Presentation on the topic "Dutch still life". Dutch still life XVII in Teacher of Fine Arts, Moscow Art Theater

still life

Dutch still life

Along with landscape painting, still life, which was distinguished by its intimate character, became widespread in 17th-century Holland. Dutch artists chose a wide variety of objects for their still lifes, knew how to arrange them perfectly, and reveal the characteristics of each object and its inner life, inextricably linked with human life.

Willem Klaas Heda

Willem Klaas Heda

Willem Klaas Heda (1594 - 1680) was born in

Holland in Haarlem and studied painting with his

father of Gerrit Willem Hed. In Haarlem the artist

lived and worked all his life. He pursued a career as a painter

started with paintings on religious subjects and portraits

you, but then completely switched to writing

still lifes. Still life genre in Holland

The 17th century became widespread.

Willem Klaas Heda became one of the most important

significant representatives of this genre. He's like

Peter Klaas created modest "breakfasts" with

a simple set of uncomplicated objects.

Peter Klass

Pieter Claesz - 1597, Burgstein, Westphalia - 1661, Haarlem. Dutch painter. One of the first masters of Dutch still life in the 17th century. Studied with Floris van Dyck. From 1617 he worked in Haarlem. He mainly turned to the type of still life that was favorite in Holland, the so-called. “breakfasts” - an image of a laid table with a modest set of meal items and household utensils, arranged in seeming disorder (especially in early works), but subordinated to a thoughtful and clear (usually horizontal) composition. Each of the objects is located so that the viewer can perceive its texture, volume, and smallest details. Still lifes painted on a gray or olive background with soft diffused light are distinguished by a richness of shades within a single brownish-golden, silver-gray palette, hence their name - the genre of “monochrome breakfasts”.

Franz Snyders

France was born into the family of a wealthy Antwerp burgher in the fall of 1579). In his youth he studied with Pieter Bruegel the Younger and Hendrick van Balen (van Dyck's first teacher).

At first, the main theme of Snyders’s work was still lifes, but later he began to show greater interest in animalistic subjects and hunting scenes. Snyders' skill was highly appreciated by Peter Paul Rubens, who from 1613 invited him to collaborate on images of animals. At the same time, Snyders did not like to depict people - according to available information, the human figures in his paintings were painted by Jacob Jordaens, Abraham Janssens and other masters.

Andrian van Utrecht

He was apprenticed to Hermann de Rit in 1614 and later visited France, Italy and Germany before returning to Antwerp in 1625. He painted pantries with vegetables, farmyards with poultry, markets with fish, still lifes with fruits and vegetables. Pictures of playing cards are also often found in the work of Utrecht and reflect the influence of Frans Snyders.

Basically, all objects in the paintings of Utrecht are located on the line of the table.

Quirky details, such as a sweeping curtain and window image, add movement and depth.

Utrecht uses warm earthen tones, especially grey-greens, and strong chiaroscuro light, the latter of which may stem from his knowledge of Italian painting.

Wilem Kalf (1621 - 1693) is one of the most famous Dutch still life masters. In 1640 - 1645 he worked in France, from 1653 in Amsterdam, where Wilem Kalf subsequently lived. Being one of the greatest masters of the Dutch school of still life, Wilem Kalf painted both modestly based paintings depicting kitchens and backyards, and spectacular compositions with precious utensils and exotic southern fruits. Kalf's virtuosity as a still life painter was manifested in the classical precision of spatial constructions, a subtle sense of the originality and intrinsic value of each thing, in the sophistication and richness of light and colorful relationships in the spectacular comparison of various textures and materials.

Jan Davids de Heem

Jan Davids de Heem (1606 - 1684) Dutch

still life painter was born in Utrecht. He

student of Balthasar van der AstaHeed. In 1636 Jan Davids de Heem

moved to Antwerp, where he continued to work

living part of my life in the same genre

still life. His still lifes depicted

luxurious bouquets of flowers and large, graceful

laid tables.

Cornelis de Heem (1631 - 1695) a brilliant representative

body of Dutch-Flemish painting. He

born in Leiden, studied painting with his

father Jan Davids de Heem and was a member of the big

families of artists. Worked at Cornelis de Heem

Leiden, Antwerp, where from 1660 he was a member

Guild of Painters, as well as in The Hague. on his

still life scenes with fruits, metal

some dishes, glasses, books and music

with our instruments. The artist's works are stored

in many museums in Europe.

Balthasar van der Ast

Balthasar van der Ast is a Dutch artist and draftsman.

After his father's death in 1609, Balthasar moved in with his older sister Maria, who was married to Ambrosius Bosschaert the Elder. Van der Ast's early works clearly show the influence of Bosschaert.

Since 1619, Balthasar van der Ast lived in Utrecht, where he was admitted to the guild of St. Luke. It is assumed that Jan Davids de Hem studied with Asta.

