Painting and its features. The main genres of painting by Russian artists with examples of paintings

In the XVII-XVIII centuries. The process of development of European painting became more complicated. National schools were formed in France (J. de La Tour, F. Champagne, N. Poussin, A. Watteau, J. B. S. Chardin, J. O. Fragonard, J. L. David), Italy (M. Caravaggio, D. Fetti, J. B. Tiepolo, J. M. Crespi, F. Guardi), Spain (El Greco, D. Velazquez, F. Zurbaran, B. E. Murillo, F. Goya), Flanders (P. P Rubens, J. Jordaens, A. van Dyck, F. Snyders), Holland (F. Hals, Rembrandt, J. Wermeer
, J. van Ruisdael, G. Terborch, K. Fabricius), Great Britain (J. Reynolds, T. Gainsborough, W. Hogarth), Russia (F. S. Rokotov, D. G. Levitsky, V. L. Borovikovsky) . Painting proclaimed new social and civil ideals and turned to a more detailed and accurate depiction real life in its movement and diversity, especially in the everyday environment of a person (landscape, interior, household items); psychological problems deepened, the feeling of a conflictual relationship between the individual and the surrounding world was embodied. In the 17th century The system of genres expanded and clearly took shape. In the XVII-XVIII centuries. Along with the flourishing of monumental and decorative painting (especially in the Baroque style), which existed in close unity with sculpture and architecture and created an emotional environment that actively affected people, easel painting played a major role. Various painting systems were formed, both having common stylistic features (dynamic Baroque painting with its characteristic open, spiral-shaped composition; Classicism painting with a clear, strict and clear design; Rococo painting with a play of exquisite nuances of color, light and faded tones), and not fit into any specific style framework. Striving to reproduce the colorfulness of the world, the light-air environment, many artists improved the system of tonal painting. This caused the individualization of technical techniques of multi-layer oil painting. The growth of easel art and the increasing need for works designed for intimate contemplation led to the development of chamber, subtle and light painting techniques - pastels, watercolors, ink, and various types of portrait miniatures.

In the 19th century New national schools of realistic painting were emerging in Europe and America. The connections between painting in Europe and other parts of the world expanded, where the experience of European realistic painting received an original interpretation, often based on local ancient traditions (in India, China, Japan, and other countries); European painting was influenced by the art of the Far Eastern countries (mainly Japan and China), which was reflected in the renewal of techniques for the decorative and rhythmic organization of the pictorial plane. In the 19th century painting solved complex and pressing worldview problems, played an active role in public life; Sharp criticism of social reality became important in painting. Throughout the 19th century. in painting, the canons of academicism, far from life, and the abstract idealization of images were also cultivated; tendencies of naturalism arose. In the fight against the abstraction of late classicism and salon academism, the painting of romanticism emerged with its active interest in dramatic events history and modernity, the energy of the pictorial language, the contrast of light and shadow, the richness of color (T. Gericault, E. Delacroix in France; F. O. Runge and K. D. Friedrich in Germany; in many ways O. A. Kiprensky, Sylvester Shchedrin , K. P. Bryullov, A. A. Ivanov in Russia). Realistic painting, based on direct observation of characteristic phenomena of reality, comes to a more complete, concretely reliable, visually convincing depiction of life (J. Constable in Great Britain; C. Corot, masters of the Barbizon school, O. Daumier in France; A.G. Venetsianov, P. A. Fedotov in Russia). During the rise of the revolutionary and national liberation movement in Europe, painting of democratic realism (G. Courbet, J. F. Millet in France; M. Munkacsi in Hungary, N. Grigorescu and I. Andreescu in Romania, A. Menzel, V. Leibl in Germany, etc.) showed the life and work of the people, their struggle for their rights, addressed the most important events of national history, created vivid images ordinary people and leading public figures; In many countries, schools of national realistic landscapes emerged. The paintings of the Itinerants and artists close to them, closely related to the aesthetics of Russian revolutionary democrats - V. G. Perov, I. N. Kramskoy, I. E. Repin, V. I. Surikov, V. V. Vereshchagin, were distinguished by their social-critical acuity. I. I. Levitan.

