The images of painting are very clear and convincing. It is able to convey volumes and spaces, nature, embody universal ideas, events of the historical past and a flight of fantasy, reveal the complex world of human feelings and character. Painting can be single-layer (performed immediately) and multi-layer, including underpaintings And sanding applied to the dried paint layer transparent and translucent layers of paint.
This achieves the finest nuances and shades of color.
The construction of volume and space in painting is connected with linear and aerial perspective, spatial properties of warm and cold colors, light-shadow modeling of the form, transfer of the general color background of the canvas. To create a picture, in addition to color, you need good drawing and expressive composition. The artist, as a rule, begins his work with a canvas by searching for the most successful solution in sketches. Then, in numerous pictorial sketches from nature, he worked out the necessary elements of the composition.
EASEL PAINTING
.
Easel paintings are those that have an independent meaning (they are written on the easel). Easel painting has many genres.
Genre
(French "manner", "look", "taste", "custom", "genus") - a historically emerging and developing type of work of art.
The genre can be noted in the title of the picture (approx. "Fishmonger").
Genres of easel painting:
As shown in the picture:
1.Portrait
2.Scenery
3.Still life
4.Household (genre)
5.Historical
6.Battle
7.animalistic
8.Biblical
9.Mythological
10.Fairy tale
1.Portrait
- an image of a person or group of people that exists or existed in reality.
Portrait types
: half-length, shoulder-length, chest-length, full-length portrait, portrait against a landscape, portrait in an interior (room), portrait with accessories, self-portrait, double portrait, group portrait, couple portrait, costumed portrait, miniature portrait.
According to the nature of the image, all portraits can be divided into 3 groups:
A ) ceremonial portraits
, as a rule, suggest a full-length image of a person (on a horse, standing or sitting), usually against a landscape or architectural background;
b) half-dress portraits
(perhaps not quite full-length, there is no architectural background);
V ) chamber
(intimate) portraits, which use the shoulder, chest, half-length image, often on a neutral background.
Russian portrait painters: Rokotov, Levitsky, Borovikovsky, Bryullov, Kiprensky, Tropinin, Perov, Kramskoy, Repin, Serov, Nesterov
2.Scenery
(French "place", "country", "homeland") - depicts nature, terrain, landscape.
landscape types
: rural, urban, marine (marina), urban architectural (veduta), industrial.
The landscape can be lyrical, heroic, epic, historical, fantastic..
Russian landscape painters: Shchedrin, Aivazovsky, Vasiliev, Levitan, Shishkin, Polenov, Savrasov, Kuindzhi, Grobar and others.
3.Still life (French "dead nature") - depicts original portraits of things, their quiet life. Artists depict the most ordinary things, show their beauty and poetry.
Artists: Serebryakova, Falk
4.Domestic genre (genre painting) - depicts the daily life of a person and acquaints us with the life of people of bygone times.
Artists: Venetsianov, Fedotov, Perov, Repin and others.
5.historical genre - depicts significant historical events, events of the past, epic times. This genre is often intertwined with other genres: domestic, battle, portrait, landscape.
Artists: Losenko, Ugryumov, Ivanov, Bryullov, Repin, Surikov, Ge and others.
Surikov, an outstanding master of historical painting: "Morning of the Streltsy Execution", "Boyar Morozova", "Menshikov in Berezovo", "Suvorov's Crossing the Alps", "The Conquest of Siberia by Yermak".
6.Battle genre - depicts military campaigns, battles, feats of arms, military operations.
7.Animal genre - depicts the animal world.
MONUMENTAL PAINTING.
Always associated with architecture. Decorates walls and ceilings, floors, window openings.
Types of monumental painting(vary depending on the technique of execution):
1.Fresco (Italian "on raw") - is written on raw lime plaster with paints (dry pigment, dye in powder), diluted with water. When dried, the lime releases a very thin calcium film, which fixes the paints underneath, makes the painting indelible and very durable.
2.Tempera - paints diluted with egg, casein glue or synthetic binder. This is an independent and widespread type of wall painting. Sometimes they write with tempera on an already dry fresco. Tempera dries quickly and changes color as it dries.
3.Mosaic (lat. "Dedicated to the Muses") - painting, laid out from small pieces of colored stones or smalt (specially welded opaque colored glass)
4. stained glass (French "glazing", from Latin "glass") - painting made from pieces of transparent colored glass, interconnected by lead strips (soldering with lead)
5.panel
(French "board", "shield")
- a) a part of a wall or ceiling (plafond), highlighted with a stucco frame or ribbon ornament and filled with painting;
b) made with paints on canvas, and then attached to the wall. For external walls, the panel can be made of ceramic tiles.
ARCHITECTURE
Architecture - the art of creating buildings and their complexes that form an environment for people's lives. It differs from other types of art in that it performs not only ideological and artistic, but also practical tasks.
Types of architecture:
public (palace);
public residential;
urban planning;
restoration;
landscape gardening (landscape);
industrial.
Expressive means of architecture:
building composition;
scale;
rhythm;
chiaroscuro;
color;
surrounding nature and buildings;
painting and sculpture.
1. Building composition
- the arrangement of its main parts and elements in a certain sequence . The composition of the building is very important, as it determines the impression that the building makes.. When creating an architectural composition, the architect uses various techniques: the alternation and combination of different spaces (open and closed, illuminated and darkened, communicating and isolated, etc.); various volumes (high and low, straight and curvilinear, heavy and light, simple and complex); elements of enclosing surfaces (flat and embossed, deaf and openwork, plain and colorful). The choice of composition depends on what the building is intended for.