Balthasar van der Ast died in December 1657 in Delft and was buried in the local church.

MBUO "Novoobintsevskaya Secondary School"

The presentation was made by:

primary school teacher Nadezhda Vasilievna Kavylina

What is still life?

Still life (fr. nature morte -

“dead nature”) - the image of inanimate objects in the fine arts, in contrast to portrait, genre, historical and landscape themes.

Still life finally took shape as an independent genre of painting in the works of Dutch and Flemish artists of the 17th century. Objects in still life painting of this period often contain a hidden allegory - either of the transience of all earthly things and the inevitability of death (Vanitas), or - in a broader sense Passion of Christ and Resurrection. This is the meaning

transmitted through the use of objects - in most cases familiar and encountered in everyday life, which are endowed with additional symbolic meaning.

Flower still life

Since the 40s of the 17th century, still life in

Dutch painting became widespread as an independent genre. One of

the very first floral still life to stand out in

works by artists such as Ambrosius Bosshart the Elder And Balthasar van der Ast, And

still lifes of Jan Davids de Heem and his

followers already in the second half of the 17th century. The reasons for the popularity of floral still life can be

found in the everyday life of Dutch society - the tradition of having gardens, country villas

or indoor plants - as well as favorable natural conditions for the development of floriculture.

Scientist still life

Originated in university Leiden, the genre of “scientific” still life is called “vanity of vanities” or “memento mori” and is the most intellectual type of still life, requiring the viewer to know the Bible and the traditions of religious symbolism (typical paintings Peter Steenwijk and David Bayley). Often in still lifes of this direction there are illusionistic techniques that create a skillful optical illusion. In turn, the fascination with the illusionistic rendering of nature led to the emergence of a special type of still life - the so-called “trompe l’œil”. Such still lifes were especially common in the mid-17th century and gained incredible popularity in the country and abroad.

Dutch still life from the 17th century

The Dutch still life was

a unique cultural phenomenon of the 17th century that influenced the further development of the entire European

painting. "Little Dutch" reflected in their

works a world of objects living their own quiet, frozen life. The term "frozen life"

(Gol. stilleven, German stilleben, English still-life) became

used to denote the genre in the mid-17th century

century, initially in the Netherlands. Before this, artists called similar paintings when describing the plot:

“Little Breakfast”, “Bouquet of Flowers”, “Hunting Trophy”, “Vanity of Vanities”. Basic translation of the above

term found in literature - “quiet, motionless life.”

Still life in Russian painting 18th-20th centuries

Still life as an independent genre of painting appeared in Russia at the beginning of the 18th century. The idea of it was initially associated with the image of the gifts of the earth and the sea, the diverse world of things surrounding man.

Until the end of the 19th century, still life, in contrast to portraits and historical paintings, was considered as a “lower” genre. It existed mainly as an educational production and was accepted only in a limited understanding as painting of flowers and fruits.

The beginning of the twentieth century was marked by the heyday of Russian still life painting, which for the first time gained equality among other genres. The desire of artists to expand the possibilities of visual language was accompanied by active searches in the field of color, form, and composition. All this was especially clearly manifested in still life. Enriched with new themes, images and artistic techniques, Russian still life developed unusually rapidly: in a decade and a half it goes from impressionism to abstract form-making.

In the 30-40s of the twentieth century, this development stopped, but since the mid-50s, still life has experienced a new rise in Soviet painting and from that time on it finally and firmly stands on a par with other genres.

Presentation on the topic "Still Life" in fine arts in powerpoint format. This presentation for schoolchildren explains what still life is, its history and details about Dutch still life.

Fragments from the presentation

What is still life?

Still life- is an image of inanimate objects in painting or graphics.

From the history of still life.

Still life arose in the era of antiquity, but as an independent genre it began to develop only in the 17th century.
Its heyday began in Holland, where the Reformation, by prohibiting artists from painting on religious themes, forced them to look for new directions.