TO artistic embodiment the surrounding world in its naturalness and constant variability comes in the early 1870s. Impressionist painting (E. Manet, C. Monet, O. Renoir, C. Pissarro, A. Sisley, E. Degas in France), which updated the technique and methods of organizing the pictorial surface, revealing the beauty of pure color and textured effects. In the 19th century in Europe, easel oil painting dominated, its technique in many cases acquired an individual, free character, gradually losing its inherent strict systematicity (which was also facilitated by the spread of new factory-produced paints); the palette expanded (new pigments and binders were created); instead of dark colored soils at the beginning of the 19th century. White soils were reintroduced. Monumental and decorative painting, used in the 19th century. almost exclusively glue or oil paints fell into disrepair. At the end of the 19th - beginning of the 20th centuries. Attempts are being made to revive monumental painting and merge various types of painting with works of decorative and applied art and architecture into a single ensemble (mainly in “modern” art); The technical means of monumental and decorative painting are being updated, and the technique of silicate painting is being developed.

At the end of the XIX - XX centuries. the development of painting becomes especially complex and contradictory; Various realistic and modernist movements coexist and struggle. Inspired by the ideals of the October Revolution of 1917, armed with the method of socialist realism, painting is intensively developing in the USSR and other socialist countries. New schools of painting are emerging in Asia, Africa, Australia, Latin America.

Realistic painting late XIX - XX centuries. is distinguished by the desire to understand and show the world in all its contradictions, to reveal the essence of the deep processes occurring in social reality, which sometimes do not have a sufficiently visual appearance; the reflection and interpretation of many phenomena of reality often acquired a subjective, symbolic character. Painting of the 20th century Along with the visually visible volumetric-spatial method of depiction, he widely uses new (as well as those dating back to antiquity), conventional principles of interpretation of the visible world. Already in the painting of post-impressionism (P. Cezanne, W. van Gogh, P. Gauguin, A. Toulouse-Lautrec) and partly in the painting of “modern”, features emerged that determined the characteristics of some movements of the 20th century. (active expression of the artist’s personal attitude to the world, emotionality and associativeness of color, which has little connection with natural colorful relationships, exaggerated forms, decorativeness). The world was interpreted in a new way in the art of Russian painters of the late 19th - early 20th centuries - in the paintings of V. A. Serov, M. A. Vrubel, K. A. Korovin.

In the 20th century reality is contradictory, and often deeply subjectively realized and translated into the paintings of the largest artists of capitalist countries: P. Picasso, A. Matisse, F. Léger, A. Marquet, A. Derain in France; D. Rivera, J.C. Orozco, D. Siqueiros in Mexico; R. Guttuso in Italy; J. Bellows, R. Kent in the USA. In paintings, wall paintings, and picturesque panels, a truthful understanding of the tragic contradictions of reality was expressed, often turning into an exposure of the deformities of the capitalist system. Associated with the aesthetic understanding of the new, “technical” era is the reflection of the pathos of the industrialization of life, the penetration into painting of geometric, “machine” forms, to which organic forms are often reduced, the search for new forms that meet the worldview of modern man, which can be used in decorative arts, architecture and industry. Widespread in painting, mainly in capitalist countries, since the beginning of the 20th century. received various modernist movements, reflecting the general crisis of the culture of bourgeois society; however, modernist painting also indirectly reflects the “sick” problems of our time. In the painting of many modernist movements (Fauvism, Cubism, Futurism, Dadaism, and later surrealism), individual more or less easily recognizable elements of the visible world are fragmented or geometrized, appear in unexpected, sometimes illogical combinations, giving rise to many associations, and merge with purely abstract forms. The further evolution of many of these movements led to a complete abandonment of figurativeness, to the emergence abstract painting(see Abstract art), which marked the collapse of painting as a means of reflecting and understanding reality. Since the mid-60s. in countries Western Europe and America, painting sometimes becomes one of the elements of pop art.

In the 20th century The role of monumental and decorative painting, both figurative (for example, revolutionary democratic monumental painting in Mexico) and non-figurative, usually flat, in harmony with the geometrized forms of modern architecture, is increasing.

In the 20th century There is a growing interest in research in the field of painting techniques (including wax and tempera; new paints are being invented for monumental painting - silicone, on silicone resins, etc.), but oil painting still predominates.

Multinational Soviet painting is closely connected with communist ideology, with the principles of party membership and nationality of art; it represents qualitatively new stage development of painting, which is determined by the triumph of the method of socialist realism. In the USSR, painting is developing in all union and autonomous republics, and new national schools of painting are emerging. Soviet painting is inherent acute feeling reality, materiality of the world, spiritual richness of images. The desire to embrace socialist reality in all its complexity and completeness led to the use of many genre forms, which are filled with new content. Already from the 20s. The historical-revolutionary theme acquires special significance (canvases by M. B. Grekov, A. A. Deineka, K. S. Petrov-Vodkin, B. V. Ioganson, I. I. Brodsky, A. M. Gerasimov). Then patriotic paintings appear, telling about the heroic past of Russia, showing the historical drama of the Great Patriotic War of 1941-45, the spiritual fortitude of the Soviet man.

