearity or picturesqueness
  • main color spots, their relationships and their role in the composition
  • tone, valery
  • reflexes
  • emotional impact of color
• Surface texture (Smear).
  • the nature of the stroke (open texture, smooth texture)
  • smear orientation
  • smear size
  • glazing

Description and analysis of architectural monuments

Topic 1. Artistic language of architecture.

Architecture as an art form. The concept of "artistic architecture". Artistic image in architecture. The artistic language of architecture: the concept of such means of artistic expression as line, plane, space, mass, rhythm (arrhythmia), symmetry (asymmetry). Canonical and symbolic elements in architecture. The concept of the building plan, exterior, interior. Style in architecture.

Topic 2. The main types of architectural structures

Monuments of urban art: historical cities, their parts, sites of ancient planning; architectural complexes, ensembles. Monuments of residential architecture (estates of merchants, nobles, peasants, profitable houses, etc.) Monuments of civil public architecture: theaters, libraries, hospitals, educational buildings, administrative buildings, railway stations, etc. Cult monuments: temples, chapels, monasteries. Defense architecture: prisons, fortress towers, etc. Monuments of industrial architecture: factory complexes, buildings, forges, etc.

Garden and park monuments, garden and landscape art: gardens and parks.

Topic 3. Description and analysis of an architectural monument

Building plan, building material, composition of the external volume. Description of the street and courtyard facade, door and window openings, balconies, exterior and interior decoration. Conclusion about the style and artistic merits of an architectural monument, its place in the historical and architectural heritage of the city, village, region.

METHODS OF MONOGRAPHIC ANALYSIS OF AN ARCHITECTURAL MONUMENT

1. Analysis of constructive and tectonic systems involves:

a) graphical identification on perspective or orthogonal projections of the monument of its constructive basis (for example, drawing the outlines of vaults and domes with a dotted line, “displaying” the internal structure on the facade, a kind of “combining” the facade with the section, shading the surfaces on the sections in order to clarify the structure of the interior etc.)

b) elucidation of the degree of proximity and interconnectedness of structural elements and the corresponding tectonic architectural forms (for example, the selection of girth arches, vaults in sections and the definition, their influence on the forms of zakomars, kokoshniks, three-bladed arches, etc.)

c) drawing up certain tectonic schemes of a monument (for example, a diagram of the vaulted grass cover of a Gothic cathedral or a “cast” diagram of the internal space of a pillarless temple - in axonometry, etc.);

2. The analysis of proportions and proportions is carried out, as a rule, in orthogonal projections and consists of two points:

a) search for multiple ratios (for example, 2:3, 4:5, etc.) between the main dimensional parameters of the monument, taking into account the fact that these proportions could at one time be used during construction to set aside the necessary values ​​in kind. At the same time, the dimensional values ​​(modules) that are repeatedly encountered in the monument should be compared with historical measures of length (feet, sazhens, etc.);

b) the search for a more or less constant geometric connection between the sizes of the main forms and articulations of the monument based on the regular relations of the elements of the simplest geometric figures (square, double square, equilateral triangle, etc.) and their derivatives. The revealed proportions should not contradict the logic of constructing the tectonic forms of the monument and the obvious sequence of erection of its individual parts. The analysis can be completed by linking the dimensions of the original geometric figure (for example, a square) with the modulus and with historical measures of length.

In the training exercise, one should not strive to identify too many relationships, it is much more important to pay attention to the quality of the selected proportions and proportions, that is, their compositional significance, their connection with the dimensional relationships of the main tectonic divisions of volumes and the possibility of their use in the process erection of a monument.

3. Analysis of metro-rhythmic patterns can be carried out both on orthogonal drawings and on perspective images of the monument (drawings, photographs, slides, etc.). The essence of the method is reduced to graphic underlining (by line, tone, shading or color) on any image of the monument of metric and rhythmic series of forms both vertically and horizontally. The metric rows distinguished in this way (for example, colonnades, window openings, cornices, etc.) and rhythmic rows (for example, tiers decreasing in height, changing spans of arches, etc.) make it possible to identify “static” or “dynamic” architectural composition of this monument. At the same time, the elucidation of the patterns of change in the members of the rhythmic series of forms is closely related to the analysis of proportions. As a result of the study, conditional schemes are drawn up, reflecting the features of the construction of metro-rhythmic series of forms of this architectural monument.

4. Graphic reconstruction allows you to recreate the lost appearance of the monument at any stage of its historical existence. The reconstruction is carried out either in the form of an orthogonal drawing (plan, facade), when there is an appropriate underlying base, or in the form of a perspective image made from a drawing from life or a photograph (slide). As a source for reconstruction, one should use published ancient images of the monument, various historical descriptions, as well as materials on similar monuments of the same era.

For educational purposes, the student is invited to make only a sketch reconstruction, which only in general terms conveys the nature of the original or changed appearance of the monument.

In a number of cases, a student may confine himself to comparing reconstruction options for the same monument made by different researchers. But then it is necessary to give these options a reasonable assessment and highlight the most probable of them. The student must graphically substantiate his choice with the image of similar monuments or their fragments.

A special type of reconstruction - the restoration of the original and subsequently lost color of the monument - is carried out on the basis of orthogonal facades or perspective images with the possible inclusion of a historical urban environment.

When performing a graphic reconstruction task, the method of drawing and photomontage can be widely used.

5. The construction of architectural pictures is a technique for analyzing monuments with a developed three-dimensional composition, designed for gradual perception over time, such as the Erechtheion in Athens or the Pokrovsky Cathedral in Moscow. When walking around such a monument, the viewer, due to the covering of some volumes by others, perceives a lot of perspective images flowing into one another, which are called architectural paintings.

The student's task is to single out qualitatively different groups of architectural paintings, designate on the plan the zones of perception of these groups of paintings and illustrate each group with one, characteristic, in the form of a perspective drawing or photograph (slide).

The number of qualitatively different paintings usually does not exceed five or six.

6. The analysis of scale and scale consists of identifying the large-scale role of divisions of the architectural volume and graphical selection on orthogonal or perspective images of the monument of characteristic details - “scale indicators”, such as steps, balustrades, etc. Particular attention should be paid to the role of the order as a universal tool architectural scale.

METHODS FOR COMPARATIVE ANALYSIS OF ARCHITECTURAL MONUMENTS

1. Comparison of the three-dimensional composition of two monuments is carried out by comparing plans, facades or sections, reduced to a common scale. It is very effective to overlay or combine plans, facades and sections; sometimes, when comparing the projections of two monuments, it is useful to bring them to some common size, for example, to the same height or width (in this case, the proportions of the monuments are also compared).

Comparison is also possible for the purpose of comparing perspective images of monuments in the form of drawings from nature or photographs. In this case, drawings or photographs should be taken from similar angles and from such points, from which the characteristic features of the volumetric composition of the monuments are revealed. It should be ensured that, in terms of their relative size, the images of the monuments approximately correspond to the ratios of their sizes in nature.

In all cases of comparative comparisons, the difference between monuments usually comes out more clearly than the moments of their similarity. Therefore, it is necessary to graphically emphasize what brings the compared objects together, for example, the identity of compositional techniques, the analogy in the combination of volumes, the similar nature of divisions, the location of openings, etc.

Description and analysis of monuments of sculpture

The artistic language of sculpture

When analyzing works of sculpture, it is necessary to take into account the own parameters of sculpture as an art form. Sculpture is an art form in which a real three-dimensional volume interacts with the surrounding three-dimensional space. The main thing in the analysis of sculpture is volume, space and how they interact. sculpture materials. Types of sculpture. genres of sculpture.

Description and analysis of the work of sculpture.

Sample plan:

1. What is the size of this sculpture? Sculpture is monumental, easel, miniature. Size affects how it interacts with space.

2. In what space was the analyzed work located (in the temple, on the square, in the house, etc.)? What point of view was it designed for (from a distance, from below, near)? Is it part of an architectural or sculptural ensemble or is it an independent work?

3. To what extent the work in question covers three-dimensional space (round sculpture and sculpture related to architecture; architectural and sculptural form, high relief; relief; bas-relief; picturesque relief; counter-relief)

4. What material is it made in? What are the features of this material? Even if you are analyzing casts, it is important to remember what material the original was made from. Go to the halls of the originals, see how the sculpture looks like, made in the material you are interested in. What features of the sculpture are dictated by its material (why was this material chosen for this work)?

5. Is the sculpture designed for fixed viewpoints, or does it fully open when walking around? How many complete expressive silhouettes does this sculpture have? What are these silhouettes (closed, compact, geometrically correct or picturesque, open)? How are silhouettes related to each other?

6. What are the proportions (ratios of parts and the whole) in this sculpture or sculptural group? What are the proportions of the human figure?

7. What is the pattern of the sculpture (development and complication of relations between large compositional blocks, the rhythm of internal articulations and the nature of surface development)? If we are talking about relief, how does the whole change when you change the angle of view? How does the depth of the relief vary and spatial plans are built, how many are there?

8. What is the texture of the sculpted surface? Homogeneous or different in different parts? Smooth or “sketchy” traces of the touch of tools are visible, natural-like, conditional. How is this texture related to material properties? How does texture affect the perception of the silhouette and volume of a sculptural form?

9. What is the role of color in sculpture? How do volume and color interact, how do they influence each other?

10. What genre does this sculpture belong to? What was it for?

11. What is the interpretation of the motif (naturalistic, conditional, dictated by the canon, dictated by the place occupied by the sculpture in its architectural environment, or some other).

12. Do you feel the influence of some other types of art in the work: architecture, painting?

Description and analysis of paintings

Artistic language of painting

The concept of painting. Means of artistic expression: artistic space, composition, color, rhythm, character of a colorful stroke. Painting materials and techniques: oil, tempera, gouache, watercolor, mixed media, etc. Easel and monumental painting. Varieties of monumental painting: fresco, mosaic, stained glass, etc. Painting genres: portrait, landscape, everyday genre, still life, animalistic, historical, etc.

Description of paintings

Determination of the basic parameters of the work: author, date of creation, size of the picture, picture format: horizontally or vertically elongated rectangle (possibly with a rounded end), square, circle (tondo), oval. Technique (tempera, oil, watercolor, etc.) and on what basis (wood, canvas, etc.) the painting was made, etc.

