Author of everyday paintings. Household (genre) painting

Everyday genre, one of the main genres visual arts dedicated to depicting private and public life person. Everyday ("genre") scenes, known since ancient times (in primitive art, in paintings and reliefs Ancient East, ancient Greek vase painting, Hellenistic paintings, mosaics, sculpture, medieval frescoes and miniatures), stood out in special genre during the era of the formation of bourgeois society in Europe.

The prerequisites for this were laid in the art of the Renaissance, when artists began to saturate religious and allegorical compositions with everyday details (Giotto, A. Lorenzetti in Italy, Jan van Eyck, R. Kampen, Hertgen tot Sint-Jans in the Netherlands, the Limburg brothers in France, M . Schongauer in Germany); at the end of the 15th – beginning of the 16th centuries. The everyday genre gradually became isolated among the Venetians V. Carpaccio, J. Bassano, the Dutch K. Masseys, Luke of Leiden, P. Aartsen, and in the works of P. Bruegel the Elder, pictures of everyday life served to express the deepest ideological ideas. In the 17th century The finally formed everyday genre affirmed private life as the most significant and most valuable phenomenon of life.

Sublime poeticization of everyday motifs and a powerful love of life are characteristic of the works of P.P. Rubens and J. Jordaens, admiring the healthy, natural beauty ordinary people– for “bodegones” by D. Velazquez. In Holland, where the classical forms of the genre finally took shape, the intimate atmosphere, the peaceful comfort of the burgher and peasant life recreated by A. van Ostade, K. Fabricius, P. de Hooch, J. Wermeer of Delft, G. Terborch, G. Metsu, the deep contradictions of life were revealed in everyday scenes by Rembrandt. In France in the 18th century. The everyday genre is represented by idyllic pastorals in the Rococo style (F. Boucher), “gallant scenes” in which A. Watteau and J.O. Fragonard brought emotional subtlety and sharpness of life observations, sentimental and didactic compositions of J.B. Dream, lyrical canvases by J.B.S. Chardin, recreating the private life of the third estate.

The social-critical direction in the everyday genre was initiated by the paintings and engravings of W. Hogarth, ridiculing the mores of English society. In the 16th–18th centuries. The everyday genre also flourished in the art of Asian countries - in miniatures of Iran, India (K. Behzad, Mir Seyid Ali, Reza Abbasi), Korean painting (Kim Hondo), and Japanese graphics (Kitagawa Utamaro, Katsushika Hokusai). In Europe 19th century. the everyday genre became a field of social criticism and journalistically sharpened satire (graphics and painting by O. Daumier), a genre filled with life-like authenticity and pathos of affirmation of the beauty and inner significance of working people (G. Courbet and J.F. Millet in France, A. von Menzel and V. Leibl in Germany, J. Fattori in Italy, J. Israels in Holland, etc.). In the 2nd half of the 19th century. masters of impressionism in France (E. Manet, E. Degas, O. Renoir) approved new type a genre picture in which they sought to capture a seemingly random, fragmented aspect of life, the acute specificity of the appearance of characters, the unity of people and their environment; their work gave impetus to a freer interpretation of the genre, a direct pictorial recreation of everyday scenes (M. Liebermann in Germany, K. Krogh in Norway, A. Zorn in Sweden, T. Akins in the USA).

At the turn of the 19th and 20th centuries. in the art of post-impressionism, symbolism, Art Nouveau style began new stage in the development of the everyday genre: everyday scenes are interpreted as timeless symbols, the concreteness of life of the image gives way to pictorial expression, monumental and decorative tasks (E. Munch in Norway, F. Hodler in Switzerland, P. Gauguin, P. Cezanne in France, etc.) . Artists who work in the everyday genre are called genre painters.

However, the theme of everyday life was ignored by ancient masters, who believed that fine art should be sublime and sophisticated, therefore there is no place in it for illustrations Everyday life.

The heyday of the everyday genre occurred during the Renaissance, when a rethinking of values ​​took place, and the main place in all types of art was given to man. Along with mythological stories many artists depict in their works ordinary people busy with everyday activities.

However household painting of this period is highly embellished and elevated to an absolute - artists, by and large, glorify the beauty human body, and the everyday surroundings serve only as an addition, which is given secondary importance. However, the founders of the everyday genre in painting, which was finally formed only in the 18th century, are considered to be such artists as Peter Rubens and Diego Velazquez, John Vermeer of Delft, Jacob Jordaens and Adrian Van Ostade.