Portraits play a major role in the development of Soviet painting: collective images of people from the people, participants in the revolutionary reorganization of life (A. E. Arkhipov, G. G. Rizhsky, etc.); psychological portraits showing the inner world, the spiritual makeup of the Soviet person (M. V. Nesterov, S. V. Malyutin, P. D. Korin, etc.).

The typical way of life of Soviet people is reflected in genre painting, which gives a poetically vivid image of new people and a new way of life. Soviet painting is characterized by large canvases imbued with the pathos of socialist construction (S. V. Gerasimov, A. A. Plastov, Yu. I. Pimenov, T. N. Yablonskaya, etc.). The aesthetic affirmation of the unique forms of life of the union and autonomous republics lies at the basis of those established in Soviet painting national schools(M. S. Saryan, L. Gudiashvili, S. A. Chuikov, U. Tansykbaev, T. Salakhov, E. Iltner, M. A. Savitsky, A. Gudaitis, A. A. Shovkunenko, G. Aitiev, etc. .), representing the components of a single artistic culture Soviet socialist society.

In landscape painting, as in other genres, national artistic traditions are combined with the search for something new, with a modern sense of nature. The lyrical line of Russian landscape painting (V.N. Baksheev, N.P. Krymov, N.M. Romadin, etc.) is complemented by the development of industrial landscape with its rapid rhythms, with motifs of transformed nature (B.N. Yakovlev, G.G . Nyssa). Still life painting reached a high level (I. I. Mashkov, P. P. Konchalovsky, M. S. Saryan).

The evolution of the social functions of painting is accompanied by the general development of pictorial culture. Within the boundaries of a single realistic method, Soviet painting achieves a variety of artistic forms, techniques, and individual styles. The wide scope of construction, the creation of large public buildings and memorial ensembles contributed to the development of monumental and decorative painting (works by V. A. Favorsky, E. E. Lansere, P. D. Korin), the revival of the technique of tempera painting, frescoes and mosaics. In the 60s - early 80s. the mutual influence of monumental and easel painting, the desire to make maximum use and enrich the expressive means of painting has increased (see also the Union of Soviet Socialist Republics and articles about the Soviet Union republics).

Lit.: VII, vol. 1-6, M., 1956-66; IRI, vol. 1-13, M., 1953-69; K. Yuon, About painting, [M.-L.], 1937; D. I. Kiplik, Painting technique, M.-L., 1950; A. Kamensky, To the Spectator about Painting, M., 1959; B. Slansky, Painting technique, trans. from Czech., M., 1962; G. A. Nedoshivin, Conversations about painting, M., 1964; B. R. Vipper, Articles about art, M., 1970; Ward J., History and methods of ancient and modern painting, v. 1-4, L., 1913-21; Fosca F., La peinture, qu"est-ce que c"est, Porrentruy-Brux.-P., 1947; Venturi L., Painting and painters, Cleveland, 1963; Cogniat R., Histoire de la peinture, t. 1-2, P., 1964; Barron J. N., The language of painting, Cleveland, ; Nicolaus K., DuMont's Handbuch der Gemaldekunde, Köln, 1979.

Most of the paintings you see are easel items. This term means that the paintings were painted on a special machine - an easel. They can be framed, hung on the wall or given as a gift. In other words, an easel is a painting painted on a flat background: paper, board. This type of painting is dominated by oil paintings, but also paintings that use other materials - gouache and watercolor, pastel, ink, charcoal, acrylic paints, colored pencils, etc.

One of applied types easel painting is theatrical and decorative painting - sketches of costumes of heroes and mise-en-scène.

Monumental painting - painting of buildings

Monumental painting cannot exist separately from the place where it is performed. This type of painting was very popular in the 16th-19th centuries, when majestic temples were built and the best artists painted their vaults. The most common type is fresco, painting with water-based paints on wet plaster.

Painting on dry plaster - secco - was also common, but such works have survived less well to this day. The most famous monumental painting is large-scale painting Sistine Chapel, in which Michelangelo took part. According to critics, the chapel's frescoes can be equated to the Eighth Wonder of the World.

The most ancient works of monumental painting are rock paintings of the first people.

