Biblical stories in fine arts. Biblical themes in fine art

Lesson No. 22-23 7th grade

Lesson topic: Biblical themes in fine arts

Goals: create conditions for students to develop the ability to analyze the works of great artists made in the religious and mythological genre.

Tasks: introduce students to biblical themes in the visual arts; talk about the work of specific authors; develop interest in the creative heritage of the greatest artists; develop children’s creative abilities, the ability to find beauty, harmony, and beauty in the life around them; activate cognitive interest in the world around us and interest in the learning process.

Demonstration material and equipment: presentation " Bible stories in painting”, reproductions of paintings by artists of the religious-mythological genre of different eras: reproductions of Raphael’s “Sistine Madonna”, Rembrandt’s “The Return of the Prodigal Son”, A. Ivanov’s “The Appearance of Christ to the People” and “The Appearance of Christ to Mary Magdalene”.

During the classes

I . Organizational stage

Greeting students. Checking readiness for the lesson.

II . Stage of updating the subjective experience of students

Teacher. Listen to the poem. Explain what “trace” the poet is talking about. What mark would you like to leave on earth?

They say talent comes from God

This one is given, but this one is not...

But everyone is given a way

Who will leave which mark?

S. Vikulov.

In this quarter, we are getting acquainted with the thematic picture.

Questions for students.

What genre did we talk about in the last lesson?

(About the historical)

What other genres of thematic paintings do you know?

(Everyday, fairy-tale-epic, religious-mythological)

III . Stage of learning new material

Introductory conversation.

The Bible is the most important treasury of spiritual and cultural heritage. It embodies the ideals of goodness, justice, selfless service to humanity, and faith in the value of the human person.

Bible(Greek “book, composition”) - a collection of sacred texts of Christians, consisting of the Old and New Testaments. The Old Testament was borrowed by Christianity from Judaism, the original is called the Tanakh and is a sacred text for the Jews. The Old Testament consists of 39 books and is divided into three sections in Judaism. This part of the Bible is the common Holy Book for Judaism and Christianity. The second part of the Christian Bible is the New Testament, a collection of 27 Christian books (including the 4 Gospels, the Acts of the Apostles, the Epistles of the Apostles and the book of Revelation of John the Theologian (Apocalypse)), written in the 1st century. n. e.

Life itself suggested to artists, sculptors, and architects the most important, vital images for them, the optimal artistic solutions. Biblical themes permeated the work of the greatest masters of world culture: Leonardo da Vinci, Michelangelo, Rubens, Rembrandt, Giotto, Rublev, Kramskoy, Surikov, Ivanov.

Bible For European art, for paintings, fresco mosaics, Biblical themes provided material for imagination, for expressing one’s own attitude to the world through the plots of the Bible. In the easel art of Western Europe and Russia there is a rich range of brilliant works.

Explanation of the topic of the lesson.

In today's and subsequent lessons we will talk about biblical themes in painting and we will make drawings ourselves based on scenes from the Bible. To do this, you were given the task of repeating the material studied in the lessons of Orthodox culture, choosing the most interesting plot for yourself for further illustration. But first we will get acquainted with creativity famous painters.

Presentation demonstration.

2nd slide. Biblical themes and iconography.

Biblical themes in painting: scenes of the life of Christ, his disciples-apostles, Saints, Prophets, Martyrs.

Icons are portraits, faces of saints, angels, apostles, Christ and the Mother of God...

3rd slide. Examples paintings and icon painting.

4th slide. For European art, for paintings, fresco mosaics, Biblical themes provided material for imagination, for expressing one’s own attitude to the world through the subjects of the Bible. In the easel art of Western Europe and Russia there is a rich range of brilliant works.

Biblical themes dominated art during the Renaissance in the 17th and 18th centuries. In these topics contemporary artists find analogies to our lives. Through images of biblical stories, a wide variety of human feelings can be expressed.

5th slide. Fresco by V. M. Vasnetsov in the Vladimir Cathedral “God the Father” One of the important tasks for Vasnetsov was to overcome the peculiar “schism” that had formed since the end of the 18th century between the people and the clergy, on the one hand, and the intelligentsia, on the other, in their attitude towards Russian icon painting.

According to Vasnetsov, the temple was the place where the “reunification” of the intelligentsia and the people could take place. The uniting element for both could be the revived church art, publicly accessible and understandable to everyone, expressing national beliefs and ideals.

6th slide. I. Aivazovsky “Chaos, Creation of the World” One of the important tasks for Vasnetsov was to overcome the peculiar “schism” that had formed since the end of the 18th century between the people and the clergy, on the one hand, and the intelligentsia, on the other, in their attitude to Russian icon painting.
Over the course of two centuries, traditional icon painting was gradually replaced, as an “outdated Middle Ages,” by works of “Italian writing” on religious themes by students of the Academy of Arts, little different from secular paintings. Entire ancient iconostases were replaced at this time by works done in an academic spirit.
The people shunned the paintings on the walls of the temple, respecting, according to Mikhail Solovyov, the icon and preferring to pray in front of small lectern images created by simple icon painters in the spirit of traditional icon painting.

7th slide. P. Bruegel “The Tower of Babel” Bruegel’s Tower of Babel fully corresponds to the traditions of the pictorial depiction of this biblical parable: there is a stunning scale of construction, the presence of a huge number of people and construction equipment. It is known that in 1553 G. Bruegel visited Rome. His “Tower of Babel” is easily recognizable as the Roman Colosseum, with its typical features of Roman architecture: projecting columns, horizontal tiers and double arches. Seven floors of the tower have already been built in one way or another, and the eighth floor is being built. The tower is surrounded by construction barracks, cranes, hoists used in those days, ladders and scaffolding. At the foot of the tower is a city with a busy port. The area where the Tower of Babel is being built is very reminiscent of the Netherlands with its plains and sea. The people depicted in the picture - workers, stonemasons - seem very small and resemble ants in their diligence. Much larger than the figure of Nimrod, the legendary conqueror of Babylon in the 2nd millennium BC, inspecting the construction site. e., traditionally considered the leader of the construction of the tower, and his retinue in the lower left corner of the picture. The low, oriental-style bow of the stonemasons to Nimrod is a tribute to the origin of the parable.
8th slide. Rembrandt's Belshazzar's Feast, large canvases with theatrical effects, were popular in the Netherlands during Rembrandt's lifetime; Belshazzar's Feast demonstrates how skillfully the artist treated such themes. The Babylonian king Belshazzar is described in the Old Testament book of the prophet Daniel. At a crowded feast, he ordered to bring gold and silver dishes, which his father Nebuchadnezzar took from the sanctuary of the Jerusalem temple. The king ordered the vessels to be filled with wine for his nobles, wives and concubines. When this blasphemy was accomplished, a mysterious hand suddenly appeared and inscribed strange words on the wall: “Mene, mene, tekel, upharsin.” Daniel told the king that they meant his death; the prediction came true that same night. Rembrandt's painting explores amazement and fear, enhanced by the wine spilling out of the sacred vessels, which is also symbolic. The inscription made in Hebrew is surprising, the special arrangement of the letters of which makes one remember Rembrandt’s neighbor, the Jew Manasseh ben Israel, with whom, as is known, the artist maintained relations.

9th slide. Rembrandt “The Holy Family” This painting, imbued with amazing tenderness, confirms Rembrandt’s gift for mixing the divine and the earthly to such an extent that it is no longer possible to draw a line between them. The Mother of God interrupted her reading to straighten the veil on the Baby, or maybe to cover His face from bright light designed to emphasize His greatness. Full of tenderness, Mary bent over Jesus, with truly maternal care, once again checking that everything was all right with the child. The baby sleeps soundly in a wicker cradle, unaware of what is happening around. Mary's husband Joseph is carpentering in the background. Mother, child, even the cradle are purely Dutch types of the 17th century. This could have been, perhaps, any ordinary family, if not for the angels-children flying from heaven.

10th slide. Rembrandt "Return of the Prodigal Son" The story of the Prodigal Son is one of the most famous biblical stories. It has been used by many artists. Rembrandt was no exception and repeatedly turned to him. The Bible talks about the son of a rich man, who asked his father to give him his part of the inheritance, left his home and spent the money in revelry and debauchery. The poor and sick son returns to his father, and he joyfully greets him, which causes anger on the part of the second son, who has spent his entire life in labor. The father explains to him that his brother "was dead, but came back to life." The exact date of the painting has not been established, but it is believed that this is one of Rembrandt’s last works. Indeed, this work looks like a testament, summing up the artist’s life’s wanderings. The picture is full of tenderness and compassion. British art critic Kenneth Clarke wrote that anyone who has ever seen it will agree that it is “the greatest canvas ever created by the hand of an artist.” The Father's Head is one of Rembrandt's most unforgettable images. Everything about her is compassion and forgiveness. The hands lying on the shoulders of the prodigal son convey the deep tenderness of the father. The face of the prodigal son, pressed to his father's chest, is hidden from us, but it is quite obvious that it expresses sincere repentance. The figure standing on the right is most likely the eldest son, full of virtues. His face expresses misunderstanding and barely restrained anger.

11th slide. Domenico Veneziano “The Annunciation” Unlike his contemporary artists of the Florentine school, Domenico Veneziano had an active interest in coloristic tasks, using color to express emotional shades. The silvery tone of his paintings (“The Annunciation”, Fitzwilliam Museum, Cambridge) unifies the color scheme and creates a feeling of being filled with light and air. The achievements of Domenico Veneziano were developed by his student Piero della Francesca. Domenico Veneziano died in 1461 in Florence.

12th slide. Raphael "Sistine Madonna". The world of “The Sistine Madonna” is unusually complex, although, at first glance, nothing in the picture foretells trouble. And yet, the viewer is haunted by a feeling of impending anxiety. A sweet-voiced choir of angels sings, filling the sky (background of the canvas) and praising Mary. The kneeling Sixtus does not take his rapturous gaze off the Mother of God, and Saint Barbara humbly lowered her eyes. It seems that nothing threatens the peace of Mary and her son. But alarming shadows run and run along the folds of clothes and draperies. Clouds swirl under the Madonna’s feet, the very radiance surrounding her and the baby promises a storm.

13th slide. A. Ivanov “The Appearance of Christ to the People”

On the canvas, the viewer sees people coming from the hill, as well as those who have already completed their ablutions and are preparing to listen to the prophet. And he says that you need to meet a certain guest who is still far away, but will soon be here, although not everything is as it should be. Addressing the crowd, among which were already the teachers of this people (Pharisees, Sadducees, etc.), he exclaims: “You brood of vipers! Who inspired you to flee from the future wrath? Produce fruits worthy of repentance!” Everyone instantly obeys his words and directs their gaze to the direction from which He walks across the earth with a quiet but firm step. A. Ivanov attached particular importance to the authenticity and expressiveness of the landscape. He “sat for several months in the unhealthy Pontic swamps and deserted places of Italy, transferred into his sketches all the wild outbacks around Rome, studied every pebble and tree leaf.” First of all it strikes

the compositional mastery with which Ivanov turns a multitude of clearly individualized characters towards a single sublime goal.
At a very favorable distance for the picture, He is walking along a hard rocky path, whose path should have been strewn with flowers. With a quiet and firm step He comes to take upon Himself the sins of the whole world and die on the cross. How could an artist in the figure of the Savior (and at such a distance) express his divine wisdom, greatness, meekness of spirit and determination to achieve feat?