Analysis of paintings

Sample analysis plan:

1. Is there a plot in the picture? What is shown? In what environment are the depicted characters, objects located?
2. Based on the analysis of the image, you can draw a conclusion about the genre. What genre: portrait, landscape, still life, nude, everyday life, mythological, religious, historical, animalistic, does the painting belong to?
3. What task do you think the artist is solving - visual? expressive? What is the degree of convention or naturalism of the image? Does conventionality gravitate toward idealization or toward expressive distortion? As a rule, the composition of the picture is associated with the genre.
4. What are the components of a composition? What is the ratio of the object of the image and the background / space on the canvas of the picture?
5. How close to the picture plane are the objects in the image?
6. What angle of view did the artist choose - from above, below, flush with the depicted objects?
7. How is the position of the viewer determined - is he involved in the interaction with the image depicted in the picture, or is he assigned the role of a detached contemplator?
8. Can the composition be called balanced, static, or dynamic? If there is movement, how is it directed?
9. How is the pictorial space built (flat, indefinitely, the spatial layer is fenced off, deep space is created)? How is the illusion of spatial depth achieved (difference in the size of the depicted figures, showing the volume of objects or architecture, using color gradations)? The composition is developed by means of drawing.
10. How pronounced is the linear beginning in the picture?
11. Are the contours delimiting individual objects emphasized or concealed? By what means is this effect achieved?
12. To what extent is the volume of objects expressed? What techniques create the illusion of volume?
13. What role does light play in a painting? What is it like (smooth, neutral; contrasting, sculpting volume; mystical). Is the light source/direction readable?
14. Are the silhouettes of the depicted figures/objects readable? How expressive and valuable are they in themselves?
15. How detailed (or vice versa generalized) is the image?
16. Is the variety of textures of the depicted surfaces (leather, fabrics, metal, etc.) conveyed? Coloring.
17. What role does color play in the picture (is it subordinate to the drawing and volume, or vice versa, does it subordinate the drawing to itself and builds the composition itself).
18. Is the color just a coloring of the volume or something more? Is it optically faithful or expressive?
19. Do local colors or tonal color predominate in the picture?
20. Are the borders of color spots distinguishable? Do they coincide with the boundaries of volumes and objects?
21. Does the artist operate with large masses of color or small smears?
22. How are warm and cold colors written, does the artist use a combination of complementary colors? Why is he doing this? How are the most illuminated and shaded places transferred?
23. Are there glare, reflexes? How are the shadows written (deaf or transparent, are they colored)?
24. Is it possible to distinguish rhythmic repetitions in the use of any color or combination of shades, is it possible to trace the development of any color? Is there a dominant color/color combination?
25. What is the texture of the pictorial surface - smooth or pasty? Are individual strokes distinguishable? If so, what are they - small or long, liquid, thick or almost dry paint applied?

Description and analysis of graphic works

Artistic language of graphics

Graphics as a form of fine art. The main means of artistic expressiveness of graphics: line, stroke, spot, etc. Linear and black and white drawing. Engraving, types of engraving: xylography, lithography, linocut, etching, monotype, aquatint, etc. Easel graphics. Book graphics. Poster art, posters. Applied graphics.

Description of works of graphics

Determination of the basic parameters of the work: author, date of creation, sheet size, format, technique.

Analysis of graphic works

Sample analysis plan:

1. General definition of the spatial situation, characteristics of the depicted space. Space - deep or not, closed or open, on which plan the accents are concentrated. The predominant (most essential for this work) means of constructing depth and their use. For example: the nature of linear or aerial perspective (if used). Characteristics of the depicted space. Integrity / dismemberment of space. Division into plans, distribution of attention (singling out of certain plans or uniformity of perception). Point of view. The interaction of the viewer and the depicted space (this item is necessary even if there is no image of deep space).
2. Location, ratio, relationships of elements on the plane and in space.

Determining the type of composition - if possible. In the future, a clarification: how exactly this type of composition is embodied in this graphic work, what are the nuances of its use. Format characteristics (proportion size). The ratio of format and composition: the image and its borders. Distribution of masses within the sheet. Compositional accent and its location; its relationship with other elements; dominant directions: dynamics and statics. The interaction of the main elements of the composition with the spatial structure, placement of accents.

1. Analysis of graphic technique.
2. The result of the analysis is the identification of the principles of constructing the form, its expressive qualities and impact. Based on the formal and expressive qualities of the work, one can raise the question of its meaning (content, idea), i.e. move on to interpreting it. At the same time, it is necessary to take into account the plot (how is the plot interpreted in this work?), the specifics of the depiction of characters (in the plot picture and portrait - postures, gestures, facial expressions, gaze), symbolism (if any), etc., but at the same time time is the means of representation and hence the impact of the picture. It is also possible to correlate the identified individual features of the work with the requirements of the type and genre to which it belongs, with a broader artistic context (the author's work as a whole: the art of the era, school, etc.). From this, a conclusion can follow about the value and significance of the work, its place in the history of art.

Description and analysis of works of arts and crafts and folk art

Types of arts and crafts and folk art

Painting on wood, metal, etc. Embroidery. Carpet weaving. Jewelry Art. Wood carving, bones. Ceramics. Artistic varnishes, etc.

Description of monuments of decorative, applied and folk art

Kind of decorative and applied art. Material. Features of its processing. Dimensions. Appointment. Characterization of color, texture. The degree of correlation between the utilitarian and artistic-aesthetic functions of the object.

Analysis of monuments of arts and crafts and folk art

Sample analysis plan

1. What is this item for?
2. What are its dimensions?
3. How is the decoration of the item located? Where are the zones of figurative and ornamental decorations located? How is the placement of images related to the shape of the object?
4. What types of ornaments are used? On what parts of the object are they located?
5. Where are figurative images located? Do they take up more space than ornamental ones, or are they just one of the ornamental registers?
6. How is a register with figurative images built? Is it possible to say that free composition techniques are used here or the principle of juxtaposition is used (figures in identical poses, minimum movement, repeat each other)?
7. How are the figures depicted? Are they mobile, frozen, stylized?
8. How are the details of the figures transferred? Do they look more natural or ornamental? What techniques are used to transfer figures?
9. Look, if possible, inside the object. Is there an image and ornaments? Describe them according to the diagram above.
10. What primary and secondary colors are used in the construction of ornaments and figures? What is the tone of the clay itself? How does this affect the character of the image - does it make it more ornamental or, conversely, more natural?

Lyrics:

The analysis of a work is a complex work of the intellect, requiring a lot of knowledge and skills.

There are many approaches, techniques, methods of analysis, but they all fit into several complex actions:

1. 1) decoding the information contained in the fabric of the work itself,
2. 2) an analytical study of the process and circumstances of the creation of a work of art, helping to deepen and enrich its understanding,
3. 3) the study of the historical dynamics of the artistic image of the work in individual and collective perception.

In the first case, there is work with the work as a value in itself - a "text"; in the second, we consider the text in context, revealing traces of the influence of external impulses in the artistic image; in the third, we study the changes in the artistic image depending on how its perception changes in different eras.

Each work of art, by virtue of its originality, dictates its own path, its own logic, its own methods of analysis.

Nevertheless, I would like to draw your attention to a few general principles of practical analytical work with a work of art and give some advice.

"Eureka!" (analysis intrigue). The first and most important thing is that the work of art itself suggests the path by which one can penetrate into the depths of the meaning of the artistic image. There is a kind of “hook” that captures the mind with a sudden question. The search for an answer to it - whether in an internal monologue, whether in communication with employees or students - often leads to insight (Eureka!). Therefore, conversations of this kind - you must learn how to conduct them with a group - are called heuristic. Analytical work in a museum or architectural environment usually begins with such questions – “decoding” the information contained in the artistic “text”.

Asking a question is often more difficult than finding an answer.

- Why does Alexander Ivanov's "Naked Boy" have such a tragic face?

- Why is the figure of a young man lifting a paralyzed man in the painting “The Appearance of the Messiah” by the same Ivanov, dressed in the clothes of Christ?

— Why is the icon case in K.S.’s picture empty? Petrov-Vodkin "Mother" 1915?

— Why P.D. Fedotov in the second version of the painting "Major's Matchmaking" removes the chandelier - the detail that he was looking for for so long?

— Why in the sculptural bust of Sh.I. Makhelson by Shubin's marble is polished to a greasy gloss, while in most cases the "skin" of the faces in his portraits seems matte?

There are many such questions that can be recalled, all of them are evidence of a unique, personal vision inherent in each person. I deliberately do not give answers here - try to find them yourself.

In analytical work with a work of art, you will be helped not only by the ability to see it with a fresh eye, to perceive it directly, but also by the ability to abstract, isolating certain moments of perception and elements of form and content.

If we are talking about plastic arts, these are compositional, diagrams, analytical sketches, coloristic “layouts”, analysis of spatial construction, “playing” of accessories, etc. All these and other means can be used in the work. But one thing should be remembered: any analytical technique is, first of all, a way of interpreting the elements of form, of comprehending them. Measure, lay out, draw diagrams, but not for the sake of these diagrams themselves, but in the name of understanding their meaning, because in a truly artistic image there are no “voids” - the material itself, and the size, and the format, down to the texture, i.e. the surface of the object art is full of meaning. In other words, it is about the language of art.

Despite their originality, uniqueness, works of art lend themselves to typology, they can be grouped, of course, primarily by type of art.

The problem of typology will be the subject of study for you in the courses on art theory and aesthetics, and at the beginning of the course we would like to pay attention to those aspects of it that play an important role in the analysis, especially the interpretation of art. In addition, we get the opportunity to stipulate the meaning of fundamental concepts (the significance of this work was mentioned above).

So, a work of art can belong to one of the types, which are divided into: single-component (monostructural), synthetic and technical.

• One-component - painting, graphics, sculpture, architecture, literature, music, arts and crafts.
• Synthetic - theatrical and spectacular arts.
• Technical - film, television, computer graphics.

One-component arts are divided, in turn, into:

• spatial (architecture, painting, graphics, arts and crafts)
• temporary (literature, music),

as well as pictorial (painting, graphics, sculpture) and non-pictorial (architecture, arts and crafts, literature, music).

Since there are different points of view in the classification of the arts, and since all these definitions are not absolute, but relative, we will stipulate them, and first of all we will dwell - very briefly - on the problem of space and time in art, because it is not as simple as it might seem on at first glance, and is very significant in the analysis of the work.