Decorative painting - applied art

Decorative painting is closely related to decorative and applied arts. It plays rather a supporting role in decorating various objects. Decorative painting is a variety of patterns and ornaments that decorate household items, furniture, and architecture. The authors of this type of painting may be unknown - simple paintings of peasant houses and furniture also belong to this type.

Miniature painting - cute little things

Initially, miniature painting represented book designs. Antique books were made with great care and were very expensive. To decorate them, special craftsmen were hired, who beautifully designed the title cards, covers, and headbands between chapters. Such publications were real works of art. There were several schools that adhered to strict canons of miniature painting.

Later, miniatures began to be called any small-scale paintings. They were used as souvenirs and memorable gifts. Despite its small size, this type of painting required great precision and skill. The most popular materials for souvenir miniatures were bone, stone and metal plates.

Tip 2: What types of easels are there: basic and popular

Drawing is one of the most interesting directions in creativity. But in order to paint a picture, you need to choose the right brushes and paints, but also an easel.

For some people, creativity, namely drawing, is an integral part of life in the form of a hobby or professional activity. Artists and hobbyists attach special importance to the materials and devices with which they work. So easels are an integral part creative process, so there is a need to consider these auxiliary items in more detail.

So, at the moment there are three main types: tripod easels, vertical panel easels (stationary), and sketchbooks. Each type of easel has characteristic features. For example, tripods are very easy to assemble and use. Such an easel can always be disassembled, and when folded, this device takes up very little space.

At the same time, vertical panel easels are very convenient, having the functions of adjusting the height and angle of inclination, but they take up a lot of space due to their stationary nature. The principle of attaching paper or stretched canvas in these types of easels is practically unchanged. At the bottom there is a small panel for storing consumables: pencils, paints, brushes and more.

Sketchbooks can be used outdoors for drawings from nature. At the same time, when assembled, this device turns into a small suitcase, with which you can make long journeys to the place where the canvas is painted.

The most popular easels

Tripod easels are the most popular. This is due to their convenience and compactness. In addition, you can make such an easel yourself if you do not want to spend money on buying it.

For work in the studio or at home, easels-tables, that is, easels with a vertical panel, are often used. This type is convenient when working in one place, since its transportation is complicated by the inability to disassemble the object into more small parts followed by assembly. Moreover, each type of easels is intended for a specific intended use, however, the tripod can rightfully be considered the most universal, since it can be used for both permanent job in the studio, and for working from nature in nature, of course, if it is not too large.

Sources:

Classification of easels

The art of decorating surfaces with paints and a brush is called artistic painting. The very concept of painting is seriously different from painting, since it is part of the space conceived by the artist.

Artistic painting was initially applied to any affordable and easily obtained materials: leather, wood, natural fabrics, clay, etc. Skills were passed on from generation to generation by masters, and specific artistic techniques appeared that helped the products. Over time, the most meaningful and expressive application of the ornament was chosen. In architecture, paintings were used to decorate ceilings, vaults, walls, beams, and in everyday life, decor was applied to household items.

The systematization of various types of painting was first started back in 1876 by Professor A.A. Isaev in his two-volume book entitled “Processes of the Moscow Province”. Artistic painting enterprises are currently developing their business to meet the demand in the markets of Russia and abroad.

Khokhloma painting

Craftsmanship is used in rich floral patterns fine brush, which came from the monasteries. From there the secret was derived of how to paint dishes gold without using gold. Painting has not changed to this day and the process has been the same since ancient times to the present day. The tableware blank is turned from wood on a lathe, then primed with a specially prepared clay solution or artificial primers are used. The dishes are coated with paint based on tin or silver, less often - aluminum. They are painted according to the intended motif and dried in an oven, then varnished and hot dried again.

Since the product undergoes intensive heat treatment several times, the paints were chosen from those whose brightness was not affected by high temperatures. It's black, gold and cinnabar.

Gzhel porcelain

Gzhel is unique, since each artist, using classical and familiar motifs, creates the technique individually. The main role belongs to the experience of the master and the movement of his brush. At the same time, on the whiteness, from one stroke, harmonious transitions from dark blue to soft blue appear. Only one paint is used, cobalt, and the drawing is done very quickly, the first time.

Matryoshka

These figurines of different sizes, nested inside one another, originate from Japan. These dolls gained great popularity in 1900, after an exhibition in Paris. The main production took place in the village of Polkhovsky Maidan, which was famous for both painting and turners - after all, the shape of the nesting doll still had to be carved.