14th slide. I. Repin “The Resurrection of Jairus’s Daughter” One day, when there was little time left before the competition, Repin was returning from Kramskoy and suddenly saw this scene quite clearly. “I imagined the mood when my sister Ustya died, how it struck the whole family, the house and rooms - everything somehow darkened, shrank in grief and was oppressive.” The next morning he wiped off all his four months of work with a rag. He took the coal and began to write again. “The canvas began to draw me in with its gloomy tone. By evening, my painting was already so impressive that I myself felt a shiver running down my spine.” In order to constantly remain in the necessary tragic state, he asked his brother Vasily, a student at the conservatory, to play Beethoven for him. "The music transported me to my canvas, I enjoyed these sounds to infinity, they moved me to tears."

15th slide. V. Polenov “Christ and the Sinner” The plot of this painting was the legend of Christ and the sinner, described in the Gospel of John, in chapter VIII. It says:

“Jesus went to the Mount of Olives. And in the morning he came to the temple again, and all the people came to him. He sat down and taught them. Then the scribes and Pharisees brought to him a woman taken in adultery, and, placing her in the middle, they said to Him: Teacher! this woman was taken in adultery; and Moses commanded us in the law to stone such people: What do you say? They said this, tempting Him, in order to find something to accuse Him of. But Jesus, bending low, wrote with his finger on the ground, not paying attention to them. When they continued to ask Him, He bowed down and said to them: He who is without sin among you, be the first to throw a stone at her. And again, bending low, he wrote on the ground. They, having heard this and being convicted by their conscience, began to leave one after another, starting from the eldest to the last; and only Jesus remained and the woman standing in the middle. Jesus, standing up and not seeing anyone except the woman, said to her: woman! where are your accusers? no one judged you? She answered: no one, Lord! Jesus said to her, “Neither do I condemn you; go and sin no more.”

Embodying in the work the idea of ​​forgiveness, the victory of good over evil, Polenov gave great importance name. Author's title: “Which of you is without sin?” was replaced by censorship with "Christ and the Sinner". The painting was exhibited at the XV Traveling exhibition in St. Petersburg and Moscow, where it was purchased by Alexander III for his collection.

16th slide. N. Kramskoy “Christ in the Desert” “My God is Christ,” wrote Kramskoy, “because He himself dealt with the devil. He draws strength from Himself...” Temptations take hold of a person gradually, like rust. I succumbed once, succumbed again... And the third temptation comes. The temptation of self-sufficiency and complacency. It’s called “I myself!” Sometimes entire nations fall into this mischief, when not a single person finds the strength to say “Do not tempt the Lord!” Then only suffering on the cross can save people...

17th slide. Leonardo da Vinci "The Last Supper" fresco work Leonardo da Vinci depicting a scene Christ's last supper with your students. Created in 1495-1498 in a Dominican monastery Santa Maria delle Grazie in Milan . Jesus' gesture can be interpreted in two ways. According to the Bible, Jesus predicts that his betrayer will reach out to the food at the same time as him. Judas reaches for the dish, not noticing that Jesus is also extending his right hand to him. At the same time, Jesus points to the bread and wine, which symbolizes the sacrament.

18th slide. Ge Nikolai Nikolaevich. Last Supper. An outstanding portrait and history painter, Ge gravitated towards images and themes full of ethical and philosophical significance. “The Last Supper” is the first major work of the artist, a recent student and then a pensioner of the Academy of Arts. The contrast between Christ and Judas, the tragedy of the teacher who foresaw the betrayal of his student (“One of you will betray me”), but was ready for self-sacrifice, is the basis of the dramatic conflict of the canvas. It was written in Florence, then transported to St. Petersburg and caused heated controversy

19th slide. Giotto "Lamentation of Christ". This masterpiece by Giotto is the jewel of the Arena Chapel. The center of the composition is two close faces: the dead Christ and His Mother. This is where the viewer’s eye is led by the rock slope and the views of the other participants in the scene. The pose of the Mother of God, bending over Christ and incessantly peering into the lifeless face of the Son, is very expressive. The emotional tension of this “picturesque” story is unprecedented - we will not find analogues to it in the painting of that time. The “landscape” looks symbolic here. A stone slope divides the picture diagonally, emphasizing the depth of the fatal loss.
The figures surrounding the body of Christ express various emotions with their poses and gestures. We see before us Nicodemus and Joseph of Arimathea stoically experiencing grief, the sobbing Mary Magdalene clinging to the feet of Christ, women wringing their hands in despair and mourning the death of the Savior of the angels.

20th slide. A. Ivanov “The Appearance of Christ to Mary Magdalene after the Resurrection.” The image of Jesus in the painting is endowed with ideal beauty: his face and figure resemble the statue of Christ by Thorvaldsen, and his clothes resemble the folds of the veil of Raphael’s “Sistine Madonna.” In comparison, the image of Mary Magdalene is more lively. The artist managed to convey a complex feeling: joy, grief, excitement are simultaneously depicted on Mary’s face. Golden hair, softly flowing onto the shoulders, the warmth of Titian’s color speak of the influence of Venetian painting on the artist. It is known that Ivanov, while working on the film, made a trip to the north of Italy in order to “study the character of all schools.”

IV . Stage of consolidation of new knowledge.

So we got acquainted with the work of great painters. Each of them reflected the biblical story in the picture in their own way, deeply experiencing it and passing it through their soul. And now you have to present one of the biblical stories in your own way. In the next lesson you will begin work. You will make drawings in albums, and now we will make oral sketches. Your task is to describe the composition that you have chosen at home, perhaps using the finds that you saw in the paintings of famous painters.

Students perform oral sketches on the topic.

V . Stage of generalization and systematization of knowledge

Summing up the lesson. Sign the picture.

Our lesson was devoted to paintings based on scenes from the Bible. Let's test your knowledge gained in today's lesson. You must determine what kind of paintings we are talking about. Children receive signs with sayings and attach them to the pictures.

The main theme of the work is the tragedy of a man who has wasted his life

As a result of his labors, the artist created an extensive gallery of portraits of people of different ages and characters.

The image of Jesus in the painting is endowed with ideal beauty: his face and figure resemble the statue of Christ by Thorvaldsen, and his clothes resemble the folds of the veil of Raphael’s “Sistine Madonna.”

The artist executed this image in 1519 for the altar of the Church of St. Sixtus in the Italian city of Piacenza, commissioned by Pope Julius II.

The artist painted this canvas, in his words, “with tears and blood.” He deliberately wanted to create his own image of Christ, not similar to His other images.

VI . Reflection stage.

Having made your conclusions about today's lesson, read the statements of great writers, philosophers and artists and say which of the statements about art you agree with.

The arts soften morals. (Ovid)

The purpose of art is to move hearts. (Helvetius)

Genuine immortal works the arts remain accessible and provide pleasure to all times and peoples. (Hegel)

A work of art is the most highest work human spirit: it gives life, it improves man (N. N. Ge)

Christian art is always an action based on the great idea of ​​redemption. (O. Mandelstam)

VII . Homework.

Select illustrations for the Bible. Make compositional sketches.

VIII . Organized end of the lesson.

(Fine arts, Fundamentals of Orthodoxy, Orthodox local history)

on this topic

7th grade lesson No. 21.

Completed by: Usova Lyudmila Nikolaevna

MKOU Podgorenskaya secondary school

District: Kalacheevsky

Region: Voronezh

Lesson summary

Teacher: Lyudmila Nikolaevna Usova

Subject: Fine arts, Fundamentals of Orthodoxy, Orthodox local history.

Class: 7

UMK:

Topic: Biblical themes in the visual arts.

Lesson type: formation of new knowledge.

Lesson type: integrated with elements of project activities.

Lesson #21

Target: develop children's artistic and creative abilities, cultivate emotional responsiveness.

Tasks:

1) To form an idea of ​​the complex world of subject-thematic paintings using the example of paintings of the religious-mythological genre, frescoes and icons of the Transfiguration Church in the village of Podgornoye, Kalacheevsky district.

2) Continue to get acquainted with the work of great artists and the history of the creation of famous paintings, with the work of masters of their native land (fresco painting and icon painting of the Transfiguration Church)

3) To develop spectator skills.

4) Develop associative-figurative thinking, public speaking skills, emotional responsiveness to the beautiful and ugly in life and art.

5) Develop an interest in art, and the art of your native land.

UUD:

1) personal – to direct the value and semantic orientation of students to achieve their goal;

2) regulatory – the ability of students to organize their learning activities;

3) cognitive - using general educational, logical actions, actions of setting and solving problems to achieve certain results in the implementation of projects;

4) communicative - teach children to participate in collective discussion of problems, build productive interaction and cooperation with peers and adults.

Personal results:

- development of interest in art and art of the native land

Development of skills of a creative approach to the task being performed, self-control, reflection and self-esteem.

Respect for the heritage of ancestors, cultural monuments, and creative individuals.

Meta-subject results:

Formation of positive motivation for the study of fine arts, Fundamentals of Orthodoxy and Orthodox local history.

Development of skills and abilities of independent work, searching for material.

Developing the ability to listen to the topic being studied, observe, make comparisons and extract the necessary information.

Development of skills to compare, analyze, summarize the information received, build a message based on the knowledge gained.

Development of skills to work individually, in pairs, in groups.

Subject results:

Introducing students to other cultures based on the works they study, including Orthodox culture and national culture

Expanding educational horizons within the framework of the topic being studied - studying the culture of the place where students live.

- extension vocabulary students within the topic.

Working methods: active, interactive, research, project.

Content: Archival and local history documents of the Museum "Living Sources", material on the topic of the lesson taken from the textbook "Biblical themes in the fine arts".

Forms of organizing student work: individual, pair, group.

Equipment: computer, interactive whiteboard, self-assessment sheets, handouts, emoticons for reflection, multimedia presentation for the lesson, student project work, photographs of the Transfiguration Church by L.N. Usova.

Literature:

1. A.S. Piterskikh, G.E. Gurov “Fine arts grades 7-8” edited by B.M. Nemensky, “Enlightenment”, Moscow 2009

2. F.F.Lutsenko “Chronicle of the settlement of Podgornaya”, documents of the museum “Living Sources” of the village of Podgorny, Kalacheevsky district, Voronezh region”

3. V. Hugo Poem about the Bible (Internet)

4. M.N. Bosikova Poem "I Love My Land"

5.Usova L.N. Poems for the lesson

During the classes

Main stages of the lesson

Purpose of the stage

Content of pedagogical interaction

Teacher activities

Student activities

Cognitive

Communicative

Regulatory

1.Organizational and motivational

Psychological mood of students;

ensuring a normal environment in the classroom.

Greets students and gets students ready for work.

They prepare for the lesson, take their seats, check the availability of material and equipment for the lesson.

Plan educational cooperation with students and teacher. They communicate in pairs and groups. They are preparing to implement the project.

Select funds to implement your project

2-3 minutes

Teacher:

The bell has rung, friends.

The lesson begins.

All the briefcases were put aside.

All is ready? We looked.

They stood up straight and sat down quietly.

And they wanted to study.

I'm glad to see you today.

How was it, guys?

You learned to work.

Did all the projects succeed?

And now, I ask you,

To make the class serious...

2. Goal setting

Indicate the topic of the lesson using examples from various sources.

The teacher suggests watching the video “My Spring” to determine the topic of the lesson. Sets suggestive questions students. Reads a poem by V. Hugo about the Bible.

Cooperation with the teacher and classmates. Benevolence is emotional - moral responsiveness.

5-6 minutes

Guys, I’m now going to read a poem by the famous writer V. Hugo.

Slide No. 2

And nowwatch the video "My Spring" carefully

Slide No. 3

What do you think will be discussed in today's lesson?