Types of composition:
- symmetrical
. The same arrangement of building elements relative to the axis of symmetry, which marks the center of the composition. Such buildings were characteristic of the architecture of the era of classicism.
- Asymmetrical
. The main part of the building is shifted away from the center. Various volumes, contrasting in shape, material and color, are used, which leads to a dynamic architectural image. . characteristic of modern construction.
Reception of symmetry and asymmetry in the composition of individual elements, the arrangement of columns, windows, stairs, doors, etc.
2. Rhythm .Great organizing importance in the architectural composition belongs to the rhythm, i.e., a clear distribution of volumes and building details repeating at a certain interval (enfilade of rooms and halls, successive changes in the volumes of rooms, grouping of columns, windows, sculptures)
Types of rhythm:
-vertical rhythm
. Alternation of individual elements in the vertical direction. Gives the building the impression of lightness, aspiration upwards.
- Horizontal Rhythm
. The alternation of elements in the horizontal direction. Makes the building squat, stable.
By gathering and thickening individual details in one place and discharging them in another, the architect can emphasize the center of the composition, give the building a dynamic or static character.
3. Scale
. Proportional ratio of the building and its parts. Determines the size of individual parts and details of the building in relation to the size of the entire building as a whole, to the person, the surrounding space and other buildings. The scale of the building does not depend on the size of the building, but on the overall impression that it makes on the person.
4. Chiaroscuro . A property that reveals the distribution of light and dark areas on the surface of the form. Strengthens and facilitates the visual perception of the architectural form, gives it a more picturesque look. Artificial lighting of building volumes is used at the level of street, main and lighting. Reflected light in the interior creates the illusion of lightness of forms.
The peculiarity of architecture as an art is to create a unity of architectural composition from a variety of architectural forms. The simplest means of creating unity is to give the volume of the building a simple geometric shape. In a complex ensemble of a building, unity is achieved by subordination: the secondary parts of the building are subordinate to the main volume (compositional center). Tectonics is also a compositional tool.
Tectonics-artistically revealed constructive structure of the building.
5. Color . It is often used in architectural structures, especially in interior spaces (especially in classical and baroque buildings). The modern interior is characterized by bright, light colors.
6. Painting and sculpture .The artistic means of creating the compositional unity of the building include monumental and applied art, in particular sculpture and painting, the combination of which with architecture was called the "synthesis of arts".
7. Surrounding nature and buildings .Architecture gravitates toward ensemble. For its structures, it is important to fit into the natural (natural) or urban (urban) landscape. Forms of architecture are determined: naturally (depend on geographical and climatic conditions, on the nature of the landscape, the intensity of sunlight); socially (depending on the nature of the social system, aesthetic ideals, utilitarian and artistic needs of society).
Architecture is closely connected with the development of productive forces and technology. No other art requires such a concentration of collective efforts and material resources., for example: St. Isaac's Cathedral was built by 500 thousand people over 40 years.
The trinity of architecture: usefulness, strength, beauty. In other words, these are the most important components of the architectural whole: function, construction, form (Vitruvius, I century AD, ancient Roman architectural theorist). Construction became architecture when the expedient building acquired an aesthetic appearance.
Architecture originated in ancient times. In ancient Egypt, grandiose structures were created in the name of spiritual and religious purposes.(tombs, temples, pyramids). In ancient Greece, architecture acquires a democratic appearance and places of worship (temples) already affirm the beauty and dignity of a Greek citizen. There are new types of public buildings: theaters, stadiums, schools. And the architects follow humanistic principle of beauty, formulated by Aristotle: "The beautiful should not be too big and not too small ".
In ancient Rome, architects widely used arched vaulted structures made of concrete. New types of buildings, forums, triumphal arches and columns reflect the ideas of statehood and military power. In the Middle Ages, architecture becomes the leading and most popular art form.. In the gothic cathedrals aspiring to the sky, a religious impulse to God was expressed, and the passionate earthly dream of the people about happiness . The architecture of the Renaissance develops on a new basis the principles and forms of ancient classics, a new architectural form is introduced - the floor. Classicism canonizes the compositional techniques of antiquity.
The unity of the architectural composition implies the unity of style, which is created by a combination of features typical of the art of a certain time. The style of each era was influenced by various factors: ideological and aesthetic views, materials and construction techniques, the level of development of production, everyday needs, and artistic forms.
Style
- the sum of the elements that reveal the features of this era.
Style
- a historically established set of artistic means and techniques that characterize the features of the art of a certain time.
Style is present in all art forms, but is formed mainly in architecture. The architectural style has been formed for decades, or even centuries, for example, in ancient Egypt, the style has been preserved for 3 thousand years, in connection with which it was called canonical (canon (norm, rule) - a set of rules that developed in the process of artistic practice and enshrined in tradition ).
The basic principles of the Egyptian style, characteristic of all the art of Ancient Egypt:
- unity of images and hieroglyphic inscriptions;
- vertical image of objects and people (less significant is depicted on the plane above);
- line-by-line image of complex scenes with horizontal bands;
- different-scale figures, the size of which does not depend on the location in space, but on the significance of each of them;
- the image of a human figure, as it were, from different points of view (face-to-face) - the principle of flattening the figure on a plane (when the head and legs were depicted in profile, and the torso and eyes in front).
CALENDAR-THEMATIC LESSON PLANNING.