Polkhovskaya has distinctive features by which she can be recognized among others. She has a face painted in small strokes, and on her forehead there is a spruce rose flower. The color of the scarf contrasts with the color of the sundress, and from the back the matryoshka doll is 2/3 scarlet or green. The apron is oval and runs from the neck to the ground.

The most difficult to process, straw-encrusted matryoshka doll from Vyatka.

Almost every girl, if she free time not overloaded with studies or dating, has one or more hobbies. Some of them captivate her with their originality for a short time, others are companions for life.

Instructions

The most common type of women's hobby can be called all types of needlework: crocheting, macrame, sewing, embroidery. This hobby does not arise out of nowhere; it traditionally comes from mothers and grandmothers who engage in them in the presence of their daughters and granddaughters. The little girl becomes interested, and she asks adults to show her loops, knots, stitching or chain stitch. At first it doesn’t work out, and she may even give up her new hobby for a while, but after a few years nature will take its course, and now the teenage girl will sew her first jeans or knit a beret.

Not so time-consuming, leaving the evenings free for other activities, is floriculture. All women love flowers, and those grown by themselves represent greatest interest. Monitoring the appearance of shoots, their increase in size and subsequent flowering is akin to motherhood, which is why it gives pleasure to many representatives of the fair sex. If you don’t have the patience to care for roses and violets, you can start with chlorophytum, or simple cacti.

The earliest hobbies that a young child develops include drawing and moving to music. If you have talent for them, then your undertakings will not be lost, but will develop into the ability to reflect the external and internal worlds through painting and dancing. If there is no talent, but the soul persistently demands the expression of all its impulses, then the girl becomes a good photographer. Her photographs most often feature relatives and friends, significant places and corners of nature that capture the imagination.

Another method to realize your potential is to make crafts from various materials. This includes clay modeling and soap making, carving and design. The latter can turn into a profession and become a good way to earn money. And carving can be called a variety of a common, but far from all-encompassing hobby - cooking. Almost every girl can cook the simplest porridge and soup, bake pizza from everything in the refrigerator, but only a few of them have the art of preparing original dishes.

And finally, the universal hobby of women of all ages and social categories is fortune telling. Most often on cards, but coffee grounds, palmistry and other divination methods are also used to achieve results. Learning about the past and future never gets boring, and specializing in a particular type can turn a girl into a real master.

Round and flat, with a wooden handle and a plastic one, marten and pony. A variety of shapes and types of brushes helps the artist create masterpieces on canvas or paper. For example, a squirrel brush is used mainly for working with watercolor paint, and a linear brush is used for applying inscriptions.

Brush shapes

One of the most common and versatile brush shapes is round. The bundle of such a brush is fixed in a round clip, usually metal. Brushes can be of different sizes. The small beam is used to create miniatures, and the large beam is used for large landscapes. A round brush produces a uniform line of equal thickness, although a skilled artist can vary this.

Flat brushes are good for working on large areas of a composition; they hold a lot of paint. The strokes with such a brush are smooth and wide.

A brush called a “cat eye” has an oval or dome shape. This brush is very individual in use and can be used in the same way as a round or flat one.

A subtype of flat brushes are contour brushes; they have a similar shape, but the beam is shorter and, accordingly, more elastic. Such brushes are used for oil painting techniques; they are easy to make flat strokes and clear contours.

Type brushes have a long round brush with a thin, sharp tip, which allows you to make inscriptions and apply outlines. These brushes are used with liquid paints.

Retouching brushes are also a type of flat brush; their peculiarity is the tip cut at an angle. These brushes are used to create very thin strokes and a smooth and precise transition from one color to another. This is created thanks to the thin and sharp tip.

Linear brushes, as well as font brushes, have a long round shape and are used for applying inscriptions and creating long straight lines. Linear brushes are shorter than type brushes, but longer and thinner than round brushes.

In addition to painting, flute brushes are used for applying makeup, namely powder or blush. These soft brushes are designed for freehand painting with watercolors. They hold a lot of water, so they can draw long, continuous, uniform lines without interruption.

Fan brushes have a thin, fan-shaped tuft. They are used to create subtle color stretches, color transitions and contrasts.

Types of brushes

In addition to shapes and sizes, there are significant difference brushes by type, namely, what kind of hair the bundle is made of. The most common type of brush is the squirrel. Such brushes are made from processed squirrel tail hairs, since the tail contains the longest hair. Squirrel brushes are very soft and delicate, so they require special care. They are used to work with watercolor paint or other water-based paint.