Let's try to tie the topic together.

Today in the lesson we will get acquainted with a topic related to the Bible, the history of our native land and the Orthodox church. Let's define a topic.

Slide No. 4

Guessing riddles

So: our theme sounds -"Biblical themes in fine arts"

Slide No. 5

The most interesting thing is that today we have not only a lesson in Fine Arts, but also the Fundamentals of Orthodoxy and Orthodox Local History. Three lessons linked together. So, let's begin.

3. Updating knowledge on the topic

Lead students to determine the relevance and necessity of this lesson topic.

Draws a line at determining the level of preparation of material for projects.

The ability to structure knowledge, the ability to consciously construct speech statements.

Cooperation with the teacher and classmates.

Highlighting the main thing and realizing what has already been learned.

10-13 minutes

Guys, in the last lesson you chose tasks for independent work at home, projects. Let's see what we got. In front of you is a sign that must be quickly filled out during the presentation of students who have prepared their homework and projects.

Student projects

Project evaluation

What did you like?

What didn't you like?

New words

Project "History of the Church of the Transfiguration in the village of Podgorny, Kalacheevsky district, Voronezh region"

Project "Frescoes of the Church of the Transfiguration in the village of Podgornoye, Kalacheevsky district, Voronezh region"

Project "Icons of the Church of the Transfiguration in the village of Podgorny, Kalacheevsky district, Voronezh region"

Project on the history of the Transfiguration Church in the village of Podgornoye Kalacheevsky district, Voronezh region"

1. Project "History of the Church of the Transfiguration in the village of Podgorny, Kalacheevsky district, Voronezh region"

Slide No. 6 (team work of 3-4 students)

2. Project "Frescoes of the Church of the Transfiguration in the village of Podgornoye, Kalacheevsky district, Voronezh region"

Slide No. 7 (team work of 3-4 students)

3. Project "Icons of the Church of the Transfiguration in the village of Podgornoye, Kalacheevsky district, Voronezh region"

Slide No. 8 (team work of 3-4 students)

During the show from 6 to 8 slides, students present a project on the history of the Transfiguration Church in the village of Podgornoye (collective work of 3-4 students)

The history of the village of Podgornoye and the history of its Transfiguration Church are very old. After the settlement of Podgornaya at the beginningXVIIIcentury there was a need to build a temple. The tsarist government, at that time, demanded the presence of a temple of God in every major locality. And therefore, a gathering of citizens decided to build a church. But for what money? Our ancestors were not rich people, donate a large sum Not everyone could.

Over time, a solution was found. At that time, neighboring Kalach was already built up. Quite a lot of rich people lived there, engaged in arable farming and trade. Since the black earth lands of our region have always been highly valued, there was one rich man, nicknamed “The Naked Pan,” who, on favorable terms, received the land for use for a fee. He got on the northern outskirts of the settlement, on the river under Sapozhkova Mountain, a square of land of 50 dessiatines, of which 15 dessiatines were suitable for use, and the rest were small marshy swamps, overgrown with alder, willow, vines and reeds.

For the money received from the master, the society of the Podgornaya settlement bought a finished wooden church on the side, which in 1730, according to other sources, in 1740 already stood on the square. It received its name in honor of the feast of the Transfiguration of the Lord.

Time passed, the church fell into disrepair, and the population of Podgorny increased greatly. The Podgornaya settlement society decided to build a brick church. It was built at the expense of believers. Wealthy peasants were not particularly generous enough to donate larger sums to the church, and the poor had nothing to give. Therefore, everything had to be done by collecting money from the “Churchmen” on the side. Selected people from among the believers walked around the courtyards with bells all year round and collected who would give what for the construction; over a number of years, a decent amount of money was obtained. The Transfiguration Church took 12 years to build, after which it was completed 2 times. The church was finally completed in 1822.

The Transfiguration Church is located in the center of the village. It is characteristic of churches in the southeast of the Voronezh region at the endXVIII- startedXIXV. volumetric composition. The temple part (the core of the temple and side chapels) stretching from north to south is adjacent to three rectangular apses with rounded corners and a wide refectory - the winter church. The core of the temple is crowned with a tall light octagon with an eight-tray dome and an octagonal blind dome. From the west, a three-tier bell tower with side volumes of the first tier adjoins the refectory. The bell tower is completed with a dome on a high octagonal leg.

The decor of the facades is made in the Russian style, characteristic of the 3rd quarterXIXV. Paneled pilasters flank the facades of all volumes and divide the aisles into spindles, each of which is completed with a kokoshnik pediment. The tympanums of the pediments have carpet ornamental filling with plaster rosettes and half-rosettes. Similar pediments complete the northern and southern facades of the first tier of the bell tower. The facades of the refectory and apses are surrounded by several frieze beams. Window openings - arched framedwith keel-shaped archivolts. The entrances to the church have beamed lintels and are framed by pilasters on which sandriks in Baroque forms rest.

The church is made of locally produced bricks. Under the mountain (rich in red clay) the production and firing of bricks was established. We don’t know what the structure was like, where the bricks were made. But the pits from which the clay was taken are still visible.

The foundation of the building is not high, about 50 centimeters high, made of limestone with a volume of 100x50 x50 centimeters. Since the stone is very strong, we can conclude that it was brought from other places. Our local stone is not suitable for such work. Over a period of 200 years, the church did not sag or crack only thanks to the foundation.

The walls of the temple are more than half a meter thick. The windows are barred with homemade forged bars, painted blue (traces of paint are still visible here and there).

The floors in the temple have been preserved since its construction. They are made from local materials (willow and oak).

Our church is three-altar. Its boundaries are consecrated in honor three holidays. The Transfiguration of the Lord is in the center. On the right side is the limit of the “Holy Fathers”IEcumenical Council." On the left side is the limit of “Our Lady of Sorrows of All Joys”.

There were many frescoes inside the temple, most of which have survived to this day. The icons hanging on huge columns were painted on canvas oil paints. In the village, local residents still have icons from the Transfiguration Church. The central part of the temple was decorated with a seven-row iconostasis. Which was very rare for rural churches in our area at that time. The other two limits were decorated with three-row iconostases. The decoration of the church was also beautiful. Under the central dome there was a large chandelier with candlesticks. Exactly the same, but smaller chandeliers were in the central part of each limit.

By the Decree of the Head of the Voronezh City Administration “On Acceptance of state security monuments of history, archeology and architecture of the city of Voronezh" dated October 22, 1992 No. 472. The Church of the Transfiguration was assigned No. R (R is an object of cultural heritage of regional significance).

The church closed in 1936. The temple restoration project began its work in 2004. The temple was opened in 2008.

Teacher: Guys, hand in your notes, they will help me evaluate your work on homework and sort out the incomprehensible in the next lesson: words, statements, clarify data on topics.

Physical education minute

Teach students to relax, rest, relax, switch from one activity to another.

Shows various physical exercises for warming up.

They will find out how to spend a physical education session in a fun and unusual way.

Learn to work in a group.

2-3 minutes

(set of exercises, conducted by class attendants)

Teacher:

That's it guys, let's take a rest.

We do physical exercises.

We rest for two minutes.

And let's get to work.

The duty officers are coming to us,

They will give you a physical minute.

4. Learning new material

Immersion in the problem of a given topic, work on projects.

The teacher organizes an immersion in the problem of the lesson.

Acquiring new knowledge. Construction of a logical chain of reasoning.

Initiative cooperation of students in searching and selecting information, in choosing a way to implement it, and present it to the class.

Highlighting new information.

15 minutes

Teacher . Listen to the poem. Explain what “trace” the poet is talking about. What mark would you like to leave on earth?

They say talent comes from God

This one is given, but this one is not...

But everyone is given a way

Who will leave which mark?

S. Vikulov.

In this quarter, we are getting acquainted with the thematic picture.

What genre did we talk about in the last lesson? (About the historical )

What other genres of thematic paintings do you know? (Everyday, fairy-tale-epic, religious-mythological )

Students are offered handouts, a table that must be filled out in the process of explaining new material.

Artists

Paintings

The Bible is the most important treasury of spiritual and cultural heritage. It embodies the ideals of goodness, justice, selfless service to humanity, and faith in the value of the human person. The Bible, like life itself, suggested to artists, sculptors, and architects the most important, vital images for them, the optimal artistic solutions. Biblical themes permeated the work of the greatest masters of world culture: Leonardo da Vinci, Michelangelo, Rubens, Rembrandt, Rublev, Kramskoy, Surikov, Ivanov. For European art, for paintings, fresco mosaics, Biblical themes provided material for imagination, for expressing one’s own attitude to the world through the subjects of the Bible. In the easel art of Western Europe and Russia there is a rich range of brilliant works. In today's and subsequent lessons we will talk about biblical themes in painting and in the next one we will make our own drawings based on scenes from the Bible. To do this, you were given the task of repeating the material studied in the lessons of Orthodox culture, choosing the most interesting plot for yourself for further illustration. But first, in today's lesson, we will get acquainted with the work of famous painters.

Slide No. 10 "Biblical themes in fine arts"

1. Leonardo da Vinci "The Annunciation".

The plot of the film is based on 15th century Bibles. Archangel Gabriel appeared to the Virgin Mary with news.

He kneels before her and tells her the good news that she has been chosen to bear the Son of God. The scene on the right corresponds to the architecture of that time. Archangel Gabriel holds a lily in his hand (a symbol of Mary's purity). Leonardo was the first to masterfully use the landscape, which enhances the impression of the painting.

2. Michelangelo Buonarroti "Separation of light from darkness."

A story from the Bible about the creation of the first people on earth.

The image of God - a majestic, mighty old man - is emphasized by the creative impulse expressed in the movements of his hands, as if truly capable of creating worlds and giving life to man.

3. Peter Paul Rubens "The Adoration of the Shepherds".

The bright, lush Rubensian style is characterized by the depiction of large, heavy figures in rapid movement, an emotionally charged atmosphere. The sharp contrasts of light and shadow give the painting an emotionally charged atmosphere. Rich colors imbue the image with ebullient energy. Although he painted rough biblical scenes, the canvas always contained the highest drama of life.

4. Rembrandt Harmens van Rijn "The Return of the Prodigal Son".

Rembrandt "Return of the Prodigal Son" The story of the Prodigal Son is one of the most famous biblical stories. It has been used by many artists. Rembrandt was no exception and repeatedly turned to him. The Bible talks about the son of a rich man, who asked his father to give him his part of the inheritance, left his home and spent the money in revelry and debauchery. The poor and sick son returns to his father, and he joyfully greets him, which causes anger on the part of the second son, who has spent his entire life in labor. The father explains to him that his brother "was dead, but came back to life." The exact date of the painting has not been established, but it is believed that this is one of Rembrandt’s last works.

5. Andrey Rublev "Trinity".

The main creation of Andrei Rublev, the pinnacle of his art, was the “Trinity” (1420s), the most beautiful and perfect Russian icon, executed in memory and veneration of the great enlightener of Rus' St. Sergius Radonezh (XIV century). In "Trinity" the triune deity is presented in the form of three angels seated around a table with a sacrificial bowl. The image on this icon is interpreted in different ways. According to one interpretation, the angel placed in the center personifies the second person of the Trinity - God the Son, Jesus Christ. The left angel is the first person of the Trinity - God the Father, the right angel is the Holy Spirit. During the time of Andrei Rublev, the theme of the Trinity, the triune deity, was perceived as the personification of spiritual unity, harmony, mutual love and humility.