By the end of the 17th century, two main directions emerged in the everyday genre of fine art. The cult of Rococo dominated in Europe, so it is not surprising that artists tried to edit everyday scenes, make them elegant and sophisticated. This is how “gallant painting” appeared, in which such masters as Carel Fabricius, Gerard Terborch, Antoine Watteau, Jean Baptiste Greuze, Jean Honore Fragonard, Francois Boucher and Jean Baptiste Simeon Chardin were very successful. Their paintings usually depicted the life of the upper class, and were distinguished by photographic precision of detail.

At the same time, a parallel social-critical movement of everyday painting developed, where reality was practically not embellished. The heroes of the works of William Hogarth and Kim Hondo, Gustave Courbet and Giovanni Fattori were ordinary peasants, and everyday scenes involving the aristocracy were often humorous in nature.

In the second half of the 19th century, when Europe was swept by a wave of impressionism, new trend, associated with the depiction of random scenes from people's lives. Fleeting sketches on the street turned into luxurious paintings, full of life and movement. To this day, the works of such painters as Edouard Manet, Auguste Renoir, Max Liebermann, Edgar Degas, Thomas Akins and Anders Zorn are the standard of the everyday genre in fine art.

Throughout the 20th century, everyday painting was an integral part of various movements and trends. She was given attention the brightest representatives avant-garde art and supporters of realism. However, this genre acquired an acute social orientation only in Russia thanks to Alexander Laktionov, Fyodor Reshetnikov, Arkady Plastov, Boris Kustodiev, Gleb Savinov, Yuri Pimenov, Tatyana Yablonskaya and Ivan Vladimirov.

EVERYDAY GENRE, a genre of fine art that represents real, usually contemporary, everyday life of the artist. Plots of the everyday genre reflect the prevailing lifestyle- work and rest, everyday life and holidays, morals and customs, relationships between people. Elements of the everyday genre were present in primitive images of hunting scenes and rituals, in art Ancient world, rich in everyday details, in the European medieval art, which often included allegorically interpreted everyday motifs (cycles on the themes of 12 months, seasons, where seasonal activities are depicted, etc.). As an independent type artistic creativity the everyday genre first emerged in the medieval art of countries Far East: in China and Japan (Ukiyo-e school), in reliefs and paintings of Indian temples, Persian miniatures. IN European art Proto-Renaissance and Renaissance (later among M. da Caravaggio and Caravaggist artists), the features of the everyday genre appeared in the interpretation religious stories like real events with signs modern life. At the same time, the everyday genre is closely related to parable or allegory (the cycles “Five Senses”, “Virtues and Vices”, etc.).

The everyday genre acquired autonomous significance in the 16th and 17th centuries. The subjects of proverbs and sayings, games and riddles, as well as kitchens, shops, markets, and meals have been depicted since the 16th century in the Dutch everyday genre (P. Bruegel the Elder, P. Aartsen, I. Beikelar). Close to the everyday genre of bodegones in spanish art(D. Velasquez et al.). The heyday of the everyday genre came in Dutch and Flemish painting of the 17th century: scenes of burghers (J. Vermeer, G. Terborch) and peasant life (A. van Ostade), grotesque comic subjects by A. Brouwer and D. Teniers the Younger, “shops” F. Snyders, scenes of folk festivals by J. Jordaens and P. P. Rubens. Thanks to the Dutchman P. van Laer, the comic genre of everyday life spread to Italy (bamboccianti). In the 18th century, A. Watteau wrote “gallant festivities” in the Rococo style; J. B. S. Chardin develops the tradition of the contemplative everyday genre, following his French predecessors the Lenain brothers.