Calendar-thematic planning depends on the age of the students. The ideal option is the presence of lessons in grades 5 (6) -11, the state program of Yu. A. Solodovnikov and L. N. Predchetenskaya is designed for this. It should be borne in mind that the specifics of work in the middle and senior management are different. . High school students are already capable of perceiving generalized ideas contained, for example, in the concept of style, where the phenomenon of the principle "from the general to the particular" prevails. Middle-level students, especially in grades 5-6, are not always ready to understand the style, that is, they still do not have the ability to see the general pattern in many specific phenomena. This skill develops gradually, therefore, at the middle level, lessons of "immersion" in any work, event, phenomenon, life and creative path of the author, for example, "Myths of Ancient Greece", "The Birth of Opera", "Florentine Commerata" will give a greater result. These classes can take the form of dramatizations, business games, quizzes, disputes, etc. At the same time, students receive information related to specific characters, features of the expressive means of a particular art. The ability to see general patterns behind these "private" moments arises at a subconscious level. But specific images and situations are remembered well, vividly and for a long time.
Later, students who have accumulated experience in communicating with individual works of art, cultural phenomena, gain the ability to realize, formulate and express a generalized judgment. This moment comes when the student comes to the 9th grade, less often to the 8th grade. Students in grades 8 and 9 have different perceptions. Grade 8 is the stage of the transitional age period, which manifests itself in different ways. In one case, eighth graders are already ready for a more complex level of perception, in the other they are not. This situation is decided by the teacher in each case.
If the MHC school studies from grades 5 to 11, then the two-stage approach may be the most effective. Lessons in grades 5-7(8) are exciting "immersions" in the world of specific phenomena of culture, art, etc., using active practical forms of work. This can be instigation, games, disputes, use of computer programs, research using the Internet, project work, quizzes, etc. At the same time, the principle of historicism is preserved - in the thematic planning, the teacher includes key works and cultural phenomena that reflect the various stages of its development. It is very good if this is combined with the history course that students take in parallel. Possible connection with the lessons of fine arts, literature, music, etc.
The concept chosen by the teacher as a basis can define different material and activities. Solodovnikov suggests reliance on mythology as a possible principle for the organization of an object. But other principles are also possible.
Having reached the second stage, having knowledge about a specific cultural phenomenon, students in grades 9-11 can once again go through this path, but from the point of view of styles, the features of the artistic image in a particular era. Separate ideas obtained earlier are added to a single system of relationships, causes and effects become clear.
When compiling a program for grades 6-8, the teacher can take as a basis the content of the optional course of the MHC Danilova, where from the extensive and diverse material the teacher can choose what is closest to him and meets the conditions of his work.
It is also possible to plan MHK lessons in the middle level, when the concentric principle operates in each class, i.e. in each class, students consistently go through topics related to the art of the Ancient World, the Middle Ages, the East, Russia, the Renaissance, etc.
MONUMENTAL PAINTING- a kind of painting related to monumental art. Monumental painting includes works directly related to architectural structures, placed on walls, ceilings, vaults, less often on floors, as well as all types of paintings on plaster - this is a fresco (buon fresco, fresco a secco), encaustic, tempera, oil painting (or painting on some other binder), mosaics, picturesque panels painted on canvas, specially adapted for a specific place in architecture, as well as stained-glass windows, sgraffito, majolica and other forms of planar-pictorial decor in architecture.
According to the nature of the content and figurative structure, paintings are distinguished that have the qualities of monumentality, which are the most important dominant of the architectural ensemble, and monumental and decorative paintings that only decorate the surface of walls, ceilings, facades, which, as it were, “dissolve” in architecture. Monumental painting is also called monumental-decorative painting, or pictorial decor, which emphasizes the special decorative purpose of the murals. Depending on their function, works of monumental painting are solved in a volume-spatial or planar-decorative manner.
Monumental painting acquires integrity and completeness only in interaction with all the components of the architectural ensemble.
The oldest known wall decorations are scratched animal outlines in the caves of the Dordogne in France and in the south of the Pyrenees in Spain. They were probably created by the Cro-Magnons between 25 and 16 thousand BC. The cave paintings of Altamira (Spain) and more perfect examples of this art of the late Paleolithic era in the cave of La Madeleine (France) are widely known.
Wall paintings existed in pre-dynastic Egypt (5-4 thousand BC), for example, in the tombs of Hierakonpolis (Hierakonpolis); in these paintings, the Egyptians' tendency to stylize human figures is already noticeable. During the era of the Old Kingdom (3-2 thousand BC), the characteristic features of Egyptian art were formed and many beautiful wall paintings were created. In Mesopotamia, few wall images have survived, due to the fragility of the building materials used. Figurative images are known, reflecting a certain penchant for realism in the transfer of nature, but ornaments are more characteristic of Mesopotamia.
In 2 thousand BC. Crete becomes a cultural mediator between Egypt and Greece. In Knossos and other palaces of the island, many fragments of magnificent frescoes have been preserved, executed with vivid realism, which greatly distinguishes this art from hieratic Egyptian painting. In Greece, the pre-archaic and archaic periods, wall painting continued to exist, but almost nothing of it has survived. The flowering of this genre in the classical period is evidenced by numerous references in written sources; the murals of Polygnotus in the Propylaea of the Athenian Acropolis were especially famous. Fine examples of ancient Roman monumental painting have been preserved under a layer of ash on the walls of houses in the cities of Pompeii, Herculaneum and Stabia, which died during the eruption of Vesuvius in 79, as well as in Rome. These are polychrome compositions with a variety of subjects, from architectural motifs to complex mythological cycles, such as a fresco Odysseus in the Land of the Laestrigons from a house on the Esquiline in Rome; in such compositions one can see the artist's excellent knowledge of nature and the ability to convey it.