First of all, we note that the division of arts into spatial and temporal is very conditional and is based on the features of the existence of a work: the material carriers of spatial arts are really objective, occupy a place in space, and only grow old and collapse in time. But after all, the material carriers of musical and literary works also occupy a place in space (notes, records, cassettes, and finally, performers and their instruments; manuscripts, books, magazines). If we talk about artistic images, then they "occupy" a certain spiritual space and in all arts develop in time.

Therefore, we will try, having noted the existence of these categories as classificatory, to talk about them from an analytical standpoint, for us - in this case - more important.

We noted above that every work of art, as a material-ideal phenomenon, exists in space and time, and its material basis is somehow connected primarily with space, and the ideal one with time.

However, a work of art relates to space in other aspects as well. Natural space and its experience by a person have a huge impact on the artistic image, giving rise, for example, in painting and graphics to various systems of spatial constructions, determining the features of solving spatial problems in architecture, the image of space in literature. In all arts, the "space of a thing", "the space of a person", "the space of society", the natural - earthly and cosmic - space, and finally, the space of the highest spiritual reality - the Absolute, God, are distinguishable.

The vision of the world is changing, followed by the system of artistic thinking; this movement from the old system to the new is marked by changes in the concept of space. Thus, the transfer of the focus of attention from the highest spiritual reality — God, the Heavenly World in the 17th century to a person in Russian art of the 17th century seemed to narrow the horizon of the artist, and the infinity of the reverse perspective was replaced by the limitedness of the direct one.

Time is also mobile and multifaceted.

This is the real time of the material carrier, when the notes turn yellow, the films demagnetize, the oiled boards turn black, and the time of the artistic image, endlessly developing, practically immortal. This is also an illusory time that exists inside the artistic image, the time in which the depicted thing and person, society, humanity as a whole live. This is the time of creation of the work, the historical era and period of life, and finally, the age of the author, this time is the length of the action and the time of "pauses" - breaks between depicted episodes. Finally, this is the time of preparation for perception, perception in contact with the work, experience and comprehension of the perceived artistic image.

In each of the arts, space and time are displayed differently, and this is discussed in the following chapters, each of which is devoted to a special type of art with its inherent structure of the artistic image.

It is no coincidence that I wrote “displayed” and not “depicted”, because we need to separate these concepts as well.

To display means to find a figurative equivalent to the phenomenon of reality, to weave it into the fabric of an artistic image, to depict - to create a visual - visible, verbal - verbal or sound - auditory analogue of a thing. The arts are divided, as mentioned above, into pictorial and non-pictorial not because in music it is impossible to depict, for example, the noise of a train or the cry of a rooster (or even a whole poultry yard), but in literature it is impossible to describe almost any visible or audible object. This is possible both in music and in literature: in the first case, we are dealing with onomatopoeia, in the second, with description. Moreover, a talented author, who has deeply experienced contact with a work of painting, sculpture, music, can find such words that his description will become a full-fledged and highly artistic verbal (verbal) analogue of a work of fine or musical art.

Architectural works (not to mention their parts: lotus-shaped columns of Egyptian temples, bark, atlantes, relief and other decorative sculptural elements) can also be images: for example, in the 1930s in the Soviet Union it was fashionable to build houses in the form of cars or other items. In Leningrad, a school was even built in the shape of a sickle and a hammer, although this can only be seen from a bird's eye view. And various vessels in the form of birds, fish, human figures, etc. in non-fine arts and crafts!

In contrast, works of fine art often "depict nothing" like abstract painting and sculpture.

So this classification feature turns out to be relative. And yet it exists: there are visually, that is, visually perceived "fine arts", which are based on the image of the phenomena of the world, and non-pictorial, verbal and musical.

Art is always conditional and cannot (not to mention that it should not) create a complete likeness of this or that phenomenon of living life. The artist does not duplicate the existing reality, he creates artistic and figurative models of the world or its elements, simplifying and transforming them. Even painting, the most "illusory" of the arts, seemingly capable of capturing and conveying on the canvas all the richness of the multicolored world, has an extremely limited ability to imitate the breed.

I really love CS. Petrov-Vodkin. At one of his exhibitions, his "Our Lady - Tenderness of Evil Hearts" - the radiance of pure scarlet, blue and gold - was placed in the hall of the Russian Museum on the wall next to the window.

For many years, the picture was hidden in storerooms, and now that it was in the hall, one could sit and look at it, it seemed, ad infinitum. The background shone with a cosmically deep, piercingly pure light of the depths of heaven, shading, together with the scarlet maphorium, the beautiful meek face of the Mother of God ...

I sat for a long time, it got dark outside, the winter evening shone in the window - and what a shock for me was the quiet glow of the modest winter Petersburg twilight in the window - they looked next to the blue in the picture of Petrov-Vodkin, like a shining sapphire next to the blue paper, which is pasted over matchboxes. That's when I had a chance not to find out, but to see and feel how the possibilities of art in imitating life are really limited, if we judge it based on the favorite criterion of a naive viewer: whether the image is similar or not similar to the original. And it is not at all in his strength to reproduce the phenomena of life as similarly as possible, as mimetic as possible.

An artistic image is not a mere repetition of life, and its verisimilitude, verbal or visual, is by no means the main quality. Art is one of the ways of mastering the world: its knowledge, evaluation, transformation by man. And each time in an artistic image - in different ways in different types of art and in different artistic systems - the phenomenon (what is perceived by the feelings of a person is revealed to him) and the essence (the essence of the phenomenon, the totality of its essential properties) are correlated, to display which art is recognized .

Each system of artistic thinking forms its own method of cognizing the essence - the creative method. At school, you already got acquainted with such specific European creative methods as Baroque, Classicism, Sentimentalism, Romanticism, Realism, Symbolism, Modernism, Socialist Realism, Surrealism, etc. Of course, you remember that each method was created in the name of understanding, appreciation, transformation of man and the world as a whole and their individual qualities. Remember how knowledge about a person is consistently “gathered”: baroque studies and displays the world of stormy, unbridled feelings of a person; classicism - its all-measuring balanced mind; sentimentalism affirms the human right to privacy and lofty, but purely personal feelings; romanticism - the beauty of the free development of the individual "for good or for bad", its manifestations in the "fatal minutes" of the world; realism reflects the social foundations of the formation and life of a person; symbolism again rushes into the mysterious depths of the human soul, and surrealism tries to penetrate into the depths of the subconscious, etc. So each of these creative systems has its own subject of image, isolated in a single object - a person. And their functions: affirmation of the ideal, study, exposure, etc.

In accordance with this, a method is also developed for transforming an object, which makes it possible to reveal its actual content: this is the idealization of an object - transformation, the artistic liberation of “imperfect reality from its imperfection”, likening it to an ideal (Brief Philosophical Encyclopedia. M., 1994) in such methods as baroque, classicism, romanticism, which differ among themselves in that the ideal itself is understood differently; it is a typification characteristic of realism, and a symbolization that mankind used at different stages of the artistic exploration of the world.

Looking at the history of the development of art at a very high level of generalization, we can say that it develops between two poles of the artistic-figurative modeling of the world: from the desire to create it to the utmost, to the illusion of a plausible reproduction to the ultimate generalization. These two methods can be correlated with the work of the two hemispheres of the brain: the left analytical, dividing the phenomenon into parts in the name of its knowledge, and the right - generalizing, imaginative, creating integral images (not necessarily artistic) for the same purpose.

On Earth, there are zones dominated by people with a noticeable advantage in the development of one of the hemispheres. You can even, of course, very conditionally, say that the concepts of "East", "man of the East" are associated with right-hemispheric - imaginative (figurative) thinking, while "West", "man of the West" with left-hemispheric, analytical, scientific.

And here we are faced with a visible paradox.

Recall: the left hemisphere oversees abstract-logical, verbal, analytical thinking; right - concrete, figurative, non-verbal, generalizing.

At first glance, it is easy to determine what is more specific: a portrait that conveys the appearance and character of a certain person, or, say, a little man at a traffic light - an extremely generalized designation of a person, a bunch of grapes painted in a Dutch still life, or an endless vine in an oriental ornament, consisting of many conditional, brought to the level of ornamental elements of leaves and clusters.

The answer is obvious: mimetic images - a portrait, a still life - are concrete, ornamental generalizations are more abstract. In the first case, the concepts “this person”, “this bunch” are needed, in the second, “man”, “bunch” are sufficient.

It is somewhat more difficult to understand that the portrait and still life, being artistic images, are at the same time more analytical - “left-hemispheric” than the elements of the ornament. Indeed, imagine how many words would be needed to describe the portrait - the verbal "translation" of this image would be quite long and more or less boring, while the vine in the ornament is defined by one, at most three words: climbing vine ornament. But, having sketched a vine from nature, the author of the ornament repeated this image more than once, achieving the ultimate generalization, which allows reaching the level of a symbol containing not one, but many meanings.

If you want to learn more about the Western analytical (mimetic, imitative) and Eastern generalized (ornamental) ways of creating a visual image, read the excellent book by L.A. Lelekov "The Art of Ancient Rus' and the East" (M., 1978). Discussing the two systems of artistic-figurative thinking, the author contrasts two series of statements.

The first belongs to Socrates: "Painting is the image of what we see."

The second is to the Buddha: "The artist has prepared the colors in order to create a picture that cannot be seen in color."

The ancient legend about the competition of two skillful painters - Zeuxis and Parrhasius - tells how one of them painted a vine branch and how birds flocked to this picture to peck the berries depicted on it - so great was the illusion of life filling it. The second deceived the eye of his colleague, depicting on the canvas the curtain with which the picture was supposedly covered, with such art that he asked him to quickly draw it back. The creation of an illusion - the imitation of the visible - was the highest goal for each of the rivals.

Buddha speaks of a completely different goal: a visible image painted with colors is only a carrier of an image that is born in a person’s soul. The Christian philosopher John of Damascus echoes the Buddha: "Every image is a revelation and an indication of the hidden."

In fact, the vine that adorns the pillars of the iconostasis is a symbol of life and fertility, the Garden of Eden (Christ's garden), a symbol of eternity.

Here is how L.A. Lelekov about another ornament: the interweaving of alternating fruit and flower, which is very common in Oriental ornaments, denotes “the concepts of the unity of cause and effect and the eternity of being, the themes of creation and the incessant renewal of life, the relationship of the past and the future, the collision of opposites” (Ibid. S. 39).