6. Kramskoy Ivan Nikolaevich “Christ in the desert.”

“Christ in the desert”, “My God is Christ,” wrote Kramskoy, “because He himself dealt with the devil. He draws strength from Himself...” The plot is taken from the Gospel. It tells how the Savior was in the desert for 40 days after Baptism, tempted by the devil. Fought. And he won.

7. Surikov Vasily Ivanovich “The Merciful Samaritan”.

The plot of the picture is written on one of the famous Jesus Christ, mentioned in . She talks about mercy and selfless help to a person in trouble from a passerby - a representative of an ethnic group that Jews do not recognize as fellow believers. According to some theologians, this parable shows that “examples of human kindness are found among all peoples and in all faiths, that the Law and commandments of God are fulfilled by people of different nationalities and different religions ».

8. Ivanov Alexander Andreevich “The Appearance of Christ to the People.”

On the canvas, the viewer sees people coming from the hill, as well as those who have already completed their ablutions and are preparing to listen to the prophet. And he says that you need to meet a certain guest who is still far away, but will soon be here, although not everything is as it should be. A. Ivanov attached particular importance to the authenticity and expressiveness of the landscape. He “sat for several months in the unhealthy Pontic swamps and deserted places of Italy, transferred into his sketches all the wild outbacks around Rome, studied every pebble and tree leaf.” What is first striking is the compositional skill with which Ivanov turns many clearly individualized characters towards a single sublime goal. At a very favorable distance for the picture, He is walking along a hard rocky path, whose path should have been strewn with flowers. With a quiet and firm step He comes to take upon Himself the sins of the whole world and die on the cross. How could an artist in the figure of the Savior (and at such a distance) express his divine wisdom, greatness, meekness of spirit and determination to achieve feat? The painting took 20 years to complete and was never finished. But it is still considered one of the world's masterpieces.

5. Reflection

activities:

- analysis and assessment of the success of achieving the goal

- analysis of business success

students in general and self-assessment of their work results

(3 min)

Summarize the lesson, evaluate the activities of your comrades. Choose homework taking into account the individual abilities of students.

Summarizes: what was done in the lesson and why, how the lesson went, what mood the children were in.

Carrying out self-assessment of one’s own activities.

The ability to express one’s thoughts with sufficient completeness and accuracy.

Become aware of cognitive reflection.

5-7 minutes

So we got acquainted with the work of great painters. Each of them reflected the biblical story in the picture in their own way, deeply experiencing it and passing it through their soul. And now you have to present one of the biblical stories in your own way. in the next lesson you will start working. In the next lesson you will make drawings in albums, but now we are with you.

The teacher organizes reflection by proposing to continue the statement:

-I know the pictures...

-I know artists who worked on biblical themes...

-I understand…

-It was a discovery for me...

-I managed…

-I like it…

- I would like, I would like to know...

- We need to work on this...

6. Homework

1 minute

Teacher: Guys, work on the plot of a future film on a biblical theme. You can make several sketches on your chosen topic.

7. Org. end of lesson

1 minute

Teacher: Guys, we worked very fruitfully in class today. I would like to mention everyone, and especially...

Spiritual masterpieces of painting, stories about our native places and works of art from our native land make us kinder and morally richer. Remember: Christ rose again after way of the cross and crucifixion. Let the resurrection begin today in every family, in every soul. Let the images of the Bible and the greatest paintings come to your mind in days of sadness and joy, in moments of difficult choice of your path.

I would like to end the lesson with the words of a poem by our poetess, fellow countrywoman M.N. Bosikova.

I love my region.
How strange to hear
After all, every person loves his own land!
But the sky is blue here
the sun is higher!
And May is painted the color of lilac here.
Summer smells like rain and hay,
The river is calling with coolness...
And autumn is dressed in gold,
Clouds float in wisps,
Winter beckons into the distance along the ski track,
On a frosty morning the snow crunches,
And the river will overflow its banks in April.
The forest is noisy in the spring,
I love my region!
I've seen a lot of places
And you can go around half the world,
But closer and dearer than our native land,
I don't think I can find any more.

Department of Education of the Rechitsa District Executive Committee

State educational institution "Kholmechskaya" high school» Rechitsa district, Gomel region

Competition of scientific works “Biblical subjects in world art”

Nomination: “Biblical subjects in world art”

Topic: “Biblical stories in works of fine art”

Daria Vitalievna, 8th grade.

Project manager: Petrienko

Anna Viktorovna, history teacher

Gomel region, Rechitsa district, Kholmech,

2012

Introduction 3

Biblical scenes in painting early Middle Ages 4

Renaissance Artists 7

A) Early Renaissance 7

B) High Renaissance 10

B) Late Renaissance 15

Northern European Revival 18

Biblical subjects in Russian painting 22

6) Biblical subjects in painting of the 20th century 25

7) Conclusion 28

8) Literature 29

Introduction

For two millennia, the whole world has been brought up on fairy tales and legends, songs and parables taken from the Bible.

The Bible has reached us through centuries. They banned her and burned her, but she survived. It took 18 centuries to compile the Bible. Over 30 authors worked on it. 66 books of the Bible were written in different languages ​​by people living at different times.

Great artists of the world depicted biblical scenes in their paintings. Both artists and those interested in fine arts have their own idea of ​​the Bible: after all, it served as a source of subjects for countless works of painting, graphics and sculpture created over a huge, almost two-thousand-year historical period. Biblical stories have been given visual form in thousands of sculptures, frescoes, icons, paintings, drawings and engravings. Each such work offers its own version of a plot drawn from the Bible, the originality of which is determined by the personality and talent of the artist, who was influenced by a great variety of factors in the social and cultural life of his country and his era.

In the process of implementing the research, it is planned to carry out the following tasks:

generalize the study of the Bible by illustrating its individual plots with masterpieces of world painting;

improve the skills of analyzing paintings acquired in history lessons, the ability to correlate what they read with what they saw;

learn to see beauty in painting.

Biblical stories of the early Middle Ages

We can talk about the formation of a certain artistic style from about the 10th century. At that time, the peculiarity of medieval art was already clearly visible. They are just as typical for the popular perception of painting, for they are heard again and again in orders for the design of altar images and panels. A devout layman wanted to know more about the suffering and death of Christ than could be read in the Gospels. This desire to “see as much as possible” (or, more precisely, the desire to examine the Gospel scenes in the smallest detail) was reflected both in direct religious experiences and in the sense of closeness of religious experience to everyday life characteristic of that era. This integration of event art into reality required new ways of seeing - ways that found expression in the development of various forms and new motifs. Studying the main period of Gothic painting, which lasted from the mid-13th to the mid-15th centuries, we can easily trace this process of aesthetic and thematic reorientation in early Netherlandish art, and primarily in the work of Jan van Eyck. His famous works this is the Ghent Altarpiece (see page 3) commissioned by Jos Veidt for his family, V . Inscription on reports that it has been started, "the greatest of all", and finished by his brother, “second in art.” Consecrated. consists of 24 panels depicting 258 human figures. The height of the altar in the central part reaches three and a half meters, the width (when open) is five meters. The paintings that make up the altar are located on the outer and inner sides of the altar. In the closed state - on the outside of the altar is depictedand his wife praying in front of the statues And . The middle row shows the scene. Shapes and separated by an image of a window in which one can see, which is believed to correspond to the view from the window in the Veidt house. The top row of paintings shows figures And prophetesses who predicted the coming. When opened, the size of the altar doubles. In the center top row God the Father is depicted sitting on a throne (some sources write Christ). At the feet of God the Father lies a crown, symbolizing superiority over all kings.

To the left and right of the throne are images of the Mother of God and John the Baptist. This is followed by images of angels playing music. Angels - without wings. One of the angels (St. Cecilia) plays an organ with metal pipes. The series is completed by nude figures and. Above Adam and Eve are scenes of the murder and sacrifice of Cain and Abel. In the middle lower tier scene of worship of a sacrificial lamb, symbolizing Christ. In front of the altar is a symbol of Christianity. To the left of the fountain is a group of Old Testament righteous people, to the right are the people, and behind them are the lay people. Processions and pilgrims are depicted on the right side doors. On the left wings there is a procession of the army of Christ and the Righteous Judges.

Van Eyck's first dated work, Madonna and Child, or Madonna under the Canopy (1433). Madonna sits in an ordinary room and holds a child on her lap, leafing through a book. The background is a carpet and a canopy, depicted in perspective reduction. In “The Madonna of Canon Van der Paele” (see page 4) (1434) the elderly priest is depicted so close to the Mother of God and his patron St. George, which almost touches the white robes of her red cloak and knightly armor of the legendary dragon slayer.

We should not forget that a big role in painting was played by early Franco-Flemish illustrations for handwritten books and the work of Robert Campin (Master of Flémalles) - one of the pioneers of art Northern Renaissance, was among those masters who laid the foundations for a new, more free approach to depicting the surrounding world and man, to the interpretation of religious images. Unfortunately, from most of the early works, which were significant altar compositions, only fragments have reached us. However, they also allow us to judge the characteristic properties of the artist’s work. Kampen’s desire to “ground” is noteworthy gospel stories and emphasize the common people's thoroughness of the characters. The composition “Christmas” (see page 5) is one of Kampen’s most striking works. All the characters in this picture - from the majestic kneeling Mother of God to the ox looking through the shingles of the dilapidated wall of the stable - are conveyed vividly and convincingly, with remarkable perfection. At the same time, they are not related to each other; they can only be considered according to

separately. The master came close to solving the problem that invariably faced painters at that time: how to “put in place” various figures and objects, how to bring order into the world of the picture? To this question, Kampen found a surprisingly simple answer: he subordinated the composition of the painting not to the laws of geometry and optics (as his contemporaries did in Italy), but to the simple logic of home comfort, so familiar to any Dutchman. Kampen builds the compositions of his paintings with the same familiar ease with which a caring and experienced housewife puts things in order. “The Evil Thief on the Cross” (see page 6) (1430-1432) is the only surviving fragment of a large triptych. A gold background is traditional, on which the figures of the crucified man and two witnesses to his torment are depicted. At the same time, the plasticity of the naked body in Kampen’s painting is devoid of convention; it seems to have been painted from life. The faces of those present at the execution are very individual and expressive. Using a golden background, the artist, as in the Frankfurt altarpiece, leaves the lower part of the picture open, in which a distant landscape space appears. Approximately the same time can be attributed to the tiny Hermitage diptych, on the wings of which the “Trinity” and “Madonna and Child by the Fireplace” are depicted (see page 7). The image of God the Son here is close in design to the Christ of the Frankfurt “Trinity”, but his dead body does not imitate sculpture, but is subordinated to the general pictorial structure of the composition. If the left door gives a picture of the supersensible world, then on the right the artist turns to showing the real environment: in front of the viewer is a typical room of a burgher house with the characteristic furnishings of that time. The houses of the town are visible behind the lattice window. Maria is depicted in a cozy interior: with the naturalness of a simple woman, she sits by the fireplace, surrounded by ordinary household objects. However, at first glance, the viewer sees in this picture something more that goes beyond the ordinary: the life of the space depicted by the artist seems to have stopped, not subject to the usual flow of time; things, with all their concreteness, are perceived as belonging not to prosaic reality, but to some other, ideal to the world. Each depicted object, becoming a symbol, seems to radiate imperishable beauty: thus, the washbasin and towel symbolize the purity of Mary, the open window and the light pouring from it - the presence spiritual origin, fireplace - evil forces from which Mary protects the baby.

Renaissance Artists

The Renaissance is a very difficult era. Here we see hundreds of names, dozens of treatises on art, and only some of them are directly devoted to aesthetics.