In the early Christian period (3rd-6th centuries) and in the Middle Ages, monumental painting was one of the leading forms of art. During this period, walls and vaults of the catacombs were decorated with frescoes, and then wall paintings and mosaics became the main types of monumental decoration of temples both in the Western Roman Empire (until 476), and in Byzantium (4-15 centuries) and other countries of Eastern Europe. In the Middle Ages in Western Europe, churches were mainly decorated with frescoes or paintings on dry plaster; in Italy, mosaics also continued to exist. In the murals of the Romanesque style (11th-12th centuries), in contrast to classical and Renaissance painting, there is no interest in the plastic modeling of volume and the transfer of space; they are flat, conditional and do not at all strive to accurately reproduce the surrounding world.
Plastic modeling reappears in the works of Italian masters of the late 13th and early 14th centuries, especially Giotto. In Italy, during the Renaissance, the fresco was unusually widespread. In their works, the artists of this era sought to achieve the maximum semblance of reality; they were primarily interested in the transfer of volume and space.
High Renaissance artists also begin to experiment with painting techniques. Yes, composition. The Last Supper Leonardo da Vinci in the refectory of the monastery of Santa Maria delle Grazie in Milan is painted in oil on a poorly prepared wall surface. However, it has suffered greatly over time and has become almost indistinguishable under a layer of later updates. In the 16th–18th centuries in Italian monumental painting, there is a growing desire for pomp, decorativeness and illusionism.
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Slides captions:
Types of monumental painting Yaroshchuk Tatyana Viktorovna Fine art teacher
Monumental works are paintings of large size, which are performed on the external and internal surfaces of buildings. The monumental work and the architecture of the building are inextricably linked, they form a single whole.
Types of monumental painting: Fresco Stained glass Mosaic Panel
What is a fresco? The art of fresco was known in ancient Rus'. … The word “fresco” comes from the Italian “fresco”, which means “fresh”, “raw”.
Fresco is painting on wet plaster, translated from Italian means “fresh”, “raw”, fresco painting was done by Leonardo da Vinci, Raphael, Michelangelo, Feofan Grek, Andrey Rublev
What is stained glass? Stained-glass window (French vitrage, from Latin vitrum - glass), an ornamental or narrative decorative composition (in a window, door, partition, in the form of an independent panel) made of glass or other material that transmits light.
A stained-glass window is a picture made up of pieces of colored glass fastened together with lead strips, this art was most widespread in the Middle Ages, almost all medieval cathedrals are famous for their stained-glass windows, it is now widespread
What is a mosaic? Mosaic (French mosaïque, Italian mosaico, from Latin musivum, literally - dedicated to the muses), an image or pattern made of particles of the same or different material (stone, smalt, ceramic tiles, etc.) ...
Mosaic is a monumental painting, image or pattern, which is made of colored stones, smalt (colored opaque glass), ceramic tiles, originated in the ancient era, is still popular.
What is a panel? Panel (French panneau, from Latin pannus - a piece of fabric), 1) a part of the wall, highlighted by a frame (stucco frame, ornamental ribbon, etc.) and filled with a picturesque or sculptural image. 2) Oil painting, tempera, etc.
A panel is a framed part of a wall or ceiling filled with an image, or a picture that adorns a wall or ceiling.
Creative task Create a stained glass window sketch
Lesson summary: What is monumental painting? List the types of monumental painting. What did you learn about the fresco, stained glass, mosaic, panel?
Homework Learn concepts and definitions. Bring an album, glue, scissors, colored pens or felt-tip pens.
On the topic: methodological developments, presentations and notes
This paper presents a test work for the 8th grade according to the program of B.M. Nemensky on the topic "The Origins of Architecture and Monumental Art"...
Portrait in painting. Types of portrait.
The purpose of this presentation is to acquaint students with the image of a person in the visual arts, the concept of "portrait", its types, learn about the individual characteristics of portraits....
It adorns the walls and ceilings of public buildings. In the past, they painted mainly temples, now - palaces of culture, stations, hotels, stadiums. Such paintings must be made of durable materials so that they can exist together with buildings for centuries. The creators of the murals, depicting historical events or scenes from their contemporary life, strive to convey their idea of the world, the advanced ideas of their time. Monumental painting educates the artistic taste of the broad masses of viewers.
monumental painting located on walls, ceilings, vaults, often it goes from one wall to another. They examine the paintings while moving around the building, sometimes even from the street, through the large windows of modern buildings. In other words - monumental painting is perceived in motion from different points of view, and it should not lose its impact on the viewer.
muralist can unfold a complex story-narrative in painting, can connect events that occurred in different places and at different times. So, the great Italian artist Michelangelo on the ceiling Sistine Chapel in Rome depicted many biblical scenes, combining them into a single complex composition.
| The famous fresco "Creation of Adam" |
Monumental painting appeared as long ago as human habitation. Already on the walls of the caves where the primitive man took refuge, one can see hunting scenes made with amazing observation or simply images of individual animals. (see com. "Primitive Art") .
Studying the history of ancient cultures, we meet monuments of monumental painting everywhere. They not only give us artistic pleasure, but also tell us about life, life, work, wars of peoples. ancient egypt, India, China, Mexico and other countries.