But just as between relatively few groups of pronounced “left hemispheres” — scientists and “right hemispheres” — artists, there is a multitude of transitional types that prevail in number, so between naturalistic — equal to itself, self-valuable and having no hidden meanings, an illusory image of visibility (phenomenon) and pure an ornament containing many meanings lies a vast space occupied by images of a mixed type - we talked about them above.

Perhaps the most harmonious among them is the realistic image, when the artist strives to embody the essence of the phenomenon, to symbolize the visible. Yes, Al. Ivanov, discovering the laws of the plein air and developing a method for embodying the internal properties and qualities of a person in her external appearance, filled his creations with a deep symbolic meaning.

Abstractionist artists of the 20th century, decomposing, distributing their paintings, refusing to create a “second”, illusory reality on the canvas, turned to the sphere of human superconsciousness, tried to capture the image in its originality, in the depths of the human soul, or, on the contrary, constructed it.

Therefore, in the analysis, following the intrigue of the first question that arose, you will have to think about what is the “space-time continuum” of the artistic image of the work, the subject of the image, the method and means of transforming the object. And one more important question arises before you: what are the elemental composition and connection - the structure of the artistic image.

The artistic image of a work is an integrity, and like any integrity, it can be represented, described as a system consisting of elements (each of which, in turn, is also integral and can be represented as a system) and their interconnections. Structuredness and a sufficient number of elements ensure the functioning of the artistic image as a whole, just as the presence of the necessary parts and their correct assembly - connection, structure, ensure the progress and timely ringing of an alarm clock.

What can be designated as elements of an artistic image? Rhyme, harmony, color, volume, etc.? These are form elements. The subject of the image, object, essence, phenomenon? These are content elements. Arguing logically, it should obviously be recognized that the elements of the artistic image of a work are also images: a person in the entire range from the simplest symbolic image in petroglyphs to a psychological portrait; the material object world in an innumerable variety of man-made things, the totality of which is often called civilization or "second nature"; social ties, from family to universal; nature miraculous in all its manifestations and forms: the animate world of animals, the inanimate world - near, planetary and cosmic; finally, that higher spiritual order, which is present in all artistic systems and which is called differently by the sages of different eras: the Higher Mind, the Absolute, God.

Each of these images is realized in different ways in different arts and has a superspecific, generic character.

Acquiring concreteness within a work of art, such an image can be included as a component in a system of a more complex whole (for example, images of nature occupy an important place in Turgenev's novels, in Rimsky-Korsakov's operas, and in Repin's paintings). One of the images can take a central place, subordinating the rest (such are the monostructural genres of fine art - portrait, landscape, etc.), or it can form an extensive layer of works of art - from series in the work of one master (for example, "Petriada" in .A. Serova) I to such gigantic formations as "Leniniana" in Soviet art.

So in the process of analyzing a work, figurative elements can be distinguished and connections between them can be established. Often, such work helps to understand the author's intention more deeply, and to be aware of the feelings experienced in communicating with the work, to better understand and interpret the artistic image.

Summing up this short section on analysis of a work of art as a self-sufficient integrity of the "text" Let's highlight the most important:

1. 1) analysis is only one of the operations included in the system of working with a work of art. One of the most important questions that you must answer in the process of analytical work is as follows: how, in what way and by what means was the artist able to achieve exactly the impression that you experienced and realized in pre-analytical communication with the artistic image?
2. 2) analysis as an operation of dividing the whole into parts (although involving elements of synthesis) is not an end in itself, but a way of deeper penetration into the semantic core of the artistic image;
3. 3) each work of art is unique, inimitable, therefore it is methodically correct - and it is very important for the teacher - to find the "intrigue of analysis" - the key question that will entail, especially in collective work, a chain, or rather, a system of questions, the answers to which and will form a holistic picture of the analysis;
4. 4) every work of art is an artistic-figurative model of the world, which reflects the actual facets, parts, aspects
   world and its main elements: man, society, civilization, nature, God. These facets, parts, aspects of Being constitute a meaningful basis - the subject of the image, which, on the one hand, is already objective reality, since it is only a part of it, and on the other, it is initially richer, because it carries the attitude of the author, is enriched in the creative process, gives the increment of knowledge about the world in an objectified form, in a work of art, and finally, it is actualized in the process of creativity. In analytical work, you must answer the questions: what is the object of the image in this work? what is the subject of the picture? what new things do we learn about the world by assimilating the artistic image of the work?
5. 5) each work of art belongs to one of the types of art, in accordance with which the method of transforming the subject of the image, the formation of the artistic image, the specific language of art is formed.
6. 6) art as a whole and a separate work as a phenomenon of the material world exist in space and time. Each epoch, each aesthetic system develops its artistic conception of time and space according to its understanding of these realities and its goals. Therefore, the analysis of the features of the embodiment of space and time in a work is a necessary analytical operation;
7. 7) an artistic-figurative model of the world can be pictorial (visual) or non-pictorial (auditory, verbal or visual-constructive). The imitation of life (even to the point of striving to create an illusion-“deceit”) or, on the contrary, the complete “deobjectification” of an image, like all intermediate forms, is not an end in itself, it is always meaningful, serves as the embodiment of goal-setting, revealed in analysis. At the same time, a relationship is established between the phenomenon and the essence, the comprehension and development of which ultimately constitutes one of the main functions of art. So in the process of analysis, it is necessary to understand what phenomenon underlies the artistic image (image object), what properties, qualities, aspects of the object were of interest to the artist (image object), how, in what way the object was transformed and what is the structure - elemental composition and structure - the resulting artistic image. Answering these questions, one can quite well understand the meaning of a work of art, what is the essence that shines through the fabric of an artistic image.

Before I finish talking about analysis and its place in working with a work of art, let me give you two pieces of advice.

The first concerns the meaning of analysis. Regardless of whether this or that work of art is close or internally alien to you, analysis - interpretation will help you understand the author, and in a conversation about the work, justify your assessment. In relations with art, it is better to replace “like - dislike” with other formulations:

“I understand and accept” or “I understand, but I don’t accept!” And at the same time always be ready to justify your opinion.

The second tip will be especially useful to you if you have to work at a contemporary art exhibition or visiting an artist in his studio.

For any normal person, the presence of the author is a deterrent, so at a contemporary art exhibition, always work as if the author is standing next to you - this is a very real opportunity.

But the main thing: once and for all, renounce the idea that there is a "right" and "wrong" art, "good" and "bad". A work of art is subject to evaluation: after all, its creator can be a master, or maybe a swaggering dilettante, a super-adaptive opportunist, a speculator.

But in the exhibition hall, you should not rush to act as a prosecutor, it is better to first try to understand why the work caused such irritation in you instead of the expected joy: is it because you intuitively felt the disharmony of the image, its general destructive power, the waves of negative energy coming from it, or that, due to the peculiarities of your personality, you did not fall into “resonance” with those, figuratively speaking, vibrations that the artistic image caused.

How differently we all perceive art - both in its elements and in general - I felt completely unexpectedly near the TV screen. ... I love Kolomenskoye very much - with its calm white church of the Kazan Mother of God, the slender tent of the Church of the Ascension of Christ rapidly rising above the Moskva River, the gilded domes of the Cathedral of John the Baptist in Dyakovo on the mountain behind the ravine, With bunches of trees, ancient pillars and treasured stones in dense green grass. For many years, in the course of art history, I have been telling students about these wonderful creations of the 16th-17th centuries. But a little story in the "Travel Club" on TV was a revelation for me. The leading clergyman showed and proved that the metrically formed ensemble embodied in natural and architectural forms the image of the icon of Sophia - the Wisdom of God. I, a person with an established rational consciousness, would never have been able to see this miracle in such a way. But now, of course, with references to the source, I will offer students, among others, this interpretation.

Literature:

Wölfflin

Janson H.V., Janson E.F. Fundamentals of art history - to find. Found. Share. And Gombrich too.

In contact with

Glossary of basic concepts .... 419

ART ANALYSIS

EXAMPLE QUESTIONS AND DIAGRAM

A work of architecture

When analyzing works of architecture, it is necessary to take into account the features of architecture as an art form. Architecture is a form of art, manifested in the artistic character of a building. Therefore, the appearance, scale, and forms of the structure should be analyzed.

1. What construction objects deserve attention?

2. With the help of what methods and means are the author's ideas expressed in this work?

3. What impression does the piece make?

4. What sensation can the recipient (perceiver) experience?

5. How does the scale, format, horizontal, vertical or diagonal arrangement of parts, the use of certain architectural forms, the distribution of light in an architectural monument help the emotional impression of the work?

6. What does the visitor see when standing in front of the facade?

7. Try to explain why this seems to be the main thing for you?

8. By what means does the architect highlight the main thing? Describe the main artistic means and techniques for creating an architectural image (symmetry, rhythm, proportions, light and shade and color modeling, scale).

9. How are volumes and spaces arranged in an architectural structure (architectural composition)?

10. Describe the belonging of this object to a certain type of architecture: three-dimensional structures (public: residential, industrial); landscape (landscape or small forms), urban planning.

11. Try to imagine what events can happen more often in this architectural structure.

12. Do the composition of the work and its main elements have a symbolic character: dome, arch, vault, wall, tower, calm?

13. What is the title of the work? And what would you name it?

14. Determine the belonging of this work to the cultural and historical era, artistic style, direction.

16. How do the form and content of this work relate?

17. What is the relationship between the external and internal appearance of this architectural structure? Does it fit harmoniously into the environment?

18. What embodiment, in your opinion, did Vitruvius's formula find in this work: usefulness, strength, beauty?

19. Were other types of art used in the design of the appearance of this architectural object? Which? Do you think the author's choice is justified?

Painting work

In order to abstract from the narrative-everyday perception, remember that a picture is not a window to the world, but a plane on which the illusion of space can be created by means of painting. Therefore, it is first important to analyze the basic parameters of the work.

1. Size of the painting (monumental, easel, miniature)?

2. The format of the picture: a horizontally or vertically elongated rectangle (possibly with a rounded end), a square, a circle (tondo), an oval?

3. In what technique (tempera, oil, watercolor, etc.) and on what basis (wood, canvas, etc.) was the painting made?

4. From what distance is it best perceived?

Image analysis.

5. Is there a plot in the picture? What is shown? In what environment are the depicted characters, objects located?

6. Based on the analysis of the image, make a conclusion about the genre (portrait, landscape, still life, nude, everyday life, mythological, religious, historical, animalistic).