The everyday genre of the Enlightenment is moralizing (J. B. Greuze, W. Hogarth); in the era of romanticism, exotic oriental motifs penetrated it (E. Delacroix, O. Vernet). The everyday genre of the Biedermeier period is distinguished by poeticization or anecdotal interpretation privacy(F. Waldmuller, K. Spitzweg). French realist artists, on the contrary, turn to the harsh and pious life of the province (F. Millet, G. Courbet); satire and social criticism are characteristic of the everyday genre of O. Daumier. The daily life of townspeople, their work and rest is at the center of the everyday genre of the masters of impressionism. In the mid-2nd half of the 19th century, the life of industrial workers was sympathetically depicted in the works of F. M. Brown, A. von Menzel and C. Meunier; the theme of labor is also represented in the works of F. Brangwin, W. Van Gogh, H. von Mare, G. Segantini, F. Hodler, and in Italian verismo. The underbelly of life in the 20th century metropolis is shown by Berlin graphic artists G. Gross, K. Kollwitz and G. Zille, painters of the New York “Garbage Pail School”, the national way of life is shown by representatives of US regionalism, costumbrism and muralism Latin America, Italian neorealism.

In Russia, the everyday genre took shape only in the 18th century. Engravings are saturated with everyday episodes (A.F. Zubov), in painting of the 2nd half of the 18th century they are created as individual works on everyday topics (I. I. Firsov, I. I. Belsky), and entire series with scenes of peasant life (I. A. Ermenev, I. M. Tankov and M. Shibanov). Everyday life was poeticized in the paintings of V. A. Tropinin, A. G. Venetsianov and Venetsianov artists; satirical interpretation of everyday themes prevails in the works of P. A. Fedotov and the graphics of P. M. Shmelkov. In the 2nd half of the 19th century, the household genre occupied leading place in the system of genres, influences the structure of the historical genre, portrait and landscape. The development of the Itinerant genre is associated with the everyday genre of critical realism V Russian art(V. G. Perov, I. E. Repin, V. E. Makovsky, N. A. Kasatkin, N. A. Yaroshenko, A. E. Arkhipov, etc.). At the same time, the salon genre of everyday life is developing, in which the idealized life of both the past and the present is presented (F. A. Bronnikov, K. E. Makovsky). The way of life of provincial Rus' was glorified by B. M. Kustodiev and M. V. Nesterov. In sculpture, the everyday genre is represented by M. M. Antokolsky, E. A. Lansere and M. A. Chizhov, then by V. A. Beklemishev, P. P. Trubetskoy and S. T. Konenkov.

In Soviet art there were special forms everyday genre: official pomp (V.P. Efanov), satirical ridicule of the “old way of life” and its remnants (Kukryniksy), heroism (painters of a harsh style), idyllic image “ happy life"new society (S.V. Gerasimov). A number of exhibitions at the Academy of Arts of the Republic of Russia were entirely devoted to everyday topics. Artists recreate the life of a village (A. A. Plastov), ​​a city (Yu. I. Pimenov), and a family (P. P. Konchalovsky). Industrial life is reflected in the paintings of P. I. Kotov, various aspects of the children's theme are revealed by F. S. Bogorodsky and F. P. Reshetnikov, youth sports - by A. A. Deineka and S. A. Luchishkin. The tragedy of wartime everyday life is presented in the paintings of T. G. Gaponenko, the graphics of N. I. Dormidontov and others; the optimism of the post-war decade was reflected in the works of A. I. Laktionov, V. G. Odintsov and V. N. Yakovlev. The everyday genre is widely represented in sculpture (N. Ya. Danko, V. V. Lishev, G. I. Motovilov). The idealization of Soviet life since the 1960s has been countered by an ironic tendency in works of underground and social art.

Lit.: Russian genre painting. M., 1961; Langdon N. Everyday-life painting. Oxf., 1979; Brook Y. V. At the origins of the Russian genre. XVIII century. M., 1990; Sokolov M.N. Everyday images in Western European painting of the XV-XVII centuries. Reality and symbolism. M., .

The everyday genre in painting is one of the most widespread and ancient.

Everyday genre is a genre of fine art dedicated to everyday private and public life, usually contemporary artist.

Antiquity

Scenes of everyday life were reproduced in Africa and Ancient Egypt even before the era of European antiquity.

Here are images of everyday scenes found in the funerary storeroom of Nakta (Ancient Egypt)
IN Ancient Greece the everyday genre was present in vase painting.

Acrobatic. British museum(London)
In the countries of the East, the first everyday sketches appeared in Chinese painting from the 4th century. n. e. Often medieval manuscripts were decorated with miniatures, which also included everyday stories. The same can be said about medieval Europe.