Vesuvius eruption in 79 covered with ashes rich city of the Roman Empire Pompeii. This has kept many murals in untouchable freshness for us. Some of them, taken from the walls, decorate now museum in Naples.
 |
| Fresco from Pompeii. Aphrodite, Ares and Eros. |
Art culture Ancient Rus' also found its expression in the monuments of monumental painting. monumental painting came to Rus' from Byzantium after the adoption of Christianity, but quickly acquired national Russian features. Despite the fact that the subjects of the paintings were of a religious nature, Russian artists portrayed the people they saw around them. Their saints are simple Russian men and simple Russian women, they are the entire Russian people in their noblest features. The main centers of monumental painting in Rus' were Kyiv, Novgorod, Pskov, Vladimir, Moscow, and later Yaroslavl. (see com. "Old Russian Art") . But even outside these large ancient cities, in quiet remote monasteries, interesting paintings were also created.
In the distant Ferapontov Monastery, sheltered on the lakes of the former Vologda province, the great Russian artist Dionysius created murals that delight us with the musicality of forms, tenderness, and a wonderful selection of colors. Paints for painting Dionysius prepared from multi-colored stones with which the shore of the lake near the monastery is strewn.
 |
| Dionysius. Fresco of the Cathedral of the Nativity of the Virgin in the Feropont Monastery |
Paintings differ depending on the technique of execution: fresco, tempera painting, mosaic, stained glass window.
Word fresco often incorrectly used to define any wall painting. This word comes from the Italian al fresco” which means “fresh”, “raw”. And indeed, the fresco is written on raw lime plaster. Paints - dry pigment, i.e. dye in powder - are diluted in clean water. When the plaster dries, the lime contained in it releases the thinnest calcium crust. This crust is transparent, it fixes the paints under it, makes the painting indelible and very durable. Such frescoes have come down to us through the centuries little changed.
Sometimes they write on an already dry fresco tempera- paints diluted on an egg or casein glue. Tempera- also an independent and very common type of wall painting.
Mosaic called painting, laid out from small colored pieces of stones or smalts- opaque colored glass specially welded for mosaic work. Smalt tiles are pricked into cubes of the size desired by the artist, and from these cubes, according to a sketch and a life-size drawing (according to the so-called cardboard), an image is typed. Previously, the cubes were placed in wet lime plaster, but now they are placed in cement mixed with sand. The cement hardens, and cubes of stone or smalt are firmly fixed in it. The ancient Greeks and Romans already knew the mosaic. It was also widespread in Byzantium, the Balkan countries, and Italy. The Italian city of Ravenna is especially famous for its mosaics (see Art. "
Ministry of Education and Science of the Russian Federation
Federal State Budgetary Educational Institution of Higher Professional Education
NOVGOROD STATE UNIVERSITY NAMED AFTER YAROSLAV THE WISE
Department of "Design"
Monumental and decorative art.
Types of MDI.
Discipline abstract
("Monumental and decorative art")
specialty 070601.65 - design
specializations 070601С – environment design
Supervisor:
Sokolova D.V.
Student group 7403
Vanyashov I.V.
Velikiy Novgorod.
2012
Introduction……………………………………………………………….…....3
Tasks and principles of monumental art.………………………..4
Monumental painting…………………………………………………9
Mosaic……………………………………………………………………….15
Fresco………………………………………………………………….......22
Stained glass…………………………………………………………………………24
Decorative and monumental sculpture………………………………30
List of used literature………………………………….…34
Appendix………………………………………………………………..35
Introduction.
Monumentality in art history, aesthetics and philosophy generally refers to that property of an artistic image, which, in its characteristics, is related to the category of “sublime”. The dictionary of Vladimir Dahl gives such a definition to the word monumental - "glorious, famous, residing in the form of a monument." Works endowed with features of monumentality are distinguished by an ideological, socially significant or political content, embodied in a large-scale, expressive majestic (or majestic) plastic form. Monumentality is present in various types and genres of fine art, but its qualities are considered indispensable for works of monumental art proper, in which it is the substratum of artistry, the dominant psychological impact on the viewer. At the same time, one should not equate the concept of monumentality with the works of monumental art themselves, since not everything created within the nominal limits of this type of representation and decorativeness has features and qualities of genuine monumentality.
Tasks and principles of monumental art.
Works of monumental art, entering into a synthesis with architecture and landscape, become an important plastic or semantic dominant of the ensemble and the area. The figurative and thematic elements of facades and interiors, monuments or spatial compositions are traditionally dedicated or, by their stylistic features, reflect modern ideological trends and social trends, embody philosophical concepts. Usually works of monumental art are intended to perpetuate prominent figures, significant historical events, but their themes and stylistic orientation are directly related to the general social climate and the atmosphere prevailing in public life.
The desire for a symbolic depiction of sublime, universally significant phenomena and ideas determines and dictates the majesty and significance of the forms of works, the corresponding compositional techniques and principles of generalization of detailing or the measure of its expressiveness. Individual works play an auxiliary role in relation to architectural structures, being an accompaniment, enhancing the expressiveness of their general structure and compositional features. A certain functional dependence of a number of well-established types of monumental art, their auxiliary role, expressed in solving problems of decorative organization of walls, various architectural elements, facades and ceilings, landscape gardening ensembles or the landscape itself, when the works intended for this are endowed with architectonic and ornamental qualities or properties of arranging aestheticization, is affected by their assignment to monumental and decorative art. However, between these varieties of monumental art there is no strict line separating them from each other. One of the main features of monumental art, which has the named qualities, strict generalized forms or dynamics commensurate with the content. is that they, in most cases, are made from durable materials.