Renaissance culture is rich in names, especially the names of artists Michelangelo Buonarotti (1475-1564), Raphael Santi (1483-1520), Leonardo da Vinci (1452-1519), Titian Vecellio (1488-1576), El Greco (1541-1614) and etc.

Artists strive to generalize ideological content, synthesis, and their embodiment in images. At the same time, they are distinguished by the desire to highlight the main thing, the main thing in the image, and not the details, particulars. In the center is the image of a person - a hero, and not of divine dogma taking on human form. The idealized person is increasingly interpreted as a citizen, a titan, a hero, that is, as a modern, cultured person.

Many artists of this time create one thing and think something completely different. They often create truly new artistic forms, so that there is no doubt at all about their novelty, but at the same time these same masters in their inner and spiritual life are literally torn to pieces, do not know what to do, endlessly repent and alternately throw themselves away. one artistic position to another.

The Renaissance itself is conventionally divided into a number of stages:

· Early Renaissance (trecento and quattrocento) - mid-XIV - XV centuries;

· High Renaissance (cinquecento) - until the second third of the 16th century;

· Late Renaissance - second third of the 16th - first half of the 17th century.

A) Early Renaissance - mid-XIV - XV centuries.

In the early Renaissance, free human individuality comes to the fore and that this individuality is usually expressed here very strongly.

Giotto di Bondone (a key figure in the early Renaissance, the first to endow the figure with feeling, defining the composition, and individualize space and event). His painting style was mandatory for the 14th century. With the name Giotto di Bondone (1266/1267 –

1337) is associated with a decisive turn towards realistic art. The most famous works of Giotto that have survived to this day are considered to be paintings on gospel subjects in the Chapel del Arena in Padua and paintings on themes from the life of Francis of Assisi in the Church of Santa Croce in Florence.

In these masterpieces, the master abandons the flat character of iconographic images based on a synthesis of volume and plane. One of the most touching images, created by Giotto, is rightfully considered the image of Christ in the scene “The Kiss of Judas” (see page 9) (frescoes of the Arena Chapel in Padua, 1304-1306). The master managed to convey the high drama of the scene through the gaze of Christ turned to the traitor. At the same time, Giotto managed to convey the calmness of Christ combined with a clear awareness of his destined fate.

The theme of the fresco “Christ and Judas” runs as a leitmotif through the entire Padua cycle (“Meeting of Mary and Elizabeth” (see page 10), “Flight into Egypt” (see page 11), “Mourning of Christ” (see page 12 ) and etc.). Giotto's innovation had a tremendous impact on the fine arts of the Renaissance.

Outstanding master Early Renaissance considered Sandro Botticelli (1445-1510). His works are based on religious and mythological subjects, they are marked by spiritual poetry, the play of linear rhythms, and subtle color. “The Crucifixion” (see page 13), “Christ Carrying the Cross” and “The Mystical Nativity” (see page 14) represent the embodiment of Botticelli’s unshakable faith in the revival of the Church. These two paintings reflect the artist's rejection of the secular Florence of the Medici era.

The great painter of the early Renaissance was Masaccio (1401 - 1428) - a painter in whose paintings laconicism, energetic development of action, expressiveness of facial expressions and movements opposed the former leisurely verbosity, replete with inserted episodes of the story. “The Miracle with the Statir” (see pp. 16-17) (1428) is a multi-figure composition: upon entering the city of Christ, he and his disciples were asked for a fee - a statir (coin). By order of Christ, Peter caught a fish in the lake and found a statir in its mouth, which was handed over to the guard. The majesty of the figures of the apostles entering the city, the masculinity of faces with individualized features of people from

people, the naturalness of gestures and movements, the introduction of genre moments in the scene of Peter's search for a coin - everything is of a bright, deeply truthful nature.

In another work of Masaccio, the painting “Expulsion from Paradise” (see page 18), for the first time in Renaissance painting there is an image of naked figures powerfully modeled by side light. Confusion, shame, and repentance are depicted through movements and facial expressions. Masaccio's innovative quest - ways further development realistic painting.

The great Dutch painter Bosch represents a completely different artistic phenomenon. He had an encyclopedic knowledge of theology and science, literature and medicine. In some incomprehensible way, he managed to combine medieval fantasy, folklore, satirical and moralizing tendencies. All of the artist’s work is permeated by one theme: the struggle between good and evil, divine and hellish forces. “The Garden of Earthly Joys” 9 cm. sl 19-20) or “The Garden of Delights” (1503). On the left side of this triptych Paradise is depicted, on the right - Hell, and between them there is an image of earthly existence. The left side of the "Garden of Delights" depicts the scene of the "Creation of Eve", and paradise itself glitters and shimmers with bright, fulfilling colors. Against the backdrop of a fantastic landscape of Paradise, filled with a variety of animals and plants, the master shows the awakening Adam. Adam, who has just woken up, rises from the ground and looks in amazement at Eve, whom God shows him. The famous art critic C. de Tolnay notes that the amazing look that Adam casts on the first woman is already a step on the path to sin. And Eve, extracted from Adam’s rib, is not just a woman, but also an instrument of seduction. In the composition “The Garden of Earthly Joys” there are three plans: the foreground shows “various joys”, the second is occupied by a cavalcade of numerous horsemen who ride various animals, the third (the farthest) is crowned with a blue sky, where people fly on winged fish and with the help of their own wings The whole picture may appear before the viewer in a different light: the artist himself invented this nightmare, all the agonies and torments take place in his soul. However, Bosch was a deeply religious man, and he could not even imagine placing himself in Hell. Most likely, the artist should be looked for among those images that convey Light and Goodness in his paintings; it is not for nothing that he belonged to the Brotherhood of the Virgin Mary.

B) High Renaissance - until the second third of the 16th century.

Period High Renaissance was relatively short and associated primarily with the names of three brilliant masters- Leonardo da Vinci (1452-1519), Raphael Santi (1483-1520) and Michelangelo Buonarroti (1475 1564).

Leonardo da Vinci was the most striking personality, showing the world the ideal of the “universal man” of the Renaissance. Combining the development of new means of artistic language with theoretical generalizations, he created majestic canvases, among which the most famous are “The Last Supper” (see page 22) and “La Gioconda.” The composition of “The Last Supper” by Leonardo da Vinci was commissioned by Duke Lodovico Moro, who ruled Milan. From his youth, moving in a circle of cheerful bacchantes, the Duke became so corrupted that even a young innocent creature in the form of a quiet and bright wife was unable to destroy his destructive inclinations. But, although the Duke sometimes spent, as before, whole days in the company of friends, he felt sincere affection for his wife and simply revered Beatrice, seeing in her his guardian angel.

When she died suddenly, Lodovico Moro felt lonely and abandoned. In despair, having broken his sword, he did not even want to look at the children and, moving away from his friends, languished alone for fifteen days. Then, calling on Leonardo da Vinci, who was no less saddened by this death, the Duke rushed into his arms. Under the impression of the sad event, Leonardo conceived his work - “The Last Supper”. Subsequently, the Milanese ruler became a pious man.

For his fresco on the wall of the refectory of the monastery of Santa Maria, della Grazie da Vinci chose the moment when Christ says to his disciples: “Truly I tell you, one of you will give me.” These words precede the culmination of feelings, the highest point of intensity of human relations, tragedy. But the tragedy is not only of the Savior, it is also the tragedy of the highest Renaissance, when faith in cloudless harmony began to crumble and life did not seem so serene.

“One of you will betray me...” - and the icy breath of inevitable fate touched each of the apostles. After these words on their faces

a variety of feelings were expressed: some were amazed, others were outraged, others were saddened. Young Philip, ready for self-sacrifice, Jacob threw up his hands in tragic bewilderment, Peter, who grabbed the knife, was about to rush at the representative, right hand Judas is clutching a purse with fatal silver coins... For the first time in painting, the most complex range of feelings has found such a deep and subtle reflection. All this in the fresco is done with amazing truth and care, even the folds on the tablecloth covering the table look real.

In Leonardo's work, all the figures in the composition are located on the same line - facing the viewer. Christ is depicted without a halo, the apostles without their attributes, which were characteristic of them in ancient paintings. They express their emotional anxiety through their facial expressions and movements.

The most famous were also his paintings such as “The Annunciation”, “Madonna with a Flower” (see page 23) ( Madonna Benoit), “Adoration of the Magi” 9cm. sl. 24), “Madonna in the Grotto” (see page 25). Before Leonardo da Vinci, artists usually depicted large groups people, with the foreground and background faces standing out. The painting “Madonna in the Grotto” for the first time depicts four characters: Madonna, an angel, little Christ and John the Baptist. But each figure is a generalized symbol. "Renaissance" knew two types of images. These were either a static image of a solemn ceremony, or a story, a narration on some topic. In “Madonna...” there is neither one nor the other: this is neither a story nor a foreshadowing, it is life itself, a piece of it, and here everything is natural.

Typically, artists depicted figures against the backdrop of a landscape, in front of nature. In Leonardo, they are in nature, nature surrounds the characters, they live in nature. Da Vinci moves away from lighting techniques and sculpting images with the help of light. It does not have a sharp border between light and shadow; the border seems to be blurred. This is his famous, unique “sfumato”, haze.

Leonardo's younger contemporary, the great painter Raphael, went down in history as the creator of a series of masterpieces related to the image of Madonnas (artistic images of the Mother of God).

Raphael's greatest creation - “ Sistine Madonna"(see page 27). In Raphael's painting the Madonna appears to the deceased Pope Julius II

turned into a phenomenon to her people, which was told about in ancient legends. In such legends, the people’s aspirations for justice, desire and need were expressed. ordinary people imagine the heavenly queen and patroness in close proximity. However, Raphael did not limit himself to just retelling the medieval legend. In the history of creation itself famous work Raphael is still much shrouded in mystery; some art historians believe that his Mary has almost lost the halo of holiness; a crown does not flicker on her head; brocade fabrics are not held behind her; on the contrary, she is wearing a bedspread and a cloak made of smooth fabric, her feet are bare, and in essence This simple woman No wonder many people noticed that she was holding the baby the way peasant women usually hold them. But this barefoot woman is admired by the wind as a queen - the mistress of heaven. Pope Sixtus took off the tiara in front of her and carefully placed it in the corner. The earthly ruler, like the Magi before the Christmas manger, bares his forehead, and an old man appears before the viewer, almost trembling with excitement. There is no earth or sky in the picture, there is no familiar landscape or architectural decoration in the depths. All the free space between the figures is filled with clouds, more dense and dark at the bottom, more transparent and radiant at the top. The heavy, senile figure of Saint Sixtus, buried in the heavy folds of the golden-woven papal vestments, froze in solemn worship. His hand extended to us eloquently emphasizes main idea the paintings are the appearance of the Mother of God to people. On the other side, Saint Barbara is leaning, and both figures seem to support Mary, forming a closed circle around her. Some call these figures auxiliary, secondary, but if you remove them (even if only mentally) or even slightly change their position in space, the harmony of the whole will immediately be destroyed. The meaning of the whole picture and the very image of Mary will change. Reverently and tenderly, Madonna presses her son, sitting in her arms, to her chest. Neither mother nor child can be imagined separately from each other; their existence is possible only in indissoluble unity. Mary, the human intercessor, carries her son towards the people. Her lonely procession expresses all the mournful and tragic sacrifice to which the Mother of God is doomed.