7. In your opinion, what task does the artist solve - visual? expressive? What is the degree of convention or naturalism of the image? Does conventionality gravitate toward idealization or toward expressive distortion?

Composition analysis

8. What are the components of the composition? What is the ratio of the object of the image and the background / space on the canvas of the picture?

9. How close to the picture plane are the objects in the image?

10. What angle of view did the artist choose - from above, below, flush with the depicted objects?

11. How is the position of the viewer determined - is he involved in the interaction with the depicted in the picture, or is he assigned the role of a detached contemplator?

12. Can the composition be called balanced, static, or dynamic? If there is movement, how is it directed?

13. How is the picture space built (flat, indefinitely, the spatial layer is fenced off, deep space is created)? How is the illusion of spatial depth achieved (difference in the size of the depicted figures, showing the volume of objects or architecture, using color gradations)?

Drawing analysis.

14. How pronounced is the linear beginning in the picture?

15. Are the contours delimiting individual objects emphasized or smoothed out? By what means is this effect achieved?

16. To what extent is the volume of objects expressed? What techniques create the illusion of volume?

17. What role does light play in a painting? What is it (smooth, neutral; contrasting, sculpting volume; mystical)? Is the light source/direction readable?

18. Are the silhouettes of the depicted figures/objects readable? How expressive and valuable are they in themselves?

19. How detailed (or vice versa generalized) is the image?

20. Is the variety of textures of the depicted surfaces transmitted (leather, fabrics, metal, etc.)?

Color analysis.

21. What role does color play in the picture (is it subordinate to the drawing and volume, or vice versa, does it subordinate the drawing to itself and builds the composition itself)?

22. Is the color just a coloring of the volume or something more? Is it optically faithful or expressive?

23. Are the borders of color spots distinguishable? Do they coincide with the boundaries of volumes and objects?

24. Does the artist operate with large masses of color or small strokes?

25. How are warm and cold colors written, does the artist use a combination of complementary colors? Why is he doing this? How are the most illuminated and shaded places transferred?

26. Are there glare, reflexes? How are the shadows written (deaf or transparent, are they colored)? Is there a dominant color/color combination?

Other Options

1. What objects of the author's emotional attitude to the object (fact, event, phenomenon) deserve attention?

2. Determine whether this work belongs to the genre of painting (historical, portrait, still life, battle, other).

3. With the help of what methods and means are the author's ideas expressed in this work?

4. What impression does the piece make?

7. How does the use of certain colors help the emotional impression?

8. What is shown in the picture?

9. Highlight the main thing from what you saw.

10. Try to explain why this seems to be the main thing for you?

11. By what means does the artist highlight the main thing?

12. How are the colors compared in the work (color composition)?

13. Try to retell the plot of the picture.

14. Are there plots in the work that symbolize something?

15. What is the title of the piece? How does it relate to its plot and symbolism?

16. Do the composition of the work and its main elements have a symbolic character: horizontal, vertical, diagonal, circle, oval, color, cube?

work of sculpture

When analyzing works of sculpture, it is necessary to take into account the own parameters of sculpture as an art form. Sculpture is an art form in which a real three-dimensional volume interacts with the surrounding three-dimensional space. Therefore, volume, space and how they interact must be analyzed.

1. What impression does the piece make?

3. What is the nature of the work?

4. What objects of the author's emotional attitude to the object (fact, event, phenomenon) deserve attention?

5. With the help of what methods and means are the author's ideas expressed in this work?

6. What is the size of the sculpture? The size of a sculpture (monumental, easel, miniature) affects its interaction with space.

7. What genre does this sculpture belong to? What was it for?

8. Describe the original material used by the author, its features. What features of the sculpture are dictated by its material (why was this material chosen for this work)? Are its properties consistent with the idea of ​​the work? Is it possible to present the same work from other materials? What would it become?

9. What is the texture of the sculpted surface? Homogeneous or different in different parts? Smooth or “sketchy” traces of the touch of tools are visible, natural-like, conditional. How is this texture related to material properties? How does texture affect the perception of the silhouette and volume of a sculptural form?

10. How does the scale, format, horizontal, vertical or diagonal arrangement of parts help the emotional impression of the work?

11. What is the role of color in sculpture? How do volume and color interact, how do they influence each other?

12. Who (what) do you see in the sculpture?

13. Highlight the most important, especially valuable from what you saw.

14. Try to explain why exactly this seems to you the most important, especially valuable?

15. By what means does the sculptor highlight the main thing?

16. How are objects arranged in the work (subject composition)?

17. In what space was the work located (in the temple, on the square, in the house, etc.)? What point of perception was it designed for (from a distance, from below, near)? Is it part of an architectural or sculptural ensemble or is it an independent work?

18. Is the sculpture designed for fixed viewpoints, or is it fully revealed when walking around? How many finished expressive silhouettes does she have? What are they (closed, compact, geometrically correct or picturesque, open)? How are they related to each other?

19. What can this sculpture do (or say) if it comes to life?

20. What is the title of the piece? What is its (name) meaning, what do you think? How does it relate to the plot and symbolism?

21. What is the interpretation of the motif (naturalistic, conditional, dictated by the canon, dictated by the place occupied by the sculpture in its architectural environment, or some other)?

22. What ideological positions, in your opinion, did the author of the work want to convey to people?

23. Do you feel the influence of some other types of art in the work: architecture, painting?

24. Why do you think it is preferable to view the sculpture directly, and not in photographs or reproductions? Justify your answer.

Objects of arts and crafts

Analyzing objects of decorative and applied art, it should be remembered that they primarily played an applied role in human life and do not always carry an aesthetic function. At the same time, the shape of the object, its functional features affect the nature of the image.

1. What is such an item intended for?

2. What are its dimensions?

3. How is the decoration of the item located? Where are the zones of figurative and ornamental decorations located? How is the placement of images related to the shape of the object?

4. What types of ornaments are used? On what parts of the object are they located?

5. Where are figurative images located? Do they take up more space than ornamental ones, or are they just one of the ornamental registers?

6. How is a register with figurative images built? Is it possible to say that free composition techniques are used here or the principle of juxtaposition is used (figures in identical poses, minimum movement, repeat each other)?

7. How are the figures depicted? Are they mobile, frozen, stylized?

8. How are the details of the figures transferred? Do they look more natural or ornamental? What techniques are used to transfer figures?

9. Look, if possible, inside the object. Is there an image and ornaments? Describe them according to the diagram above.

10. What primary and secondary colors are used in the construction of ornaments and figures? What is the tone of the clay itself? How does this affect the character of the image - does it make it more ornamental or, conversely, more natural?

11. Try to draw a conclusion about the individual patterns of this type of arts and crafts.

Art Analysis Algorithms

The main condition for working on this algorithm is the fact that the name of the picture should not be known to those who perform the work.

What would you name this painting?

Do you like the picture or not? (The answer must be ambiguous).

Tell about this picture so that a person who does not know it can get an idea about it.

What feelings does this picture evoke in you?

Would you like to add or change something in your answer to the first question?

Go back to the second question. Has your assessment remained the same or has it changed? Why do you rate this picture so much now?

Algorithm for the analysis of works of art

Meaning of the title of the painting.

Genre affiliation.

Features of the plot of the picture. Reasons for painting. Search for an answer to the question: did the author convey his intention to the viewer?

Features of the composition of the picture.

The main means of artistic image: color, drawing, texture, chiaroscuro, style of writing.

What impression did this work of art have on your feelings and mood?

Where is this piece of art located?

Algorithm for analyzing works of architecture

What is known about the history of the creation of an architectural structure and its author?

Indicate the belonging of this work to the cultural and historical era, artistic style, direction.

What embodiment did Vitruvius' formula find in this work: strength, usefulness, beauty?

Indicate artistic means and techniques for creating an architectural image (symmetry, rhythm, proportions, light and shade and color modeling, scale), tectonic systems (post-beam, lancet-arch, arch-dome).

Indicate the belonging to the type of architecture: three-dimensional structures (public: residential, industrial); landscape (landscape or small forms); urban planning.

Indicate the connection between the external and internal appearance of an architectural structure, the connection between the building and the relief, the nature of the landscape.

How are other types of art used in the design of its architectural appearance?

What impression did the work have on you?

What associations does the artistic image evoke and why?

Where is the architecture located?

Algorithm for analyzing works of sculpture

The history of the creation of the work.

Belonging to the artistic era.

The meaning of the title of the work.

Belonging to the types of sculpture (monumental, memorial, easel).

The use of material and the technique of its processing.

Dimensions of the sculpture (if it is important to know).

The shape and size of the pedestal.

Where is this sculpture located?

What impression did this work have on you?

What associations does the artistic image evoke and why?

An analysis of the history of the film.

First part of the analysis. History of appearance. Director's idea. Working with screenwriter and cameraman.

1. Analysis of the characters of the heroes.

The saturation of the film with characters. Characteristics of the main characters (personification details). Characteristics of secondary characters (their functions in relation to the main characters, to the action of the film). The work of the actors on the role. Analysis of the actor's game.

2. Film analysis as a reflection of the director's subjectivity

Artistic cinema as an independent work of art. Author's, i.e. director's position (most often it manifests itself in his interview, you can find it in interviews, memoirs, articles of participants in the creation of cinema). The influence of real events in his personal and social life on the film. Reflection of the director's inner world.

Annex 1.

Analysis of a work of art based on an algorithm:

How can you analyze works of art?

creativity?

2. Belonging to the genre: historical, domestic, battle, portrait,

landscape, still life, interior.

3. The main means of creating an artistic image: color, drawing,

chiaroscuro, texture, style of writing.

4. The meaning of the name. Features of the plot and composition.

5. Belonging to a cultural and historical era, artistic style or direction.

6. What are your personal impressions of the paintings?

Appendix 2

1 Group "Fiery Brushes of the Romantics" (TOUR GUIDES) In the history of world painting, romanticism was a bright and brilliant era.

The word "romanticism" goes back to the Latin romanus - Roman, that is, arising on the basis of Roman culture or closely associated with it.

The world of human feelings and experiences. Romantic painting was characterized by a "thirst to create in every possible way." The means of painting were: bright saturated color, contrasting lighting, emotional manner.

What is the person of the romantic generation? Often he becomes a witness of cruel bloodshed and wars, the tragic fate of entire peoples. He performs heroic deeds that can inspire others. Romantics were attracted by historical events, from which they drew plots for many of their works.