"Woman with a Parrot" India (XVI century)

Renaissance

During the Renaissance in Italy, the Netherlands, and then in others European countries artists who worked, along with others, in this genre stood out: Jan van Eyck, Bouts (Netherlands), the Limburg brothers (France), Schongauer (Germany).

Development of the everyday genre in Holland

But in Holland in the 17th century. household genre received special development. Dutch artists were attracted from all sides ordinary life that they saw around: sailors, fishing boats, peasants, livestock, unpretentious surroundings, quiet streets and alleys, abandoned courtyards... Many artists turned to the everyday genre: Frans Hals, Jan Wermeer, Matthias Stom, Pieter de Hooch, Jan Sten and many others, more famous and not so famous.

Matthias Stom "Young man reading by candlelight"

Matthias Stom "Musicians"

Pieter de Hooch "Mother and daughter near the barn" (1658). Amsterdam

Jan Steen “Cage with a Parrot” (XVII century). Rijksmuseum, Amsterdam
But in other countries, the everyday genre still occupied a modest place and was art of the “lowest grade” (in Italy, France, Germany, Flanders, Spain). Even the appeal to the everyday genre of such great artists as Rubens or Velazquez did little to change the demeaning attitude towards everyday paintings.

Rubens and other artists “Animal Farm in Winter”

Household genre in the 18th century

But gradually the attitude towards the everyday genre is changing. There are artists who work mainly only in this genre. In France, these are Antoine Watteau, Francois Boucher, Nicolas Lancret, Sebastian Bourdon, Jean Baptiste Simeon Chardin, Claude Vernet, Jean-Honoré Fragonard, Jean Baptiste Greuze and others.

A. Watteau “Society in the Park” (1718-1719). Dresden Gallery
This artist’s everyday paintings are usually poetic; he knows how to see something romantic in the simple and ordinary, although the time for romanticism has not yet arrived.
Elements true portrayal real life are already visible in the paintings of artists from other countries: William Hogarth, Thomas Gainsborough (Great Britain), engraver D. Khodovetsky (Germany), J.P. Norblena (Poland), F. Goya (Spain), M. Shibanova, I. Ermeneva (Russia).

M. Shibanov “Celebration of the wedding contract” (1777)

A new look at life

In the 19th century the everyday genre is experiencing another heyday in different countries, the heroes of the plots of the paintings are those who were considered outcasts: the sick, the poor, slaves, prisoners - people of the social bottom. Previously, art did not notice them. Although captives and slaves appeared on canvases back in Baroque art, they were only a decorative detail in the life of monarchs. These characters have acquired independent significance only now.

Giovanni Segantini “Return from the Forest” (Italy)

Vincent Van Gogh "Prisoners' Walk" (Netherlands)

Gustave Courbet “Poor Peasant Woman in Winter” (France)

Vasily Vereshchagin “Visiting a prisoner by his family in Italy” (Russia)
Artists - supporters of the everyday genre: Theodore Rousseau, Honore Daumier, Edouard Manet, Edgar Degas, Pierre-Auguste Renoir, Paul Gauguin (France), M.A. Vrubel, I.E. Repin, N.A. Yaroshenko, V.A. Serov (Russia), K. Hokusai, Ando Hiroshige (Japan), Käthe Kollwitz, Adolf Menzel (Germany), etc.

P. A. Fedotov “The Breakfast of an Aristocrat” (1849-1850). State Tretyakov Gallery(Moscow)
Vanity, life for show, lies, external shine - all these human weaknesses were well known to the artist and disgusted him. Therefore, he has several paintings with similar themes. Realistically, with great irony and a bit of pity, he shows the owner taken by surprise by an uninvited guest. Why do we see pity here? When poverty is carefully hidden using this method, it is always a pity. Pity for a person for whom the interior of his apartment is most important (so that it is no worse than that of others), the opinion of others about him, and so on. The artist does not show us a caricature of this aristocrat, he simply talks about the vain pettiness of people who tend to see the main thing in the secondary. And this secondary thing takes possession of a person so much that it becomes his essence. How he tries at the last moment to somehow disguise the evidence (his poverty) by covering with a book the slice of black bread that constitutes this “aristocrat’s” breakfast!

Household genre in the era of symbolism

On turn of XIX-XX centuries In the art of symbolism and Art Nouveau style, the everyday genre is somewhat modified: everyday scenes are depicted and interpreted as timeless symbols. In this regard, we recall the work of F. Hodler in Switzerland, V. E. Borisov-Musatov in Russia.