The last titan of the High Renaissance was Michelangelo - great sculptor, painter, architect and poet. Despite his versatile talents, he is called the first draftsman of Italy

thanks to the most significant work of an already mature artist - painting the vault of the Sistine Chapel in the Vatican Palace (see page 27) (1508-1512). The total area of ​​the fresco is 600 sq. meters. It is an artistic illustration of biblical scenes from the creation of the world. The ceiling of the Sistine Chapel depicts almost all the key moments from the Bible, from the creation of the world to the Last Judgment. On the ceiling of the Sistine Chapel, Michelangelo created images in which to this day we see highest manifestation human genius and human daring. Meanwhile, the thought that some enemies were plotting against him did not leave him. “I do not care,” he wrote in one of his letters, “neither about health nor about earthly honors, I live in the greatest labors and with a thousand suspicions.” And in another letter (to his brother) he declared with full right: “I work through strength, more than any person who has ever existed.”

The greatest representative of the Venetian school is Titian Vecellio (c. 1489/90-1576). Titian's works attract with the novelty of their solutions, especially coloristic and compositional problems. For the first time, an image of a crowd appears on his canvases as part of the composition. Titian's most famous works: “The Penitent Magdalene” (see pp. 28-29), “Saint Sebastian”, etc. The gallery of portraits of his contemporaries made by him was the subject of deep study and imitation for subsequent generations of European painters.

The German Renaissance was the work of one generation of artists and was exhausted by the end of the 16th century. The greatest artist, Mathis Niethardt (1460/1470 -1528), nicknamed Grunewald, worked simultaneously with Dürer. He is a master of expressive, dramatic religious images imbued with mystical vision. Grunewald is more associated with the Gothic heritage than Durer, but with the power of images and the grandeur of the sense of nature he is inseparable from the Renaissance. The coloristic richness of his painting belongs to highest achievements national artistic culture Dürer was only 27 years old when he conceived the "Apocalypse" (see pages 30-31). Brave decision! Even the form of publication was unusual. Contemporaries were accustomed to religious books with engravings and illustrations, which they bought for the sake of the text; illustrations played a modest role in them.
Dürer conceived something completely new: 15 engravings with short quotes on

revolutions combined into one whole - Album of illustrations. Album of images. In Dürer's time there was not even a name for such a publication!
"Apocalypse" is the most mysterious, darkest, most confusing part of the "New Testament". Durer erected on the sheets of his "Apocalypse" stone cities and grew mighty trees, brought crowds of people, made rivers flow, forests rustle, grass rustle, ships sway on the waves, and swans glide slowly through the water. And in the skies above this beautiful world he placed visions - sometimes mysterious and menacing, sometimes remaining in the mountain heights, sometimes flying to the ground.

“Adam and Eve” by Albrecht Durer is one of the artist’s greatest creations. This is a masterpiece of world painting of all times and peoples. For centuries, the story of Adam and Eve was told as the story of the Fall, for which the ancestors of mankind were expelled from paradise... Dürer forgot everything that he knew and taught about it from childhood. And I remembered everything I knew about beauty and love.

Along with portraits, Albrecht Dürer also painted traditional Northern Europe altar paintings and compositions. The most tragic of them is “The Seven Passions of Mary” (see page 32), where Dürer dressed Christ’s tormentors in the clothes of his fellow tribesmen and contemporaries. And to those he said: Golgotha ​​is not somewhere and sometime. This is here and now. Golgotha ​​is everywhere, where defenseless people are persecuted and tortured, where heavy crosses of suffering are placed on them, where they are crucified. Golgotha ​​is everywhere where there are people who agree to knock together these crosses, put them on other people’s shoulders, pierce other people’s hands and feet with nails, torture and crucify those given into their power. The most festive, bright and flawless color scheme- “The Festival of the Rosary” (see page 33), where, enjoying his skill, the artist painted red brocade, purple and violet velvet, dark blue silk, the menacing shine of steel, dark cloth, the sparkle of gold and precious stones, the noble pattern of the carpet, the tenderness of pale red and white roses.

In addition to the altar compositions, many images of the Mother of God have been preserved. Durer's Madonna (see page 34) is most often young, charming, with a soft face, tender lips, and thoughtfully half-closed eyes. When you look closely at her incarnations, it seems that they all go back to the real image.

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B) Late Renaissance - second third of the 16th - first half of the 17th century

The Late Renaissance period was marked by a number of important changes in art. Many painters, poets, sculptors, and architects abandoned the ideas of humanism, inheriting only the manner and technique (so-called mannerism) of the great masters of the Renaissance.

Among the major founders of Mannerism are Jacopo Pontormo (1494-1557) and Angelo Bronzino (1503-1572), who worked primarily in the genre of portraiture. The work of Jacopo Tintoretto (1518-1594), a representative of the Venetian school of the Late Renaissance, who tried to compete with Michelangelo in the grandeur of his plans, can be attributed entirely to mannerism. He creates a surreal world in which the artist’s personal emotions are always present.

Pontormo Jacopo (1494-1557) - founder of the so-called mannerist, or anti-classical movement. The term mannerism is based on the word "manner", that is, the method or nature of writing, in the narrow sense - the style of a work of art.

Largest place Pontormo’s work is dominated by deeply tragic images, expressed primarily in his church paintings and paintings, in the “Entombment” created in 1525-1528 (see page 35) for the church of Santa Felicita. The action takes place against a fantastic neutral backdrop. The figures are piled one above the other along the plane of the picture, and they seem to be devoid of gravity, as if they are floating in various poses. The coloring is based on pure, dissonant colors. They are placed in large spots and create mystical lighting.

One of the greatest painters of Venice was Jacopo Robusti, nicknamed Tintoretto (1518-1594), who created his own artistic style. His complex compositions with an abundance of figures and the action of large masses in rapid motion are full of dynamism and expression. He is characterized by a tragic perception of life, caused by the discord between the ideal and the real. He turned to biblical themes. The paintings of this period are imbued with a certain amount of mysticism (“The Presentation of Mary into the Temple” (see page 36), paintings in the building of the brotherhood of St. Rocco). Tintoretto worked continuously, intensely and selflessly, often for free.

Domenico Theocopuli (1541-1614) (this is the real name of El Greco) a legendary master whose fate is mysterious and full of miracles. His painting occupies a very special place in the history of European art. El Greco is one of the outstanding painters of the late Renaissance, the author of paintings on religious and mythological subjects and genre paintings.

Thanks to the altar paintings “Trinity” (see page 37), “Resurrection of Christ” and others, the artist gained wide fame.

In 1579, for the Toledo Cathedral, El Greco performed “Espolio” (see page 38) (“The Removal of Christ’s Clothes”). The composition was an unprecedented success.

The main motive of El Greco's work always remained religious paintings, executed for churches, monasteries, hospitals of Toledo, Madrid and other cities. The artist is interested in the motifs of the martyrdom of saints (“Martyrdom of St. Mauritius”), the theme of the “holy family” (“Holy Family” (see page 40)), scenes from the life of Jesus Christ (“Carrying the Cross” (see page 39) , “Prayer for the Cup”). A special place in El Greco’s art is occupied by images of saints; the artist often depicts them talking with each other (“St. John and St. Francis”, “Apostles Peter and Paul” (see page 41)). El Greco's later works (“Laocoon”, “The Opening of the Fifth Seal” (see page 44)), in which the artist’s imagination takes on bizarre, surreal forms, were not understood by his contemporaries.

The founder of the realistic movement in European painting XVII century is Michelangelo da Caravaggio (1573-1610). The master's canvases are distinguished by their simplicity of composition and emotional tension expressed through the contrasts of light and shadow. Among Caravaggio’s paintings there are no festive subjects such as “The Annunciation”, “Betrothal”, “Introduction to the Temple”, which were so loved by the Renaissance masters. He is attracted to tragic themes. On his canvases people suffer and experience cruel torment. Caravaggio observed these hardships of life. In the painting “The Crucifixion of St. Peter” (see page 43) we see the execution of the apostle, who was crucified on the cross upside down. “The Conversion of Saul” (see page 44) shows the merciless persecution of Christians, their death under the heel of a horse and Saul’s moment of insight. On the way to Damascus, he was suddenly blinded by a heavenly ray, and, falling from his horse, he heard the voice of Christ: “Saul, why are you persecuting me?” After Saul's epiphany

becomes one of the most devoted disciples of Christ - the Apostle Paul. How folk drama Caravaggio shows the scene of the “Entombment” (see next 45). The lifeless body of Christ is carefully supported by the disciples. The frozen hand of the Savior hangs to the coffin slab, above the black space of the grave.

IN Caravaggio's paintings Gospel stories are struck by the everyday appearance of the characters. In gospel scenes he shows the life of the common people. Caravaggio's contemporaries testify: he despised everything that was not copied from life. The artist called such paintings trinkets, children's and doll's things.

Europe accepted the innovative spirit of the Italian, and in Italy the Church decisively rejected Caravaggio's naturalism. And, apparently, not by chance, because the Italian Renaissance has already ended. Italy said almost everything she could say. It was the turn of the Northern European Renaissance.

Northern European Renaissance

The pinnacle of the Northern European Renaissance was the work of Harmens Van Rijn Rembrandt (1606 – 1669). Rembrandt, perhaps more than anyone else, was able to deeply moving, truthfully reveal the inexhaustible richness of the inner world of man.

Dutch painters for the first time saw a person as he is in life, and reflected in art various aspects of his everyday existence. Some of them approached the solution of a more complex task - to reflect the beauty and significance of the spiritual world of an ordinary person

It would seem that by turning to biblical and evangelical themes, Rembrandt is moving away from depicting the society of his time. In fact, his biblical and evangelical heroes are in many ways reminiscent of ordinary people of his time, who invariably attract the artist’s sympathies. In his mind, biblical heroes serve as vivid personifications of wonderful human qualities. The artist sees in them spiritual greatness, inner integrity, stern simplicity, and great nobility. They are not at all like the petty, self-satisfied burghers of his contemporaries. Genuine human passions are increasingly reflected in the artist’s canvases; more and more often, theatrical drama, a “terrible” event will be replaced by the true drama of life. These new features clearly appear in the Hermitage painting “The Descent from the Cross” (see page 46), painted in 1634. Night. Mournful silence. A silent crowd of people surrounded the huge cross on which Christ was crucified. They came to Golgotha ​​to pay their last respects to their teacher. In the cold light of torches, they remove his dead body from the cross. One of the men, climbing the ladder, pulls out the nails with which Christ is crucified on the crossbar; others take his sliding body into their arms; women prepare a bed for the remains by spreading a large, heavy cloth on the ground. Everything is done slowly, in respectful and sad silence. The experiences of those gathered are different: some faces express bitter despair, others - courageous grief, others - awestruck horror, but each of the people present is deeply imbued with the significance of the event. The grief of an old man who accepts the dead Christ is limitless. He holds it with noticeable effort, but very carefully, cautiously, touchingly touching his cheek

lifeless body. Maria is exhausted from grief. She is unable to stand, loses consciousness, falls into the arms of the people who carefully surround her. She's deathly pale haggard face, eyelids closed, the weakened hand of the outstretched hand drooping helplessly. The picture captivates with deep penetration and life truth. Only the exaggeration of some movements and gestures reminds us of Rembrandt's baroque hobbies.

Throughout the 40s, Rembrandt several times addressed the theme of the holy family. One of the best solutions to this theme is the Hermitage painting “The Holy Family” (see page 47), created by the artist in 1645. The gospel scene gives the viewer many associations with everyday folk life, contemporary with Rembrandt. Silence and peace are disturbed only by the familiar sounds of life at home. Burning wood crackles, and the quiet, monotonous sound of a carpenter's ax is heard. The room is shrouded in gentle twilight; from different sources Light gently pours in, tremblingly sliding across Mary’s face, illuminating the cradle, giving the image a touch of spirituality. The child moved slightly in his sleep, and the woman, obeying the subtle maternal instinct, looks up from reading, lifts the curtain and looks at the baby with concern. She is the very sensitivity, the very alertness. Essentially, the great humanity and soulfulness of the painting is created by just one glance. The bright sublimity of the captured moment is also reflected in the fact that angels silently descend to the mother and boy.