1. A prominent representative of the direction of romanticism in painting was the Spanish artist Francisco Goya (1746-1828). He mastered all genres of painting. He had paintings on religious subjects, court portraits.

A. He witnessed the Napoleonic Wars that devastated and ruined Spain. In 1808, in response to the cruelest repressions of the Napoleonic occupation, a popular uprising broke out in Madrid. In these difficult years, Francisco Goya was with his people. The painting "The execution of the rebels on the night of May 3, 1808", written in 1814 and exhibited in the Prado Museum in Madrid, was an indictment of the artist's evil and violence. He clearly felt the real scale of the national tragedy.

The picture depicts the beginning of the liberation struggle of the Spaniards against the French invaders, namely, the scene of the execution of the Spanish rebels by the occupying French troops. The Spanish rebels and French soldiers are depicted by Goya as two groups opposing each other: several unarmed Madrid artisans and a line of soldiers with raised guns. The faces and poses of the Spaniards are spelled out by Goya quite clearly (patriotism, courage, anger, fearlessness, etc.), while the French soldiers are written fluently and seem to merge into one faceless mass.

B. "Portrait of the Royal Family of Carlos VI"

From left to right: Don Carlos the Elder, future King Ferdinand VII of Spain, Carlos IV's sister Maria Josefa Carmela, unknown woman, Maria Isabella, wife of Carlos IV Queen Maria Luisa of Parma, Francisco de Paula de Bourbon, King Carlos IV, his brother Antonio Pascual, Cartola Joaquina (only part of the head is visible), Louis I with his wife Maria Luisa, their son, Charles II, the future Duke of Parma, is in their arms. In the background, in the shadows, Goya painted himself. Magical, sparkling colors are unable to hide the swagger, stupidity, moral and mental poverty of the characters.

2. A contemporary of the great Spaniard, Theodore Gericault, also showed a deep interest in the inner world of man. Gericault's work is characterized by extreme drama, intensity of passions, color contrast. Serving in the royal musketeers, Gericault wrote mainly battle scenes, but after traveling to Italy in 1817-19. he performed a large and complex painting "The Raft of the Medusa"

(Located in the Louvre, Paris). The novelty of the plot, the deep drama of the composition and the truth of life of this masterfully written work were not immediately appreciated, but it soon gained recognition and brought the artist fame as a talented and courageous innovator.

He did not have long to enjoy fame: barely having time to return to Paris from England, where the main subject of his studies was the study of horses, he descended into the grave as a result of an accident - a fall from a horse.

The plot of the picture is based on a real incident that happened on July 2, 1816 off the coast of Senegal. Then, on the shallows of Argen, 40 leagues from the African coast, the frigate Medusa was wrecked. 140 passengers and crew members tried to escape by boarding the raft. Only 15 of them survived and on the twelfth day of their wanderings they were picked up by the Argus brig. The details of the survivors' voyage shocked modern public opinion, and the wreck itself turned into a scandal in the French government due to the incompetence of the ship's captain and the insufficiency of attempts to rescue the victims.

In addition to the painting "The Raft of the Medusa", the Louvre contains seven battle paintings and six drawings by this artist. His paintings are full of confusion, anxiety.

3. Eugene Delacroix (1798-1863) wrote in a similar manner to Theodore Géricault.

A. He was characterized by attention to oriental subjects. One of his most striking creations is the painting "Massacre on Chios", showing episodes of the Greco-Turkish war. So historians called the brutal massacre on April 11, 1822 by the Turks over the inhabitants of the island of Chios because the islanders supported the fighters for the independence of Greece. Of the 155,000 inhabitants of the island, only about

2000. Up to 25,000 were slaughtered, the rest were enslaved or were in exile.

The Great French Revolution and the aggressive campaigns of Naoleon that followed it, cruel political repressions and executions, endless changes of governments in 1830 raised the question of the role of the people and the individual in history with particular acuteness.

B. Delacroix was characterized by political pathos. In 1830, the artist completed the painting "Liberty Leading the People". Delacroix created a painting based on the July Revolution of 1830, which put an end to the Restoration regime of the Bourbon monarchy. After numerous preparatory sketches, it took him only three months to complete the painting. In a letter to his brother on October 12, 1830, Delacroix writes: "If I did not fight for the Motherland, then at least I will write for her." For the first time, "Liberty Leading the People" was exhibited at the Paris Salon in May 1831, where the painting was enthusiastically received and immediately bought by the state. Due to the revolutionary plot, the canvas was not exhibited to the public for approximately 25 years. Through blood, suffering and death, a beautiful woman with a tricolor banner in her hand leads people to victory. The bare chest symbolizes the dedication of the French of that time, who with "bare chest" went to the enemy. In the crowd one can see the armed poor, the inhabitants of the slums, the student and little Gavroche with pistols. The artist depicted himself as a man in a top hat to the left of the main character. Sometimes the picture is mistakenly associated with the events of the great French revolution.

The “Marseillaise of French painting” was called the painting by contemporaries, and the authorities declared Delacroix a dangerous artist.

Appendix 3

Group 2 "It is necessary to masculine art" (EXPERTS - ART SCIENTISTS) Realism is a trend in the art of the second half of the 19th century. The concept of realism is Latin realis- means a deep reflection of reality. By the middle of the 19th century, realism became the leading and most influential direction in art.

What new tasks did art set now?

1. An outstanding master of lithography (a kind of graphics for a printing plate for which the stone surface is), the French artist Honore Daumier, being a person who hates all oppression and violence, always responded to the burning issues of his time, giving them his own assessment. He began his career as a cartoonist, making satirical drawings for a magazine. His lithographs were instantly sold out, they were known to everyone.

The famous lithograph "Transnonen Street" was perceived by contemporaries as a protest against the terror and bloodshed that followed the July Revolution (1834). The historical basis of this work was the events of April 1834 associated with the dispersal of political demonstrations by government troops. From house number 12 on Rue Transnonen, from a window covered with blinds, shot at the soldiers dispersing the demonstration. In response, the soldiers broke into the house and killed all the residents. Daumier wanted the lithograph to give rise not to pity, but to anger. That is how it was perceived by contemporaries: "this is not a caricature, not a caricature, this is a bloody page of modern history, a page created by a living hand and dictated by noble indignation."

Daumier, a cartoonist, was well known to the public, but not many knew that he was painting. Canvases have accumulated in the artist's small workshop. A special place belongs to the paintings about Don Quixote. The knight without fear and reproach, wandering in search of goodness and justice, attracted Daumier with the strength of his spirit. Behind a funny appearance and ridiculous actions, nobility, greatness and compassion for people are distinguished.

2. Gustave Courbet French painter, landscape painter, genre painter and portrait painter. He is considered one of the consummators of romanticism and the founders of realism in painting. One of the largest artists of France during the 19th century, a key figure in French realism.

Born in France, his entry into French painting was scandalous. Some furiously scolded his work, calling them ugly, others, on the contrary, prophesied a great future for him. In Paris in 1855 he opened the exhibition "Pavilion of Realism". Courbet strove to portray people as they are, as ugly and rude as he sees them. Close attention to the surrounding world, nature, social relations and individual characteristics of a person determined the essence of the realistic trend in art.

In his painting “Stone Crushers”, an old worker in rough patched clothes and cracked wooden shoes, kneeling down, breaks stones prepared for construction with a hammer. A young man in rags can hardly hold a heavy basket in his hands. In the newspapers, the artist was accused of glorifying the ugly, but it is enough to look at the painting “The Winnowers” ​​to understand with what respect Courbet painted working people.

3. "Peasant painter" - so nicknamed Jean Millet - French artist. The world of the French countryside became an inexhaustible source of his creativity. Already a well-known artist, he continued to engage in peasant labor, giving free time to painting.

In 1857, his painting "The Gatherer of Ears" was presented. The pickers were allowed to pass through the fields at dawn and pick up spikelets that were missed by the mowers. On this canvas, the artist depicted three of them, bent over the ground in a low bow - this is the only way they manage to collect the ears of corn left after the harvest ... In them, Millet showed three phases of a heavy movement that women had to constantly repeat over and over again - bend, pick up spikelet with grain and straighten again. The small bunches in their hands contrast with the rich harvest seen in the background. There are stacks, sheaves, a wagon and a crowd of reapers busy with work.

The artist was able to very accurately convey the burden of the peasants' labor, their poverty and humility. However, the work caused different assessments of the public and criticism, which forced Millet to temporarily turn to the more poetic aspects of peasant life.

Appendix 4

Group 3 "Salon of the Rejected" (IMPRESSIONIST ARTISTS) Paris, 1863, Palace of Industry: The jury of the famous Salon of the art exhibition, which takes place here annually, rejects about seventy percent of the submitted works ... Emperor Napoleon III himself had to intervene in the scandal. Having become acquainted with the rejected canvases, he graciously allowed them to be presented in another part of the Palace of Industry. So on May 15, 1863, an exhibition was opened immediately called the Salon of the Les Misérables.

The end of the 19th and the beginning of the 20th century is a time of change. Scientific and technological progress and political upheavals led to serious changes in art, determined new and original ways of development. The art of the 19th century is perceived as a rejection of old artistic traditions, an attempt to creatively rethink the classical heritage of the past. There are bold innovations, experiments, unlimited by any kind of framework and conventions. The artist became liberated and free in his work. He was guided by his own taste and predilections.

Impressionism - the French word impression is translated as an impression.

Unlike the Romantics and Realists, the Impressionists did not seek to depict the historical past; their sphere of interest was the present.

Having put forward their own principles of perception and display of the surrounding world, they created a new pictorial language. It was not the plot itself that was important to them, but its sensory perception, the impression that it could make on the viewer. The Impressionists tried to convey “moments”, momentary sensations in the picture. These sensations destroyed the usual forms and standard pattern. Their view was purely individual.

1. The most prominent representative of impressionism and one of its founders is Edouard Manet, his canvases “Portrait of Emile Zola” are impressive.

Bright sunlight, a happy mood of a person - a means of expressiveness of the artist. The focus was on the painting by Edouard Manet "Breakfast on the Grass".

Using and rethinking the plots and motifs of the paintings of the old masters, Manet sought to fill them with a sharp modern sound, polemically introducing the image of modern man into famous classical compositions. Manet's road to fame turned out to be long and difficult, the Salon jury invariably rejected his paintings, and only a few dared to defend the artist. Among them was Émile Zola, who wrote in a newspaper: "Mr. Manet's place in the Louvre is already secured."