Kolinsky brushes are made from processed kolinsky tail pile. These brushes are quite soft and at the same time elastic. That's why they are used

Genres of painting appeared, gained popularity, faded away, new ones emerged, and subtypes began to be distinguished within existing ones. This process will not stop as long as a person exists and tries to capture the world around him, be it nature, buildings or other people.

Previously (until the 19th century), there was a division of painting genres into the so-called “high” genres (French grand genre) and “low” genres (French petit genre). This division arose in the 17th century. and was based on what subject and plot were depicted. In this regard, the high genres included: battle, allegorical, religious and mythological, and the low genres included portrait, landscape, still life, animalism.

The division into genres is quite arbitrary, because elements of two or more genres may be present in a painting at the same time.

Animalism, or animalistic genre

Animalism, or animalistic genre (from the Latin animal - animal) is a genre in which the main motif is the image of an animal. We can say that this is one of the most ancient genres, because... drawings and figures of birds and animals were already present in life primitive people. For example, on a wide famous painting I.I. Shishkin "Morning in pine forest“Nature is depicted by the artist himself, and the bears are depicted by a completely different artist, who specializes in depicting animals.

I.I. Shishkin “Morning in a pine forest”

How can a subspecies be distinguished? Hippic genre(from the Greek hippos - horse) - a genre in which the center of the picture is the image of a horse.

NOT. Sverchkov “Horse in the stable”

Portrait

Portrait (from the French word portrait) is a picture in which the central image is of a person or group of people. A portrait conveys not only external resemblance, but also reflects the inner world and conveys the artist’s feelings towards the person whose portrait he is painting.

I.E. Repin Portrait of Nicholas II

The portrait genre is divided into individual(image of one person), group(image of several people), by the nature of the image - to the front door when a person is depicted in full height against a prominent architectural or landscape background and chamber, when a person is depicted chest- or waist-deep against a neutral background. A group of portraits, united by some characteristic, forms an ensemble, or portrait gallery. An example would be portraits of members of the royal family.

Stands out separately self-portrait, in which the artist depicts himself.

K. Bryullov Self-portrait

Portrait is one of the oldest genres - the first portraits (sculptural) were already present in ancient Egypt. Such a portrait acted as part of a cult about the afterlife and was a “double” of a person.

Scenery

Landscape (from the French paysage - country, area) is a genre in which the central image is the image of nature - rivers, forests, fields, sea, mountains. In a landscape, the main point is, of course, the plot, but it is no less important to convey the movement and life of the surrounding nature. On the one hand, nature is beautiful and arouses admiration, but on the other hand, it is quite difficult to reflect this in a picture.

C. Monet “Field of poppies at Argenteuil”

A subspecies of landscape is seascape or marina(from French marine, Italian marina, from Latin marinus - sea) - an image of a naval battle, the sea or other events unfolding at sea. A prominent representative of marine painters is K.A. Aivazovsky. It is noteworthy that the artist wrote many of the details of this painting from memory.

I.I. Aivazovsky "The Ninth Wave"

However, artists often strive to paint the sea from life, for example, W. Turner for his painting “Blizzard. The steamer at the entrance to the harbor gives a distress signal after getting into shallow water,” spent 4 hours tied to the captain’s bridge of a ship sailing in a storm.

W. Turner “Blizzard. A steamer at the entrance to the harbor gives a distress signal after getting into shallow water."

The water element is also depicted in a river landscape.

Separately allocate cityscape, in which the main subject of the image is city streets and buildings. A type of urban landscape is Veduta– an image of a city landscape in the form of a panorama, where the scale and proportions are certainly maintained.

A. Canaletto “Piazza San Marco”

There are other types of landscape - rural, industrial and architectural. IN architectural painting The main theme is the image of the architectural landscape, i.e. buildings, structures; includes images of interiors (interior decoration of premises). Sometimes Interior(from the French intérieur - internal) is distinguished as a separate genre. Another genre is distinguished in architectural painting — Capriccio(from Italian capriccio, whim, whim) - architectural fantasy landscape.

Still life

Still life (from the French nature morte - dead nature) - a genre dedicated to the image inanimate objects, which are placed in general environment and form a group. Still life appeared in the 15-16th centuries, but as a separate genre it emerged in the 17th century.

Despite the fact that the word “still life” is translated as dead nature, in the paintings there are bouquets of flowers, fruits, fish, game, dishes - everything looks “like living”, i.e. like the real thing. From the moment of its appearance to this day, still life has been an important genre in painting.