Monumental art acquires special significance in periods of global socio-political transformations, in times of social upsurge, intellectual and cultural flourishing, depending on the stability of national development, when creativity is called upon to express the most relevant ideas. Numerous examples of this are given by both primitive, cave, ritual art (megalithic and dark constructions), the art of the Ancient World as a whole, and the most expressive examples of the monumental art of Ancient India, Ancient Egypt and Antiquity, works of cultural traditions of the New World. Changing religious attitudes, social transformations make their own adjustments to the trends that are vividly displayed in monumental art. This is well demonstrated by the art of the Middle Ages and the Renaissance. In Russia, as in other states, a similar cyclical dependence was also observed, which is represented by monumental works of the Middle Ages - cathedrals of ancient Russian cities that have preserved frescoes, mosaics, iconostases and sculptural decoration, sculpture from the Petrine era to the period of political transformations that began in the first quarter of the 20th century, when monumentalism began to be used for ideological and propaganda purposes. The degree of justification of drama, the appropriateness of pathos motivation or dogmatic pathos, thematic "assortment", in the end, is also inevitably imprinted in the works of monumental art.
Periods of unrest are accompanied by petty topics that affect not only the thematically universal genre landscape gardening sculpture, where the presence of a "literary" beginning is permissible, but also on plastic in a strict, stylistically consistent urban environment, which destroys the organic unity of the latter by filling its environment with decorative eclectic crafts, sentimental plots, multiplying examples of the provincial animalistic genre, structurally similar to small plastic, dubious not only in terms of taste, but also in terms of their professional performance; a natural reaction to such manifestations is a return to formal traditionalism, the need to "reanimate" the cultural hero and turn to a new pseudo-epic theme. which is hampered by the absence of signs of the “social order” of the formative era ... Monumental art, by its purpose, cannot be led by the tastes of the public, wanting to please it, it is designed to cultivate an understanding of harmony and high beauty; at the same time, the muralist must be able to resist the demands of the "elitist" social minority. Empty "decorativism" and indistinct, unconvincing in any respect examples of figurative art, except for despondency, bring nothing to any environment. Here is a very indicative example of modernity, a style that is formally and ideologically opposed to being present in monumental art (except, in some cases, a purely “modern” general composition). and now - as a stylistic accentuation within the concept of a special project or "scenario", reconstructive expediency. Intermediate periods of searching for style are periods of eclecticism and reconstructive pseudo- and pseudo-classical, "pseudo-Gothic", "pseudo-Russian", pompous "burgher" and merchant "patterned". The absence of a strict determination and, as a result, a categorical delimitation of monumental and monumental-decorative art is directly dependent on their obvious mutual influence and interpenetration.
At the same time, there are, for example, quite productive directions monumental kinetic art, whose works are equally relevant both in the landscape and in the environment of modern architecture, when a deviation from the statuary requests of the ensemble of the old city is justified, forcing the artist to be guided not only by tact and a thoughtful attitude to the competence of the installation in the existing compositionally completed space, but also to obey the volume constant. But compositions of varying degrees of conventional art, endowed with real signs of plastic content and persuasiveness, receive, and even win, the right to exist in almost any ensemble. Even a product of counterculture, and even in the form of an antithesis, can actively enter and even invade the environment of any style realized and completed in time, exhausted in its development, but only if it is really a work, and really - monumental art. Art anticipates the change of eras.
The requirements of monumental art developed over the centuries are presented to the general plastic characteristics in harmony with the content component. The criteria for understanding the retrospective evaluation of the object in all aspects oblige not only to follow an adequate understanding of the future of the work, but also to find equivalent viable forms.
Understanding this is extremely difficult even for specialists. In art, the question “how?” is legitimate, there are principles, proportions and techniques, but the question “what?” has no right to exist. (with only one exception - the moral order), there are no strict standards for this part. The preference is not always obvious, and the currently seemingly acceptable “one solution” is not always justified. It is not always possible to unequivocally answer the question about the future fate of a work, and its presence in a particular environment cannot be an alternative only to a specific semantic correspondence or stylization. Any statement can be countered with sufficiently convincing arguments, any attempt at classification may be fraught with contradictions and have exceptions. Historical experience shows that the least effective and fraught with stagnation is the protective and restrictive path of ideological interference in matters of purely professional affiliation. And monumental art, because of the power of influence and general accessibility, however, like any art, should be free from this qualification. But the ideal has been proclaimed here, and as long as the state and money exist, there will be ideology and order - monumental art is directly dependent on them.
The painting is monumental.
monumental painting- a kind of painting related to monumental and decorative art. Monumental painting includes works directly related to architectural structures, placed on walls, ceilings, vaults, less often - on floors, as well as all types of paintings on plaster - this is a fresco, encaustic, tempera, oil painting (or painting on some other binder), mosaics, picturesque panels painted on canvas, specially adapted for a specific place in architecture, as well as stained-glass windows, sgraffito, majolica and other forms of planar-pictorial decor in architecture.