"Portrait of Emile Zola" - the artist depicts his friend in his office at a desk littered with papers and books. The interior testifies to the tastes of the owner: a Japanese screen with a fantastic landscape, a reproduction of a painting by Manet. In the guise of the writer one can guess a strong personality, a bright individuality.

"Breakfast on the Grass", which caused a storm of emotions, severe criticism and a unanimous verdict that this "breakfast" is absolutely "inedible". The audience was especially outraged by the fact that decently dressed, shod, men with ties and canes gathered in a forest clearing, next to which naked female bodies glowed. The name of the picture takes on some piquant meaning, especially since nothing edible is really depicted. The left corner of the foreground contains a faint hint of food, but it is clearly visible that on a piece of fabric, perhaps someone's dress, there is a half-empty basket with several mushrooms, and several berries are visible on green leaves nearby. That's the whole breakfast. Two fairly young men are freely spread out on the grass, talking animatedly about something. The one on the right, gesticulating, tells something interesting, funny, because the interlocutor smiles sweetly. An embarrassed smile shines on the face of the woman sitting next to him. Under it is a crumpled light blue fabric, the woman herself sits in a free light pose, completely naked, not too young, a little overweight. The couple sitting next to each other has the same hair color, they are the same age, possibly spouses. The second woman in a light, loose, white shirt can be seen a little further, but she can hear the conversation, it can be seen from her that she is listening and also smiling. The picture is full of bright peace, warm bliss.

Zola called the canvas solid flesh, modeled by streams of light simply, truthfully and shrewdly.

2. However, the Impressionists really made themselves known in 1874 with a joint exhibition. The whole direction was named after the painting by Claude Monet “Impression. Sunrise” (after all, in French “impression” is “impression”.).

The term "Impressionism" arose from the light hand of the critic of the magazine "Le Charivari" Louis Leroy, who titled his feuilleton about the Salon of the Les Misérables "Exhibition of the Impressionists", taking as the basis the name of this painting by Claude Monet.

A refined landscape painter, in love with the suburbs of Paris, Monet was passionately fascinated by the water element.

Claude Monet introduced the practice of creating a series of paintings in different lighting, for example, Rouen Cathedral. For two years he traveled to Rouen, watching the play of light. Monet painted more than 20 views of the cathedral at different times of the day: in the rays of the morning sun, at a dazzling noon, in the evening dusk. The public started talking about the monotony of his paintings.

3. Camille Pissarro began to write any of his paintings from the sky, believing that the sky gives it depth and communicates movement. Here is what Pissarro said about the creation of his paintings. “I only see spots. When I start a painting, the first thing I do is… set the ratio. Between this sky, earth and water, there are undoubtedly certain relations, and these relations cannot be anything but harmonious. This is the main difficulty of painting. I am less and less interested in the material side of painting (that is, lines). The most important thing is to reduce all even the smallest details to the harmony of the whole, that is, to consistency. The canvas "Boulevard Montmartre in Paris" takes us to a busy highway. Many carriages are moving in different directions, passers-by are busily hurrying. Everything is shrouded in a transparent - lilac haze. The artist writes with a swift stroke, barely touching the canvas with a brush.

But from these dots and strokes, a picture of a sunny spring day emerges, lively and seething.

4. Auguste Renoir is called the sorcerer of the world. Reflections of light enliven the image, set it in motion. The works are distinguished by a live moving composition. Renoir wrote: "I love pictures that arouse in me the desire to walk into their depths, if it is a landscape, or touch it with a hand, if it is an image of a woman ...". Most often, Renoir writes women and children, considering them the most perfected creations of nature. He is attracted not by cold secular beauties, but by cheerful and lively "real" French women. But a completely different image was created for the portrait “Girl with a Fan”. Young, funny girl. The face is written in gentle tones, thick black hair is cast in lilac and purple. The reddish reflections of the chair are reflected on the white canvas of the fan.

5. Huge opportunities in the use of color were opened by the pastel technique (fr.

pastel - painting with colored pencils and colorful powder. Edgar Degas especially liked to work in it. The texture of pastels is velvety, it is able to convey the vibration of color, which seems to be glowing from the inside. In "Blue Dancers"

the pastel technique was used to enhance the decorative effect and light sound of the composition. The snob of bright light flooding the picture helps to create a special festive atmosphere of the ballet dance, it seems that the light here completely replaces the drawing, it organizes, leads to a single meaning a complex symphony of colors. In bright blue tutus, with flowers in their hair, the dancers look like wonderful fairy fairies participating in a magical extravaganza.

The painting is kept in the Pushkin State Museum of Fine Arts in Moscow, which it received in 1948 from the State Museum of New Western Art; until 1918 it was in the collection of Sergei Ivanovich Shchukin in Moscow, after painting the painting was kept in the Durand-Ruel collection in Paris.

Appendix 5

Group 4 "In search of their own path" (VISITORS OF THE EXHIBITION) At the end of the 19th century, the artists Paul Cezanne and Vincent van Gogh loudly declared themselves. They united in a group that gave the name to the new artistic direction of post-impressionism. Post-impressionism (fr. postimpressionisme) is a trend in fine arts. It originated in the 80s of the 19th century. The artists of this trend did not adhere only to visual impressions, but sought to freely and generally convey the materiality of the world, resorted to decorative stylization. The beginning of post-impressionism falls on the crisis of impressionism at the end of the 19th century.

1. The tireless search for a new compositional solution for paintings, ways to convey color and light are characteristic of the work of Paul Cezanne.

He painted still lifes with fruit, he was least concerned about their similarity with the original. Unusual in the work of Cezanne was the use of color, the artist believed that cold colors (blue and green) have the property of moving into the depths of the picture, so the picture became voluminous.

2. Vincent van Gogh is a world famous Dutch post-impressionist painter. Since the first exhibition of paintings in the late 1880s, Van Gogh's fame has steadily grown among colleagues, art historians, dealers and collectors. After his death, memorial exhibitions were organized in Brussels, Paris, The Hague and Antwerp.

Sunflowers is the title of two cycles of paintings by the Dutch artist Vincent van Gogh. The first series was made in Paris in 1887. It is dedicated to lying flowers. The second series was completed a year later, in Arles. She depicts a bouquet of sunflowers in a vase. Two Parisian paintings were acquired by van Gogh's friend Paul Gauguin.

"Irises" - were painted by the artist at the time when he lived in the hospital of St. Paul of Mausoleum near Saint-Remy-de-Provence, a year before his death in 1890. There is no high tension in the picture, which manifests itself in his subsequent works. He called the painting "a lightning rod for my illness" because he felt he could keep his illness in check by continuing to paint.

During the last two months of his life - from May to July 1890 - Van Gogh lived in Auvers-sur-Oise near Paris, where he painted, among other things, several paintings with flowers. "Pink Roses" is one of the best paintings in this series. It is characteristic of the late work of the artist. In contrast to the bright oranges and yellows he used in Arles (for example, in the Sunflowers cycle), here Van Gogh uses a softer and melancholy combination of colors, which speaks of a more fertile and humid northern climate. This picture is also typical of the last period of Vincent Van Gogh's work in that there is practically no gravitation in it (at first glance it seems that the picture can be turned over, but the effect will not change) and spatiality (the flowers seem to be pushed out of the plane of the picture into space where the viewer is). Van Gogh was able to convey the feeling of the immediate proximity of roses to the observer. An almost invisible bowl under the flowers indicates where the picture is at the bottom, and only a slightly changing shape of the strokes and a slight change in shades of green hint at the depth. The sharp dark blue contours of the leaves and stems of roses, as well as the vibrating and twisting lines, are an example of the influence of Japanese woodcarving on the artist. Although these techniques are reminiscent of the style of Paul Gauguin and Emile Bernard, Van Gogh uses them in his own indescribable manner.

The painting "Red Vineyards in Arles" was painted by Van Gogh in 1888.

Living in the south of France, the artist drew endless inspiration from urban and rural views, bright colors of nature, sunlight. This period is the most productive in the work of Van Gogh.

In Arles, Gauguin visited him, and one day, returning home from the outskirts of the city, the artists witnessed an unusual picture:

the setting sun illuminated the vineyard with its rays, painting the leaves in a crimson color, and people and the earth in shades of lilac ash. Soon after, Van Gogh set to work on a painting depicting the grape harvest in the vicinity of Montmajour. The artist depicted not just a landscape, but a kind of parable, where everything has a symbolic meaning. The red-hot huge sun in the yellow sky casts green and orange highlights. Everything on the ground seems to melt under it.

The leaves of the grapes turn into a red glow, and the ground beneath them takes on a purple hue. The right side of the picture is allotted to the water, reflecting the yellow fiery sky.

People picking grapes are a symbol of life. Van Gogh understood their daily work as something that allows a person to become an integral part of the universe.

The painting was one of the few works sold during Van Gogh's lifetime. Now it is in the Pushkin Museum in Moscow.

Appendix 6

Music in the 19th century.

The composers of the first half of the 19th century were F. Liszt, F. Chopin, F. Schubert, R. Schumann. The composers of this school were characterized by an inclination towards the small form. Their music is lyrical and melodic and was predominantly chamber music.

At the same time, Italian opera is experiencing its heyday. Its brightest representatives are G. Rossini, V Bellini, G. Donizetti, G. Verdi. In the Italian opera, two directions were opposed: one gravitated towards the traditional buff opera (i.e.

comedies), the other denoted a trend towards the formation of a national opera.

The representative of the latter was G. Verdi (1813-1901). He was the author of the operas "Regoleto", "La Traviata", "Othello", "Macbeth", "Aida", "Falstaff", "Il trovatore" and others. The arias from his operas became folk songs and national anthems calling on Italians to fight for independence.

A serious reform of the opera was undertaken by J. Bizet and R. Wagner. Bizet, the author of one of the most popular operas - "Carmen", was a supporter of an extremely realistic plot and a melody frankly expressing the feelings of a person. R. Wagner destroyed the usual structure of the opera, introducing elements of a dramatic performance and a symphony concert into it. There was a lot of symphony concerto in his operas. There were many symphonic inserts and recitatives in his operas.

“The reform of symphonic music was carried out by the French composer C. Debussy. Debussy actually abandoned melodies familiar to symphonic music. He tried to display feelings, destroying established musical forms.

Franz Schubert is an Austrian composer, one of the founders of romanticism in music, the author of about 600 songs, nine symphonies, as well as a large number of chamber and solo piano music. (listening to a fragment of the recording of "The Forest King") Frederic Chopin is the author of numerous works for piano.