K. Monet “Vase of Flowers”

As a separate subspecies we can distinguish Vanitas(from Latin Vanitas - vanity, vanity) is a genre of painting in which the central place in the picture is occupied by a human skull, the image of which is intended to remind of the vanity and frailty of human life.

The painting by F. de Champagne presents three symbols of the frailty of existence - Life, Death, Time through the images of a tulip, a skull, an hourglass.

Historical genre

Historical genre is a genre in which the paintings depict important events and socially significant phenomena of the past or present. It is noteworthy that the picture can be dedicated not only to real events, but also to events from mythology or, for example, described in the Bible. This genre is very important for history, both for the history of individual peoples and states, and for humanity as a whole. In paintings, the historical genre is inseparable from other types of genres - portrait, landscape, battle genre.

I.E. Repin “The Cossacks write a letter to the Turkish Sultan”

K. Bryullov “The Last Day of Pompeii”

Battle genre

The battle genre (from the French bataille - battle) is a genre in which the paintings depict the culmination of a battle, military operations, a moment of victory, scenes from military life. Battle painting is characterized by the depiction of a large number of people in the picture.

A.A. Deineka "Defense of Sevastopol"

Religious genre

Religious genre is a genre in which the main story line– biblical (scenes from the Bible and Gospel). The theme relates to religious and icon painting, the difference between them is that paintings of religious content do not participate in religious services, and for the icon this is the main purpose. Iconography translated from Greek. means "prayer image". This genre was limited by the strict framework and laws of painting, because is intended not to reflect reality, but to convey the idea of God's principle, in which artists are looking for an ideal. In Rus', icon painting reaches its peak in the 12th-16th centuries. The most famous names of icon painters are Theophanes the Greek (frescoes), Andrei Rublev, Dionysius.

A. Rublev “Trinity”

How the transitional stage from icon painting to portrait stands out Parsuna(distorted from Latin persona - person, person).

Parsun of Ivan the Terrible. author unknown

Everyday genre

The paintings depict scenes Everyday life. Often the artist writes about those moments in life of which he is a contemporary. The distinctive features of this genre are the realism of the paintings and the simplicity of the plot. The picture can reflect the customs, traditions, and structure of everyday life of a particular people.

TO household painting include such famous paintings as “Barge Haulers on the Volga” by I. Repin, “Troika” by V. Perov, “ Unequal marriage» V. Pukireva.

I. Repin “Barge Haulers on the Volga”

Epic-mythological genre

Epic-mythological genre. The word myth comes from the Greek. "mythos", which means tradition. The paintings depict the events of legends, epics, traditions, ancient Greek myths, ancient tales, plots of works of folklore.

P. Veronese "Apollo and Marsyas"

Allegorical genre

Allegorical genre (from the Greek allegoria - allegory). Pictures are painted in such a way that they have hidden meaning. Insubstantial ideas and concepts, invisible to the eye (power, good, evil, love), are transmitted through images of animals, people, and other living beings with such inherent characteristics that have symbolism already fixed in people’s minds and help to understand general meaning works.

L. Giordano “Love and vices disarm justice”

Pastoral (from the French pastorale - pastoral, rural)

A genre of painting that glorifies and poetizes simple and peaceful rural life.

F. Boucher “Autumn Pastoral”

Caricature (from Italian caricare - to exaggerate)

A genre in which, when creating an image, consciously applies comic effect by exaggerating and sharpening features, behavior, clothing, etc. The purpose of a caricature is to offend, in contrast, for example, to a caricature (from the French charge), the purpose of which is simply to make fun. Closely related to the term “caricature” are such concepts as popular print and grotesque.

Nude (from French nu - naked, undressed)

A genre in which paintings depict the nude human body, most often female.

Titian Vecellio "Venus of Urbino"

Deception, or trompe l'oeil (from French. trompe-l'œil - optical illusion)

Genre, character traits which are special techniques that create an optical illusion and allow you to erase the line between reality and image, i.e. the misleading impression that an object is three-dimensional when it is two-dimensional. Sometimes blende is distinguished as a subtype of still life, but sometimes people are also depicted in this genre.

Per Borrell del Caso "Running from Criticism"

To complete the perception of decoys, it is advisable to consider them in the original, because reproduction is unable to fully convey the effect that the artist depicted.

Jacopo de Barberi "The Partridge and the Iron Gloves"

Thematic picture

A mixture of traditional genres of painting (domestic, historical, battle, landscape, etc.). In another way, this genre is called a figurative composition, its characteristic features are: the main role is played by a person, the presence of action and a socially significant idea, relationships (conflicts of interests/characters) and psychological accents are necessarily shown.