Monumental art is especially actively developing when the artistic culture of the era is imbued with a pronounced pathos of asserting positive social values. The origins of monumental painting go back to primitive society. In menhirs, cult statues and rock paintings, primitive man's ideas about the power of the forces of nature are embodied, his labor skills are fixed. With the advent of classes, social relationships became decisive for monumental art. The principles of monumentality and static character that dominated the art of Ancient Egypt, in the conditions of a slave-owning society, should have contributed to the establishment of the idea of the inviolability of the social order and the deification of the personality of the ruler (the so-called Great Sphinx in Giza, but in a historically conditioned form they also embodied ideas about the power of the human mind, victory of the human collective over the forces of nature). During the heyday of the ancient Greek slave-owning democracy, works of monumental art imbued with faith in the beauty and dignity of man (the sculptural decoration of the Athenian Parthenon) were created, which in truthful forms embodied the humanistic ideals of the ancient Greek polis. The entire artistic structure of the Gothic cathedral, its pictorial and sculptural decoration expressed not only the ideas of social and church hierarchy generated by the feudal system, the entire system of the medieval religious and dogmatic worldview, but also the growing self-awareness of cities, the labor pathos of the collective of the city commune (the sculptural decoration of the cathedrals in Reims, Chartres , Naumburg, etc.). The nationwide spiritual upsurge in the era of the High Renaissance in Italy (the end of the 15th - the first third of the 16th centuries) was expressed with all its force in works of monumental art marked by the breadth of public sound, full of titanic power and intense drama.
Cathedral in Reims.
According to the nature of the content and figurative structure, paintings are distinguished that have the qualities of monumentality, which are the most important dominant of the architectural ensemble, and monumental and decorative paintings that only decorate the surface of walls, ceilings, facades, which, as it were, “dissolve” in architecture. Monumental painting is also called monumental-decorative painting, or pictorial decor, which emphasizes the special decorative purpose of the murals. Depending on their function, works of monumental painting are solved in a volume-spatial or planar-decorative manner.
Monumental painting acquires integrity and completeness only in interaction with all the components of the architectural ensemble.
The oldest known wall decorations are scratched animal outlines in the caves of the Dordogne in France and in the south of the Pyrenees in Spain. They were probably created by the Cro-Magnons between 25 and 16 thousand BC. The cave paintings of Altamira (Spain) and more perfect examples of this art of the late Paleolithic era in the cave of La Madeleine (France) are widely known.
Cave paintings of Altamira.
Images of animals from the Upper Paleolithic era from the cave of La Madeleine. France.
Wall paintings existed in pre-dynastic Egypt (5-4 thousand BC), for example, in the tombs of Hierakonpolis (Hierakonpolis); in these paintings, the Egyptians' tendency to stylize human figures is already noticeable. During the era of the Old Kingdom (3-2 thousand BC), the characteristic features of Egyptian art were formed and many beautiful wall paintings were created. In Mesopotamia, few wall images have survived, due to the fragility of the building materials used. Figurative images are known, reflecting a certain penchant for realism in the transfer of nature, but ornaments are more characteristic of Mesopotamia.
In 2 thousand BC. Crete becomes a cultural mediator between Egypt and Greece. In Knossos and other palaces of the island, many fragments of magnificent frescoes have been preserved, executed with vivid realism, which greatly distinguishes this art from hieratic Egyptian painting. In Greece, the pre-archaic and archaic periods, wall painting continued to exist, but almost nothing of it has survived. The flowering of this genre in the classical period is evidenced by numerous references in written sources; the murals of Polygnotus in the Propylaea of the Athenian Acropolis were especially famous. Fine examples of ancient Roman monumental painting have been preserved under a layer of ash on the walls of houses in the cities of Pompeii, Herculaneum and Stabia, which died during the eruption of Vesuvius in 79, as well as in Rome. These are polychrome compositions with a variety of subjects, from architectural motifs to complex mythological cycles, for example, the fresco of Odysseus in the country of the Laestrigons from the house on the Esquiline in Rome; in such compositions one can see the artist's excellent knowledge of nature and the ability to convey it.
In the early Christian period (3rd-6th centuries) and in the Middle Ages, monumental painting was one of the leading forms of art. During this period, walls and vaults of the catacombs were decorated with frescoes, and then wall paintings and mosaics became the main types of monumental decoration of temples both in the Western Roman Empire (until 476), and in Byzantium (4-15 centuries) and other countries of Eastern Europe. In the Middle Ages in Western Europe, churches were mainly decorated with frescoes or paintings on dry plaster; in Italy, mosaics also continued to exist. In the murals of the Romanesque style (11th-12th centuries), in contrast to classical and Renaissance painting, there is no interest in the plastic modeling of volume and the transfer of space; they are flat, conditional and do not at all strive to accurately reproduce the surrounding world.
Plastic modeling reappears in the works of Italian masters of the late 13th and early 14th centuries, especially Giotto. In Italy, during the Renaissance, the fresco was unusually widespread. In their works, the artists of this era sought to achieve the maximum semblance of reality; they were primarily interested in the transfer of volume and space.
High Renaissance artists also begin to experiment with painting techniques. Thus, the composition The Last Supper by Leonardo da Vinci in the refectory of the monastery of Santa Maria delle Grazie in Milan is painted in oil on a poorly prepared wall surface. However, it has suffered greatly over time and has become almost indistinguishable under a layer of later updates. In the 16th–18th centuries in Italian monumental painting, there is a growing desire for pomp, decorativeness and illusionism.
In the 19th century wall paintings were often used to decorate public buildings in both Europe and America. In the 20th century monumental and decorative painting experienced a new upsurge thanks to the activities of the Mexican artists D. Rivera, J. Orosco and D. Siqueiros.