The largest representative of Polish musical art. He interpreted many genres in a new way: he revived the prelude on a romantic basis, created a piano ballad, poeticized and dramatized dances - mazurka, polonaise, waltz; turned the scherzo into an independent work.

Giuseppe Verdi - The great Italian composer, whose work is one of the greatest achievements of world opera art and the culmination of the development of Italian opera in the 19th century. The composer created more than 26 operas and one requiem. The composer's best operas: Un ballo in maschera, Rigoletto, Il trovatore, La traviata. The pinnacle of creativity is the latest operas: "Aida", "Othello".

Georges Bizet is a French composer of the Romantic period, the author of orchestral works, romances, piano pieces, and operas, the most famous of which was Carmen.

Claude Debussy - was not only one of the most significant French composers, but also one of the most significant figures in music at the turn of the 19th and 20th centuries; his music represents a transitional form from late romantic music to modernism in the music of the 20th century.

MINISTRY OF TRANSPORT OF THE RUSSIAN FEDERATION

FEDERAL STATE BUDGET EDUCATIONAL
INSTITUTION OF HIGHER EDUCATION
"RUSSIAN UNIVERSITY OF TRANSPORT"
RTH (MIIT)
RUSSIAN OPEN ACADEMY OF TRANSPORT

Faculty "Vehicles"

Department of Philosophy, Sociology and History

Practical work

by discipline

"Culturology"

I've done the work

1st year student

group ZSA-192

Niken A.A.

Code 1710-c/SDs-0674

MOSCOW 2017-2018

Practice #1

Task: Give a meaningful analysis of the work of architecture of your city (village, district)

Monument to railwaymen, 2006 Sculptor I. Dikunov

I am from the city of Liski, Voronezh region. My city is the largest railway junction. Since 1871, the history of the city has been intertwined with the development of the railroad. In our city, every sixth resident is closely connected with the profession of a railway worker, so when the question arose about the location of the monument in honor of the 140th anniversary of the South-Eastern Railway, the choice fell on our city. The opening of the monument to the railroad workers was in 2006.

This is one of the few author's works in the city, made by the famous Voronezh sculptor Ivan Dikunov in collaboration with his wife Elsa Pak and sons Maxim and Alexei. They are the authors of the busts of the heroes of the Soviet Union and Russia on the Walk of Fame, as well as fairy-tale characters that adorn the city park in our city.

Dikunov Ivan Pavlovich - Honored Artist of the Russian Federation, Honored Artist, laureate of the State Prize in 1990. Full member of the Petrovsky academy of science and art, professor.

Ivan Pavlovich was born in 1941 in the village of Petrovka, Pavlovsky District, Voronezh Region. His childhood fell on the difficult post-war years. despite the difficulties, he found time for creativity - he liked to draw, and even more to sculpt. Even then his talent was visible. Ivan Dikunov graduated from the Leningrad Art College named after V.A. Serov in 1964, then the Institute of Painting, Sculpture and Architecture. I.E. Repin in 1970. In 1985 he arrived in Voronezh and went to work at the Voronezh State Institute of Architecture and Civil Engineering, where he taught for 20 years. From 1988 to 1995 Dikunov was a teacher at the Voronezh Art College.

In the cities of the Voronezh and Lipetsk regions, in collaboration with colleagues from VGASU, Ivan Pavlovich created a number of significant monuments that are unique images of the formation of the architectural environment and are a combination of monumental sculpture and architecture. He acted as the author of projects and the head of creative groups for the creation of Voronezh monuments to outstanding Russian personalities - M.E. Pyatnitsky (1987), A.S. Pushkin (1999), A.P. Platonov (1999) and others. Ivan Pavlovich constantly participates in regional, zonal, republican, all-Union, all-Russian and foreign exhibitions.

Dikunov said that the work on the monument to the railway workers took place over three years and his main idea was to show the idea of ​​the railway in motion. The monument is located at the entrance to the city of Liski and is the hallmark of our city.

The monument to railroad workers is a monument that strikes us with its complex composition, deep meaning and symbolism. According to the original plan, the monument was an image of railwaymen diverging from the column in different directions. But later the sculptors came up with a composition in which both figures are walking along the platform in the same direction. This set the tone for striving forward and the unity of the inseparable connection between generations of railway workers.

Stone and metal were used to create the monument. There are many symbolic details in it, which, upon close examination, add up to a capacious, integral image of the railway. In the center of the composition is a tall column of elegant shape on a square pedestal, decorated with images of working tools against the background of diverging rays. It is crowned with the emblem of the railway and the inscription "Liski". The figures, 3.5 meters high, represent two generations of railway workers - a railroad man with a lantern and a long hammer, an image from the 19th century and a modern driver in a uniform with a briefcase in his hand. They seem to be walking on the platform near the train.

Details of clothing and equipment were selected with great care: they kept their shape, recreated the subtleties from museum paintings and exhibits. The workers of the Liskinsky railway junction served as sculptors in kind. Along the edge of the plate there is an inscription: ""Dedicated to the railroad workers-warriors-heroes 140 years of the SE railway.

This monument evokes in me a feeling of pride for my city, for ordinary working people, whose difficult, responsible profession is immortalized in the monument. And two figures of different generations say that the railway is moving forward in its development, improving every year.

Practice #2

Task: Give a meaningful analysis of a painting by an artist from your city (village, district)

My countryman was the famous Russian artist Kramskoy Ivan Nikolaevich (May 27, 1837 - March 24, 1887). He was born in the city of Ostrogozhsk, Voronezh province (it is 30 km from my hometown of Liski) in the family of a petty official.

Studied at the St. Petersburg Academy of Arts (1863-1868) he was awarded a small gold medal for the painting "Moses exudes water from the rock." Kramskoy was the initiator of the "revolt of fourteen", which ended with the exit from the Academy of Arts of its graduates, who organized the Artel of Artists. He was also one of the founders in 1870 of the "Association of Traveling Art Exhibitions". Influenced by the ideas of Russian democratic revolutionaries, Kramskoy defended a consonant opinion about the high social role of the artist, the fundamental principles of realism, the moral essence of art and its national identity. In 1869 he taught at the Drawing School of the Society for the Encouragement of Artists. In 1869 Kramskoy received the title of academician.

The 70-80s of the 19th century became for Ivan Nikolaevich the period when some of his most famous works were written - these are "Woodworker", "Mina Moiseeva", "Peasant with a bridle" and others. Increasingly, the artist combined portrait and everyday subjects in his works ("Stranger", "Inconsolable grief").

Many of Kramskoy's canvases are recognized as classics of Russian painting; he was a master of portraiture, historical and genre scenes.

I would like to dwell on the analysis of his painting "Christ in the Desert", which occupies a very special place in the creative biography of I. Kramskoy.

Christ in the wilderness.

Canvas, oil.

180 x 210 cm.

The main thought of Kramskoy in those years, which greatly occupied him, was the tragedy of the life of those high natures who voluntarily renounced all personal happiness, the best, purest way that the artist could find to express his idea was Jesus Christ.

Kramskoy thought about his canvas for a whole decade. In the early 1860s, while still at the Academy of Arts, he made the first sketch, in 1867 - the first version of the picture, which did not satisfy him. The mistake of the first version of the painting was the vertical format of the canvas, and the artist decided to paint a picture on a horizontal canvas and a larger man sitting on the stones. The horizontal format made it possible to imagine a panorama of an endless rocky desert, through which a lonely man wandered in mute silence day and night. Only in the morning, tired and exhausted, did he sank down on a stone, still not seeing anything in front of him. Traces of painful and deep experiences are visible on his tired, gloomy face, the weight of thoughts seemed to fall on his shoulders and bowed his head.

The plot of the picture is connected with the forty-day fast of Jesus Christ described in the New Testament in the desert, where he retired after his baptism, and with the temptation of Christ by the devil, which occurred during this fast. According to the artist, he wanted to capture the dramatic situation of moral choice, inevitable in the life of every person.

The painting depicts Christ sitting on a gray stone, located on a hill in the same gray rocky desert. Kramskoy uses cold colors to depict the early morning - the dawn is just beginning. The horizon line runs quite low, dividing the picture roughly in half. In the lower part is a cold rocky desert, and in the upper part - the predawn sky, a symbol of light, hope and future transformation. As a result, the figure of Christ, dressed in a red chiton and a dark blue cape, dominates the space of the picture, but is in harmony with the surrounding harsh landscape. In the lonely figure depicted among the cold stones, one feels not only woeful thoughtfulness and fatigue, but also “a readiness to take the first step on the rocky path leading to Golgotha.”

Hands of Christ (detail)

Restraint in the depiction of clothing allows the artist to give primary importance to the face and hands of Christ, which create the psychological persuasiveness and humanity of the image. Strongly clenched hands are located almost in the very center of the canvas. Together with the face of Christ, they represent the semantic and emotional center of the composition, attracting the attention of the viewer. The clasped hands, located at the level of the horizon line, “in convulsive-volitional tension seem to be trying to bind, like a keystone, the whole world - heaven and earth - together.” The bare feet of Christ are wounded from long walking on sharp stones. But meanwhile, the face of Christ expresses incredible willpower.

There is no action in this work, but the life of the spirit, the work of thought, is visibly shown. Christ in the picture looks more like a man, with his sufferings, doubts, than like God, that makes his image understandable and close to the viewer. This person takes some important step in life, and the fate of people who believe in him depends on his decision, on the face of the hero we see the burden of this responsibility.

Looking at this picture, you understand that temptation is a part of human life. Often people are faced with a choice: to act honestly, fairly, or, on the contrary, to do something illegal, reprehensible. Everyone goes through this test. This picture tells me that no matter how great the temptation is, you need to find the strength in yourself to fight it.

Today this painting is in the Tretyakov Gallery in Moscow.

Bibliography:

1. (Electronic resource) Monument to railway workers in Liski. - Access mode: https:// yandex.ru / search / ? text = monument to railway workers in Liski (Accessed 23.11.2017)

2. (Electronic resource): Dikunov Ivan Pavlovich sculptor vrnsh.ru›?page_id=1186 (Accessed 11/23/2017)

3. Life of outstanding people. 70 famous artists. Fate and creativity. A. Ladvinskaya Donetsk - 2006 448 pages

4. 100 great paintings. Moscow. Publishing house "Veche" - 2003, 510 pages.