Further development of the everyday genre

In the 20th century, when the social problems and contradictions in all areas of life, wars, revolutions, national liberation movements raged, there was obvious confusion among people before present and future catastrophes, artists responded to these events and tried in their paintings artistic method analyze what is happening. In the 20th century recognized masters artists E. Munch (Norway), Pablo Picasso (France), Ignacio Zuloaga (Spain), George Bellows, Rockwell Kent, Andrew Wyeth (USA), Boris Kustodiev, A.A. Plastov, A.A. Murashko, Z.E. Serebryakova, D.D. Zhilinsky, G.M. Korzhev, V.E. Popkov, F. Reshetnikov (Russia), Renato Guttuso (Italy), Diego Rivera (Mexico), etc.

A. Plastov “Elections of the Poor Committee”

D. Bellows "New York" (1911)
Works of the everyday genre often serve to express deep philosophical thoughts about life.

V. Popkov " Good man there was a grandmother Anisya" (1971-1973)
The unknown grandmother Anisya is a symbol of the immutability of life for any person. The film contains the motif of an individual song (already completed, but still resounding in the hearts of loved ones) and epic choral singing. All this happens in the temple, and this temple is nature.

Description of the presentation by individual slides:

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Everyday genre in the art of the 19th century. Art lesson 7th grade. Developed by a fine arts teacher at the MBOU "Economic Gymnasium"

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Everyday genre. Everyday genre in art is the depiction of scenes and events gleaned from everyday life, reflecting the stages of a person’s life from birth to death, his work, leisure, entertainment. The term comes from French word– genus, breed, style.

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What does an everyday picture tell? WHAT DOES THE EVERYDAY PICTURE TELL ABOUT? If historical genre addressed to the past, then the everyday genre - to the present, to everyday life, contemporary to the artist. The everyday genre is often called simply a genre, and everyday paintings are called genre paintings. It would seem, what could be interesting in depicting an ordinary, unremarkable life? But, firstly, what is usual for an artist of the 17th century may be interesting for a viewer of the 21st century - we get the opportunity to observe the life of long-gone eras. And secondly, of course, it has long become clear to you that the plot and story are not the most important thing in the film. Although it is precisely in genre painting that one often encounters interesting subjects. The household genre appeared in Holland, where in the 17th century people led a quiet, measured life, and they were not at all interested in decorating their modest homes with portraits of kings or mythological paintings. They were pleased to see own life, their rooms, their activities and leisure depicted in the picture - this is how they admired themselves and their way of life, as we today admire, for example, a masterfully taken photograph of our room, or a beloved cat in a chair, or friends gathered to chat over a cup of tea.

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Itinerants The Peredvizhniki were close to the ideas of revolutionary democrats, Chernyshevsky’s thesis - “beautiful is life”, they understood their art as a duty to the people and the Fatherland. And therefore the leading genres are historical, everyday life, portrait, landscape. Scenes national history(sometimes so poignantly read in the context of the political regime and life of society in the second half of the 19th century Russian Empire), a realistic description of the everyday life of the people, psychological picture, from which the conscience of the nation looks at the viewer - representatives of the intelligentsia and peasants, images dear to the heart native nature– main topics of advanced Russian art. The Wanderers received ideological support from the theorist and critic V.V. Stasov, and significant material support from P.I. Tretyakov. Each of these areas of painting of the 19th century had a significant influence on the culture of Europe in the future, some were important only for the development of art, others became definite social factor formation public opinion and even the worldview of the late 19th and early 20th centuries.

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Alexey Venetsianov. In Russian painting, the first master of the everyday genre was Venetsianov. He portrayed a well-known peasant life. Often in Venetsianov’s paintings, man is surrounded by nature. In the film “On the arable land. Spring”, a woman leads by the bridles two horses harnessed to a harrow - a huge rake that loosens the ground. And on the edge of the field sits a child, busy playing. Alexey Venetsianov. On the arable land. Spring. 1820s. Canvas, oil. 51.2x65.5. State Tretyakov Gallery There is one disproportion in this composition: the peasant woman is taller than the horses, but these are real, large working horses, and not ponies at all. Well, it turns out that the artist did not know how to truthfully depict human figure or a horse? Not at all. Look how our heroine steps bare feet along the plowed ground - smoothly, easily, as if dancing. But do working peasant women walk barefoot on arable land? And the child plays with summer flowers, cornflowers, which do not exist in the spring. This - poetic world, where the peasant woman is like a goddess, she walks on the earth as if on a soft cloud. And the ordinary Russian landscape with a field and a high sky seems to be transformed and acquires majestic features.