Mosaic
Mosaic (French mosaique, Italian mosaico from Latin (opus) musivum - (work) dedicated to the muses) - decorative, applied and monumental art of various genres, the works of which involve the formation of an image by arranging, typing and fixing on a surface (usually - on the plane) multi-colored stones, smalt, ceramic tiles and other materials.
Mosaic history
The history of the mosaic goes back to the 2nd floor. 4 millennium BC e. - the time to which the buildings of palaces and temples of the Sumerian cities of Mesopotamia are dated: Uruk, Ura, Eridu.
Cone mosaic. Uruk. Mesopotamia. 3 thousand BC e.
The mosaic was composed of fired clay sticks-cones 8-10 cm long and 1.8 cm in diameter, which were laid on a clay mortar. The image was formed from the ends of these cones, which were painted, usually red, black and white. Geometric motifs were used: rhombus, triangle, zigzag.
An early example of the inlay technique, or the mosaic technique opus sectile, which was called in antiquity and later developed into the Florentine mosaic technique, can be considered an artifact conventionally called the "Standart from Ur" (2600-2400 BC). By the 8th century BC e. include early examples of the use of the mosaic technique from untreated pebbles, which constituted one of the stages in the development of mosaic techniques and, at its end, was disparagingly called opus barbaricum by the Romans. During the excavations, the ornamented pebble floors of Altyn-tepe (eastern Anatolia) and the palace in Arslan-tash (Assyria) were discovered, but the richest monument is the pebble mosaics of Gordion.
Gordion. 8th c. BC e. In the 1990s mosaics were partially dismantled and transported to the museum. Modern photo.
The first antique mosaics made of raw pebbles were found in Corinth and dated to the end. 5th c. BC e. These are contour images of people, animals, mythological creatures, decorated with geometric and floral ornaments, usually made in white on black, stylistically similar to red-figure vase painting. Similar samples of the 4th c. BC. also found in Olynthus, Sicyon, Eretria. An important step towards realism was made in the mosaics of Pella (late 4th century BC).
In ancient Rome, floors and walls of villas, palaces and baths were laid out with mosaics. Roman mosaics were made from small cubes of very dense glass - smalt, but it was not uncommon to use small stones and pebbles.
The era of the Byzantine Empire can be considered the highest flowering of mosaic art. Byzantine mosaics become more refined, a smaller module of stones and delicate masonry are used, the background of the images becomes predominantly golden.
Byzantine mosaic
Mosaics were widely used in the design of the palaces of the rulers of the East. The Palace of Sheki Khans is an outstanding work of medieval architecture in Azerbaijan. If there were no other ancient structures of Azerbaijan, then it would be enough to show the whole world only the Palace of the Sheki Khans.
The Palace of Sheki Khans, considered one of the valuable architectural monuments of the 18th century in Azerbaijan, was built in 1762 by Huseykhan. The palace, which at one time was part of the complex of palace buildings and served as the residence of the Sheki khans, is a two-story building. The facade of the palace is a lifting lattice frame with a set of shebeke - multi-colored small glasses. The multicolored pattern of shebeke colorfully complements the murals covering the walls of the palace.
Palace of Sheki Khans
In the second half of the 18th century, the art of painting, directly related to architecture and construction, reached a high development in the Sheki Khanate. All significant architectural structures in the city of Sheki were richly decorated with wall painting, which at that time was the most popular type of painting technique. Evidence of this are the samples of painting from the palace of the Sheki khans, which have survived to this day and have not lost their artistic expressiveness.
Wall paintings were devoted to various topics: scenes of hunting wild animals, battles, floral and geometric ornaments, drawings created based on the “Khamse” (Pyateritsy), the brilliant Azerbaijani poet Nizami Ganjavi, scenes from palace life, everyday sketches from peasant life, etc. e. Mainly used colors such as blue, red, golden, yellow. On the plafond of the hall in the palace of the Sheki khans, the name of the talented painter Abbas Kuli is encrypted. It should be noted that the walls of the palace were restored more than once, and therefore here you can find paintings made by masters who lived at different times. Palace of Sheki Khans (Azerbaijan)
Mosaic in Russia
In Rus', the mosaic appears with the adoption of Christianity, but does not gain distribution due to the high cost of the material imported from Constantinople.
The mosaics of M.V. Lomonosov are part of the activity of the scientist, which combines the promotion of two important and closely interconnected areas of his work: the development of the science of glass founded by him, here it is applied, put at the service of a special type of glassmaking - melting, the so-called deaf glass, smalt - an amazingly beautiful material suitable for artistic purposes - creating a variety of mosaic works - in this case, the main direction, which implies the satisfaction of a fairly wide range of interests and needs - from utilitarian objects (beads, typesetting tabletops, accessories, furniture decor and small architectural forms, interior elements).
The first mosaic by M. V. Lomonosov.
The indomitable energy of the scientist, determination, contributed to the fact that his aspirations were destined to come true: in a special annex to his house on Vasilyevsky Island, a workshop for a set of mosaic paintings was opened, and in it he began classes with his first students - mosaic artists Matvey Vasilyevich Vasilyev and Efim Tikhonovich Melnikov. And M.V. Lomonosov himself was the first person in Russia who began to master the technique of mosaic typesetting on his own experience and with his own hands. He demonstrates the properties of an unmistakable artistic flair, the noble pathos of ideas. Having a sober view of art, M.V. Lomonosov in the shortest possible time becomes the head of a group of artists who became famous for creating first-class mosaic paintings, comparable in quality to the best paintings to independent works of fine art - “mosaic paintings” and monumental panels, the revival of this forgotten craft and art.