In 1660, Rembrandt created the famous painting “Assur, Haman and Esther” (see page 48) . The plot of the film was based on a biblical myth known as “The Feast of Esther.” Haman, the first vizier and friend of the Persian king Assur, cruelly slandered the Jews before the king, hoping to achieve their extermination. Then Queen Esther, who came from Judea, stood up for her people. Having invited Assur and Haman to the feast, she spoke about the vizier’s slander, and the treacherous face of the man whom he considered his friend was revealed to the king. The artist depicts that moment of the feast when Esther finished the story and a deep, painful silence reigned. The queen's beautiful eyes are sad. Without looking at her hands, Esther mechanically wrinkles her handkerchief. She is still completely at the mercy of what she has experienced. It was painfully difficult for her to utter words of reproof; like the king, she believed the vizier, treated him as

to a friend. Assur was shocked by what he heard and bitterly disappointed. His big eyes filled with tears. At the same time, noble anger awakens in him, and he powerfully clutches the scepter. Haman is depicted in deep shadow, alone. An invisible abyss separated him from the king and queen. The consciousness of doom presses him like an unbearable burden: he sits hunched over, head down, eyes closed; the hand holding the cup lies powerless on the table. He is oppressed not even by the fear of death, but by the grave consciousness of moral loneliness. He understands that Assur and Esther will never forgive him, no matter how hard it is for them to condemn their friend.

There are few personalities in the history of art as mysterious and controversial as Bruegel. The Renaissance idea of ​​the importance of the human personality did not fit into Bruegel’s artistic concepts. In his drawings and paintings, he often hides faces altogether, depriving the figures of any individuality. A similar trend can be seen in the depiction of biblical characters. He moves them somewhere to the side, hides them among ordinary people. This is how we see Mary and the Lord in the village square, John the Baptist with Christ in the crowd of people, and the “Adoration of the Magi” (see verse 49) is generally hidden behind a curtain of snowfall.

Bruegel's man has freedom of choice, and bears responsibility for his own misfortunes. A person is forced to make the choice between good and evil, between faith and unbelief constantly, throughout his life - just as his ancestors were forced to make this choice and as many other people make it today. Hence, another feature of Bruegel’s works, which makes them similar to icons, but is very rarely found in modern art, is the combination of temporal and spatial layers. In such paintings as “Procession to Golgotha” (see page 50), “Census in Bethlehem”, “Massacre of the Innocents”, “Sermon of John the Baptist” (see page 51), “Conversion of Paul” (see page 52), "Nativity", in the engraving "Assumption of Our Lady" biblical characters are present among Bruegel's contemporaries leading their daily normal lives, biblical scenes are played out against the backdrop of Flemish urban and rural landscapes. For example, the figure of the Savior bent under the weight of the cross is almost lost among the many other impressions of any of the people depicted in the picture, and these people make their own moral choice, not realizing that they see God in front of them. IN later works Bruegel deepens the mood of pessimistic reflection.

In the famous “The Blind” (see page 53) (1568), the gospel parable is used to embody the idea of ​​blind humanity, having lost the will to fight and passively following fate-fortune. The leader, leading the chain of blind cripples, falls, the rest, stumbling, uncontrollably follow him; their helpless gestures are convulsive, the stamp of destructive passions and vices sharply appears in their faces, numb with horror, turning them into deathly masks. The intermittent and uneven rhythm of movement of the figures develops the theme of imminent death. However, as before, the serenely harmonious nature of the background appears as a contrasting alternative to human vanity, with its idyllic peace, as if suggesting a way out of the tragic impasse.

Biblical subjects in Russian painting

Images of the Holy Land, evangelical events that took place in holy places, became the object of comprehension and depiction on canvas for many Russian artists. Some of them personally visited the countries of the biblical region, incl. and with the assistance of the Imperial Orthodox Palestine Society. Unforgettable impressions, unusual colors, and oriental flavor were reflected in the creativity of pilgrim travelers with easels, which made the impact of their paintings on the viewer stronger.

The beginning of time and everything on the planet, the creation of the world and man, the Fall in Paradise, the first murder of brother by brother, the global flood - reflection on these global philosophical topics, described in the Bible, invariably provided food for artistic understanding of Old Testament events in Russian painting. These key subjects for the human worldview were addressed by masters of different schools and movements; they all wanted to convey to the audience their own vision of the images generated by their imagination and transferred to canvas. One of these masters was Ivan Aivazovsky. Belonging by religion to the Armenian Apostolic Church, Aivazovsky created whole line paintings on biblical subjects. Painting “Chaos. The Creation of the World" (see page 54) by Aivazovsky was honored to enter permanent exhibition Vatican Museum. Pope Gregory XVI awarded the artist a gold medal. On this occasion, Gogol jokingly told the artist: “Your “Chaos” created chaos in the Vatican.”

All the evangelists describe the miracles that Jesus Christ performed during his earthly life. These were both phenomena that changed the nature of things, as well as healings of the suffering or even the resurrection of the dead. All miracles were performed not as tricks, but were aimed at reassuring people and their salvation; not one of those healed or resurrected returned to their former sinful life. Thus, the Divine essence of the Son of God was revealed; witnesses of miraculous deeds were able to believe themselves and spread the teaching of the Truth to others. An example is the painting “Jesus Christ Saves Drowning Peter” (see page 55) by N. M. Alekseev (1813-1880). 1850

The allegorical and metaphorical nature of Christ’s preaching made it easier for followers to perceive His teaching. In the gospel stories

More than 30 completed stories are described in the form of parables - edifying figurative stories told by Christ to the people. The plots of the parables were simple, usually taken from everyday life, and were understandable to the listeners. Christ himself explained to the apostles the reason for using parables this way: “because it has been given to you to know the secrets of the Kingdom of Heaven, but it has not been given to them..., therefore I speak to them in parables, because seeing they do not see, and hearing they do not hear, and they do not understand.” Russian artists willingly used the subjects of gospel parables for their paintings. “Conversation of Christ with the disciples” (see page 56) Botkin Mikhail Petrovich. 1867, “Sermon on the Mount” (see page 57) Lomtev Nikolai Petrovich (1817 - 1859). 1841, “Christ’s Sermon in the Temple” A. A. Ivanov. 1850s, “Christ the Sower” (see page 58) Kuzma Sergeevich Petrov-Vodkin. 1915, “The Prodigal Son” (see page 59) Nikolai Dmitrievich Losev. 1882

Popular in Western fine art and quite rare in Russian painting, the biblical story of the flight of the Holy Family to Egypt reflects events after Christmas. The flight to Egypt is mentioned only in the Gospel of Matthew. After the wise men, having brought their gifts to the baby Jesus, did not return to King Herod, an angel appeared to righteous Joseph in a dream, commanding: “Get up, take the Child and His Mother and flee to Egypt, and be there until I tell you, for Herod wants to look for the Child in order to destroy Him” (Matthew 2:13). Joseph carried out this order and at night with the Virgin Mary and the baby Jesus went to Egypt, where he remained until the death of Herod. This plot is depicted in the paintings “Flight into Egypt” (see page 60) by N. Koshelev (1890)

The Passion Cycle is a cycle of stories based on the final parts of the Gospels, telling about last days the earthly life of Jesus Christ, His sacrificial death and suffering (passion) on the cross: from the Last Supper with the disciples to the “Entombment” (see page 61) and the Resurrection. In this cycle we can highlight such subjects as “Prayer for the Cup” (see page 62), “Pilate’s Trial”, “Desecration of Christ”, “Flagellation of Christ”, “Carrying the Cross”, “Crucifixion”, “Entombment” "

After the Last Supper, Christ retired to the olive grove (Garden of Gethsemane) and prayed to the Father: “My Father! If it is possible, let this cup pass from Me” (Matthew 26:39). This episode is called “The Prayer of the Cup.” Next to Christ they show three disciples who had fallen asleep with Him in the garden: Peter, James, and John.
Then follow the episodes: “Carrying the Cross”, Crucifixion, “Entombment”. An image of the suffering Savior wearing a crown of thorns with his hands folded on his chest or with open palms,

showing wounds from nails, in ancient Russian art called “The Man of Sorrows.”

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Biblical scenes from 20th century painters.

Marc Chagall h a human torch illuminating with spiritual light that which is difficult for the eye to see, but for which every soul yearns to God - that's how it is image of Marc Zakharovich Chagall. “The Biblical Message of Marc Chagall” has 17 canvases and is thematically divided into two parts. The first part of the “Message”, united by a common blue-emerald color scheme, is mainly associated with the five books of Holy Scripture, called the “Pentateuch of Moses”. The second part, designed by the artist in bright red colors, is inspired by one of the most mysterious books Bible - “Song of Solomon.” The exhibition of the “Biblical Message” opens with a large multi-figure canvas “The Creation of Man” (see page 65). I note that the picture is programmatic for the entire first part of the “Message”. I would like to begin the story about her with words from “Genesis” - the first book of Holy Scripture: “And God created man in His own image” (Genesis 1:26). The Bible describes in great detail how God communicated with people. The Creator appeared to prophets or other chosen people, but He always remained invisible. Therefore, they could not imagine the appearance of the Creator, nor could they comprehend all of His infinite depth. On this basis, in the ancient Jewish and early Christian traditions, the image of God was absent. Hence, in this painting by Chagall, we do not see the Creator, but we contemplate His act: the creation of the first man. And although the artist follows tradition, nevertheless, it is in this painting that he touches on the theme of the similarity of the Creator with His creation, that is, with man. He solves it to the point of genius, simply and at the same time deeply sacred.

The image of Jesus Christ, depicted by Chagall at the most difficult and decisive moment for the fate of humanity - the crucifixion - is the key figure of the circle. The traditional Jewish prayer scarf (tales), depicted by Chagall as a loincloth of Jesus, emphasizes His belonging to the chosen people. It is known that the New Testament opens with four books of the Evangelists, which describe the life of Jesus, complementing and deepening one another, viewing history as if from the four corners of the world. Thus, in the third chapter of the Gospel of Luke (Luke 3.23-38) the family tree of Christ is recorded. Among His relatives or ancestors are the names of David, Jacob, Noah and Abraham. Here is the answer to this riddle. Chagall placed on the canvas “The Creation of Man” only those heroes of the Bible who have

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family connection with Jesus Christ. The first canvas of the second part is called “Paradise”, the second - “Expulsion from Paradise”. Along with Adam and Eve, the extraordinarily beautiful Chagall paradise is a full-fledged hero of these two works. In the Bible, Paradise - “Garden of Eden” or “Paradise” - is the earthly place of the creation of man. As in “The Creation of Man,” Chagall placed the sun in the center of the canvas “Paradise” (see page 66). Compositionally, it divides the canvas into two parts, which in turn display two events: on the left - Adam and Eve before the Fall, on the right - after it. Chagall filled his fabulous paradise with fantastic plants, mythical birds, animals and barely noticeable, as if otherworldly creatures. He created a special world where everyone who lives there moves in space as they please. Here fish swim in the sky together with people, and birds swim in the depths of the waters, not paying attention to the people frolicking nearby. More precisely, there are no such concepts as heaven and earth, here is another dimension. The life of creatures in Chagall's paradise is very similar to a dream in which any person can walk through a stone mountain or fly like a bird from branch to branch, or can feel like an animal, a fish, or even an unknown fantastic entity. The canvas “Expulsion from Paradise” (see page 66), saturated with emerald and cornflower blue tones, is an even brighter picture than the canvas “Paradise”. From the Bible we know that a river flowed through Eden. In Holy Scripture, water, be it a river or stream, is associated with life, and the absence of water is associated with death. Therefore, in biblical texts, rivers were often mentioned along with saving benefits. Thus, God guides the world like a river (Ex. 66:12), or the wisdom of the book of the covenant is compared to the watery wealth of rivers (Sir. 24:27). The Chagall River, reminiscent of a fluttering azure ribbon, is swift, like a mountain stream, and incredibly beautiful; it is truly a heavenly river, personifying life. Life inside and around her is simply in full swing. Before the Fall, people did not know what death was. Their life was endless, like this river. After people encroached on the forbidden fruit of paradise from the “Tree of Knowledge”, they were prohibited from living in Paradise. In the language of Chagall's painting, God separated the first people from the endless river of life. It is no coincidence that the Archangel, with his blue, like water, rod, drives Adam and Eve not from paradise in general, but from the river. The river, like a cobalt divide, separates their former paradise life from future life outside of heaven. Ahead of people is not only goodness and love, but also the knowledge of evil and death. The next two canvases of the “Messages” are dedicated to the forefather Noah. In the painting "Noah's Ark"

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(see f. 68) Noah is presented with despondent and tired people floating in an unknown direction during the flood.