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Painting Tea Party in Mytishchi, Short description The painting Tea Party in Mytishchi was painted by Perov in 1862, commissioned from the artist by the administration of the city of Mytishchi. In the month of May 1775, Empress Catherine 2, who at that time decided to visit the St. Sergius Lavra, on the way of the procession of the royal escort in the Mytishchi region, she was offered to quench her thirst in one of the many springs; Catherine found the water very tasty, which prompted the Empress to issue a decree to conduct Mytishchi springs water supply to Moscow. Drinking tea in Mytishchi was considered good manners from the unusually tasty water in the springs on the territory of Mytishchi. The theme of the Tea Party in Mytishchi was real events, which Perov often observed in various suburbs of Moscow, important and self-satisfied monks drinking tea, the artist more than once saw ragged cripples begging on the streets near estates, who were usually driven away by maids. The painting Tea Party in Mytishchi by Perov is incriminating conversation piece, in which the artist tried in detail to describe the actual events of that time, as if ridiculing the well-fed and snickering public of serf Russia. Trying to get away from academic painting, Perov reflected the painting Tea Party in gray-brown shades, as if showing this dullness of everyday life with his by pictorial means. The tea party in Mytishchi made a huge impression on the progressive public of that time at exhibitions in Moscow and St. Petersburg; contemporaries called Perov a satirist-genre artist who deeply understood Russian

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Painting “Troika” Perov Painting Troika. vividly reflects those terrible times when child labor was considered an everyday occurrence. Cold and hunger forced these children to work for pennies to feed themselves and their families. Tired of the enormous heavy burden, the children pull a large barrel filled with water from the river, their path runs along the dull monastery wall. Some passerby, seeing the children doing such backbreaking work, decided to help by pushing a heavy load from behind. Perov painted the painting Troika in twilight brown-gray tones, as if showing the viewer all the dullness and baseness of that soulless time, comparing children with a trio of harnessed horses, whose labor is mercilessly used by the rich and well-fed people. Perov's painting Troika was conceived by the artist to open people's eyes to reality, which helps to have compassion and eradicate human callousness.

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Barge haulers on the Volga. Ilya Repin. Barge haulers on the Volga description of a painting by Repin 1870-1873 Famous painting Ilya Efimovich Repin Barge Haulers on the Volga, the artist painted it during 1870-1873. Ilya Efimovich was inspired to paint the painting Barge Haulers on the Volga by his trip to sketches along the Neva, in the vicinity of Ust-Izhora back in 1869. Having enjoyed the beauty of nature, the artist was very touched by the life of ordinary people, barge haulers pulling a heavy barge. Tired, dirty barge haulers in tattered clothes contrasted greatly with the rich and magnificently dressed public usually standing not far away on the shore. This whole scene really struck the painter, evoking sympathy and pity for these people in his soul. Why not translate this plot onto canvas, Barge Haulers Going Ford, thought Ilya Efimovich, realizing in advance that this painting would have many critics, especially since the idea of ​​the painting could evoke in the viewer sympathy and pity for these disadvantaged people

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Serfdom is already in the past, but for the ordinary Russian person nothing changes. Makovsky's painting Date - painted in 1883, and is a shining example Russian painting. Like most of the artist’s other works, it is dedicated to the difficult life of peasants during that era. Peasants still have to work for landowners for pennies, and they send their sons to study in city workshops. But, once in someone else’s family, life is extremely difficult for children. Separated from their families, and still poor - they barely get by from day to day, work until exhaustion, and are constantly malnourished. It is these aspects of life that Makovsky describes. On a small canvas the creator depicts an entire era. We see two nameless characters: a teenage child, and his mother, who has come to visit her son. We don't know who these characters are, but we understand that they can be recognized as most of the families of that time. The characters are ingrained in the memory, leaving a mark on the viewer’s soul: we worry about the fate of these people, but we understand that we cannot help. And this makes me so sad...

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