Dutch still life

In still lifes dating back to the early 17th century, objects are arranged in a strict order, like exhibits in a museum showcase. In such paintings, details are endowed with symbolic meaning. Apples are reminiscent of Adam's fall, and grapes are reminiscent of Christ's atoning sacrifice. A shell is a shell left behind by a creature that once lived in it; withered flowers are a symbol of death. A butterfly born from a cocoon means resurrection. Such are, for example, the paintings of Balthasar van der Ast.
Dutch still life of the 17th century. amazes with its richness of themes. In every artistic center of the country, painters preferred their own compositions: in Utrecht - from flowers and fruits, in The Hague - from fish. In Haarlem they wrote modest breakfasts, in Amsterdam - luxurious desserts, and in the university of Leiden - books and other objects for studying science or traditional symbols of worldly vanity - a skull, a candle, an hourglass.
For artists of the next generation, things no longer remind of abstract truths, but serve to create independent artistic images. In their paintings, familiar objects acquire a special, previously unnoticed beauty.
Peter Klas subtly and skillfully emphasizes the uniqueness of each dish, glass, pot, finding the ideal neighborhood for any of them.
In the still lifes of his fellow countryman Willem Claes Heda, picturesque disorder reigns. Most often he wrote “interrupted breakfasts.” A crumpled tablecloth, mixed up serving items, food that has barely been touched - everything here reminds of the recent presence of a person. The paintings are enlivened by diverse spots of light and multi-colored shadows on glass, metal, and canvas.
In the second half of the 17th century. Dutch still life, like landscape, became more spectacular, complex and multicolored.
The paintings of Abraham van Beijern and Willem Kalf depict grandiose pyramids of expensive dishes and exotic fruits.

Flemish school of painting

The Flemish artist Jan Veit's style is more refined than that of his teacher Snyders. Emphatically modest in composition and size, Feit’s works are interesting due to the harmony of restrained light, subtle shades of brown, greenish and light gray tones. This incomparable sensitivity of the painter brings him closer to the Dutch masters.

Slide 2

What is still life?

Still life is the depiction of inanimate objects in painting or graphics.

Slide 3

From the history of still life.

Still life arose in the era of antiquity, but as an independent genre it began to develop only in the 17th century. Its heyday began in Holland, where the Reformation, by prohibiting artists from painting on religious themes, forced them to look for new directions. Frans Snyders. Flemish school. Fish shop.

Slide 4

Dutch still life

In still lifes dating back to the early 17th century, objects are arranged in a strict order, like exhibits in a museum showcase. In such paintings, details are endowed with symbolic meaning. Apples are reminiscent of Adam's fall, and grapes are reminiscent of Christ's atoning sacrifice. A shell is a shell left behind by a creature that once lived in it; withered flowers are a symbol of death. A butterfly born from a cocoon means resurrection. Such are, for example, the paintings of Balthasar van der Ast. Balthasar van der Ast. Still life with apple flowers

Slide 5

Dutch still life of the 17th century. amazes with its richness of themes. In every artistic center of the country, painters preferred their own compositions: in Utrecht - from flowers and fruits, in The Hague - from fish. In Haarlem they wrote modest breakfasts, in Amsterdam - luxurious desserts, and in the university of Leiden - books and other objects for studying science or traditional symbols of worldly vanity - a skull, a candle, an hourglass. Peter Claes. Breakfast with ham.

Slide 6

For artists of the next generation, things no longer remind of abstract truths, but serve to create independent artistic images. In their paintings, familiar objects acquire a special, previously unnoticed beauty. Peter Klas subtly and skillfully emphasizes the uniqueness of each dish, glass, pot, finding the ideal neighborhood for any of them. In the still lifes of his fellow countryman Willem Claes Heda, picturesque disorder reigns. Most often he wrote “interrupted breakfasts.” A crumpled tablecloth, mixed up serving items, food that has barely been touched - everything here reminds of the recent presence of a person. The paintings are enlivened by diverse spots of light and multi-colored shadows on glass, metal, and canvas. Willem Claes Heda. Breakfast with crab.

Slide 7

In the second half of the 17th century. Dutch still life, like landscape, became more spectacular, complex and multicolored. The paintings of Abraham van Beijern and Willem Kalf depict grandiose pyramids of expensive dishes and exotic fruits. Willem Kalf. Dessert. About 1659

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Flemish school of painting

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What is still life? Still life is the depiction of inanimate objects in painting or graphics.

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From the history of still life. Still life arose in the era of antiquity, but as an independent genre it began to develop only in the 17th century. Its heyday began in Holland, where the Reformation, by prohibiting artists from painting on religious themes, forced them to look for new directions. Frans Snyders. Flemish school. Fish shop.

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Dutch still life In still lifes dating back to the early 17th century, objects are arranged in a strict order, like exhibits in a museum showcase. In such paintings, details are endowed with symbolic meaning. Apples are reminiscent of Adam's fall, and grapes are reminiscent of Christ's atoning sacrifice. A shell is a shell left behind by a creature that once lived in it; withered flowers are a symbol of death. A butterfly born from a cocoon means resurrection. Such are, for example, the paintings of Balthasar van der Ast. Balthasar van der Ast. Still life with apple flowers

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Flemish School of Painting The manner of the Flemish artist Jan Veit is more refined than that of his teacher Snyders. Emphatically modest in composition and size, Feit’s works are interesting due to the harmony of restrained light, subtle shades of brown, greenish and light gray tones. This incomparable sensitivity of the painter brings him closer to the Dutch masters. Ian Faith. Still life with a dog.