Salvador Dali also turned to biblical subjects in his work. Dali turned to the classic artistic heritage and became an ardent supporter of Catholicism. In 1949 he created a painting"Madonna of Port Lligat"» (see page 70), which was presented to Pope Pius XII. One of the brilliant paintings of this period -"Christ of San Juan de la Cruz" (1951. Glasgow. Art Museum). The pinnacle of Dali's spiritual quest was the canvas“The Last Supper” (see page 69)(1955. Washington. National Gallery). It, like many other works of the artist, is constructed as an encrypted text.

Conclusion

The Christian religion has always assigned a service role to the visual arts. Supporting role of mediator, illustrator Holy Scripture. But this service function revealed the centuries-old vitality of Christian art. Works of the early Middle Ages, the Renaissance, and Russian painters invariably demonstrate spiritual power, artistic power and the inexhaustibility of the religious canon. But since the era Italian Renaissance fine art gradually moved away from the power of the church, a special religious mission and Christian spirituality gave way to pragmatism, mercantile interests, sensuality and the vanity of the material world. The rapid secularization of fine art and the improvement of methods of form-making led to a noticeable degeneration of biblical subjects. They began to be used speculatively. Already in the paintings of Raphael, Madonna was represented as a simple, only slightly idealized Italian girl, John the Baptist in Leonardo da Vinci - as a sweet handsome man, the apostles in Caravaggio's depiction - as rude peasants. Angels became indistinguishable from cupids. Despite these disastrous trends in the art of the old masters, the harmony of image and word was preserved, moral purity Christian idea and sublime beauty of form. In the 17th century The Baroque style is still great, Rembrandt is amazingly spiritual; Flemish and Golan painters of the 17th – 18th centuries developed in detail the plots of the Old and New Testaments in their small paintings. In European Academies of Arts, the tradition of compulsory “programs” has been preserved - painting a picture based on a biblical story.

Biblical scenes were uniquely reflected in Russian academic art; The work of A.A. is of particular importance. Ivanova. A list of names of biblical scenes developed in the history of world fine art, even the most famous ones. Huge.

Literature

V.S. Koshelev /N. And Kosheleva / S.N. Temushev / The World History 8th grade / Minsk “BSU Publishing Center” /2010

ON THE. Ionina / One hundred great paintings / Moscow “Veche” / 2001

Thein de Vries / Rembrant / Kyiv, “Mystique” / 1995

Internet sites:

Who did not feed the heart, who was not delighted

This book...

V. A. Zhukovsky

Bible- a treasury of spiritual and cultural heritage - had a huge impact on the development of the entire world culture. Created in the period from the 12th century. BC e. by the beginning of the 2nd century. n. e., it still remains one of my favorite and most read books.

Bible- a work consisting of many books written at different times and by different authors. Therefore, the translation of its name from Greek becomes clear: “Biblia” - “books”. The main part of the Bible is Dilapidated And New Covenant.

What is it that attracts people so much to the Bible? First of all, the ideals of goodness, justice, selfless service to people and faith in the value of the human person. For two thousand years, humanity has connected many of its thoughts and ideals with the person of Jesus Christ. They sincerely believed in him, sacredly revered his teachings and covenants. They listened to him and praised him. They prayed for him...

They sought to capture the immortal image of Christ in works of art greatest masters. It's hard to count how many creations artists from various eras are devoted to biblical subjects and images. Paintings in Roman catacombs, Byzantine icons and mosaics, the art of the harsh Middle Ages and the solemn Renaissance... Michelangelo and El Greco, Durer and Andrei Rublev, Rembrandt and Rubens... The list of names of the world's greatest artists could be continued exactly like this the same as the list of composers who created musical works on the themes of Holy Scripture: J. S. Bach, F. J. Haydn, W. A. ​​Mozart, L. van Beethoven, P. I. Tchaikovsky, S. V. Rakhmaninov...

The same can be said about world literature. It is rare that any artist or writer did not directly or indirectly turn to the plots and images of the Bible. She attracted poets with her imagery, richness and beauty of artistic expression. In this series are Dante Alighieri, I.V. Goethe and J.G. Byron, A.S. Pushkin, B.L. Pasternak and I.A. Brodsky... Material from the site

Starting from the 20th century to the pages Bible turned and world cinema.

Works of art created on biblical subjects have never been a simple illustration of the Holy Scriptures. They contain spiritual content and deep moral meaning. Unfortunately, stories borrowed from biblical mythology are not known to every person today. This is explained primarily by the fact that Christian art is deeply symbolic and strictly canonized by religion, so it is not easy to understand it. This circumstance does not always allow us to appreciate this or that work of art these days.

Biblical themes in fine art.

Garden of Eden. Noah's Ark.

Special image language in Christian art Middle Ages.

Iconography.

One of the most difficult topics to teach is certainly a biblical theme. This is due to the fact that teachers themselves can tell little about the Bible and cannot always explain to students how to complete this or that task. As a result of studying this topic, in fine arts lessons, children should get acquainted with the special language of image “in the Christian art of the Middle Ages, with paintings on biblical themes in the art of Western Europe and Russia, with the art of Russian icon painting and do practical work on biblical themes.

Unlike a teacher of world artistic culture, a fine arts teacher cannot limit his lesson to just an interesting show and story, but must teach the child to create independent composition on the proposed topic. Biblical themes can be difficult and boring for modern children, as they do not understand the plot of the picture well. In order not to waste class time on conversation, some teachers take the simplest path (as it seems to them), asking children to draw an icon, believing that any student can cope with such a “simple!” task.

An icon is not an illustration of the Bible; an icon is an image painted according to canons (rules), which the icon painter must obey. Illustration is the artist’s view of the events described in the Bible, his independent choice of plot, composition, and his own view of how the characters look. In icon painting, the subjects are limited, the composition and appearance of the characters are strictly regulated. By asking children to paint an icon as an illustration of the Bible, the teacher is not following the general education school curriculum. By the way, even in Sunday schools at churches and in Orthodox gymnasiums during fine arts lessons, children do not paint faces on icons, since they do not yet have enough skill for this. In addition, we must not forget that in a comprehensive school children study not only from Orthodox, but also from Muslim and non-believing families, and an icon is a prayer, only written in the language of colors. Inviting children to paint an icon is the same as offering to learn or compose a prayer in a literature lesson.

The teacher can interest children in the world of biblical paintings and help them understand the language of icons by talking about the symbolic language of icon painting, introducing them to the work of an icon painter and giving them the opportunity to try themselves in the role of an experienced master “flag-bearer”, creating their own composition for a given plot, or in the role of a novice student in a squad icon painters.

Beginning icon painters depicted the details of the icon: hills, trees, architecture and animals, using “copybooks” (an outline drawing made on paper in one or two colors (black and red-brown). Without the help of a teacher, only a few will be able to cope with practical work, and The teacher’s task is to make sure that every child in a fine arts lesson can feel like a real artist, capable of creating paintings using complex topics. To illustrate the Bible, the easiest way is to choose scenes not from the New Testament, but from the Old Testament, and to create a composition, use the landscape genre that is already well known to children. The landscape can form the basis for paintings

“The Creation of the World”, “The Garden of Eden with the Tree of Life”, “The Flood” and “The Flight of the Israelites from Egypt through the Red Sea”.

As an example, we can show illustrations of the Bible by the famous marine painter I.K. Aivazovsky. The entire third quarter of the sixth grade was devoted to the topic “Portrait,” and in the seventh grade you can create a whole gallery of portraits of biblical characters. The Bible describes events taking place in Ancient Egypt(Joseph the Beautiful, Moses) and Mesopotamia (Tower of Babel), which means that children can use the knowledge previously acquired in history and fine arts lessons. Thus, historical and biblical topics can be combined in one practical task. For illustration, you can also use the Gospel parables, showing as an example the illustrations of the “Parable of the Prodigal Son” by Rembrandt and Bosch, which are different in nature. Acquaintance with biblical themes must begin with a conversation. In the event that the teacher himself is poorly versed in biblical subjects, G. Dore’s engravings will help to teach the lesson, since books with his illustrations always contain brief explanations for each engraving.

You should not overload children with new information, so during a conversation you should show such well-known stories as:

Expulsion from Paradise>, "The Flood", "The Tower of Babel", "The Annunciation", "Christmas", "Baptism", "Transfiguration", "The Raising of Lazarus, . Hieronymus Bosch. “Prodigal Son”, “Noon in Jerusalem”, “Crown of Thorns”, “Flagellation”, “Jesus Under the Weight of the Cross”, “Crucifixion”, “Descent from the Cross”.

When displaying paintings on biblical themes by Western European and Russian artists, it is necessary to show different attitude artists to the same subject. It will be easier for the children to discuss the paintings if the teacher leaves reproductions of engravings by G. Dore on the board. The paintings should be famous, such as “The Appearance of Christ to the People” by A. Ivanov, but also very emotional, like “Calvary” by N. Ge; "Annunciation", "Rocky" and "Annunciation" by Geliy Korzhev.

Such works of art will never leave children indifferent. When talking about Russian icon painting, it is necessary to explain the difference between a painting and an icon, showing reproductions of icons in parallel with reproductions of graphics and paintings. As a result of the conversation, each student should understand that a picture is an object aesthetic pleasure, and an icon is both an object of aesthetic pleasure and an object of prayerful veneration.

Practical work on the topic “Garden of Eden”, “Noah’s Ark”. "Tower of Babel".

Before you start depicting, you need to discuss with the children the event that is chosen for illustration, and interesting sciences such as biblical history, biblical archeology, biblical geography, and biblical geology will help you talk about the Bible.

Practical work on the topic “Illustrations of the Bible” can be done using details of an iconographic landscape. The teacher explains the stages of work “step by step” on the board. To prevent children from repeating every stroke after the teacher and making their own individual composition, it is better for the teacher not to use paints for display, but to draw on the board only with chalk and water. The water dries quickly, the children have time to understand how to draw and work with strokes, but at the same time they do not copy every stroke made by the teacher from the board. The result may be interesting compositions made by novice icon painters.