V. Surikov “Boyaryna Morozova”

Image on the plane of objects of material and spiritual world. One of the main types of fine art. Painting is divided into numerous types and genres. Oil painting is a work painted with oil paints. Wall painting is a work of painting executed directly on a specially prepared masonry surface of a wall, ceiling or vault of a building. Another name is monumental painting. Tempera painting is the main technique of icon painting in Russia. The basis of tempera paint is the yolk chicken egg, diluted with kvass. During the work process, paints are applied gradually, in multi-layers and in a certain order. Since the 17th century To this day, the final layer is sometimes done with oil paints. The icon is written on a specially treated board.

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Painting

Pictores and Pictura.

The art of life among the Greeks was in close connection with sculpture, sharing with it an ideal worldview and was in this infant state for a very long time. Before the Persian Wars, painters seemed to use one-color paint with which they drew outlines, while shadows were indicated by shading. The most ancient place This art in Greece was, in all likelihood, the Dorian Peloponnese, mainly Corinth and Sikyon; the Corinthian Cleanthes, they say, was the first to draw silhouettes, Ardicus and Telephanes improved linear drawings, Cleophantus invented one-color painting (monochromy), Kiomnus of Cleon was the first to give movement and inclination to his figures and was the first to pay attention to the drapery of the figures. Until the 94th century, when the Athenian Apollodorus introduced the brush, all the art of Jeanne consisted of drawing images using a stylus on a board previously coated with paint; The paints themselves were applied in bulk and not seamlessly using a sponge. In general, in the paintings of the most ancient painters there are only 4 colors ( Plin. 35, 7, 32): white and black, yellow and red. Even Zeuxis himself used these flowers, but if anyone used larger number colors, was in danger of, by enhancing its attractiveness, detracting from the height of art. Works of this type of art included partly wall paintings (mainly alfresco), and partly paintings painted on boards; the former were written on fresh plaster, and the latter on wood and embedded in the walls, for example, of temples. Pictures were painted on boards with glue paints; later encaustic paintings were painted with wax paints, which were ground with dry leads and then melted using a brazier. Age of Pericles, therefore the middle and 2nd half of the 5th century. BC, is considered the time of greatest prosperity of this art, on a par with the prosperity of all fine arts in general, which served as a support for painting. Paintings also belong to this time large sizes; not only painted halls appeared, but also actual art galleries (pinakotheks). Mention should be made of Pinenus, the brother of Phidias, and the Thasian Polygiotas (who received the right of citizenship in Athens in 463), known from the picture they painted together "Marathon Battle" V??????? in Athens. The latter was famous for his art of painting women in see-through clothes; he eliminated the immobility in facial expression borrowed from the Egyptians by drawing his mouth somewhat open; his paintings were truly portraits (in one, for example, you can easily recognize Elpinika, Kimon’s sister), painted from life, but carried away into an ideal world. Pausanias (10, 25) has an excellent description of one of the most large paintings, located in Leskh ( cm.?????, Lesha) at Delphi, which depicted the conquered and smoking Troy and the Greeks at the Hellespont, laden with booty and surrounded by prisoners, at the moment when they are preparing to sail: “The artist was quite able to depict here the contrast between the groups of Greeks in the foreground and the destruction of Troy, the devastated streets of which are visible through the walls broken in places. The ship of Menelaus stood near the shore, ready to sail; near it one can see Helen, the culprit of the war, surrounded by wounded Trojans; in another group of Greek leaders, Cassandra is visible; almost everyone remains deeply silent, with the exception of Neoptolemus, who still pursues and kills the Trojans. On the other side of the Lesha the entrance to the underworld was depicted, to the kingdom of darkness with Odysseus on the shore of the Acheron, Tartarus with his terrible torments and Elisius with the shadows of the blessed. In the first of these paintings more than 100 figures were drawn, in the other more than 80: for each figure, ancient custom, the name was also attributed". In addition, Polygnotus' father Aglaophon and the latter's grandson of the same name were known as painters. The latter was mainly credited with two paintings, one of which depicted Alcibiades as a winner at the games. Wed Cic. Brut. 18. Cic. de or. 3,7. Quint. 12, 10. In general, housing complemented architecture; her works served to decorate both private buildings and galleries and temples. While plastic arts quickly advanced in their development, painting developed slowly and reached the height of perfection soon after the Peloponnesian War, that is, only when plastic art, after its highest prosperity, began to decline somewhat. Contemporaries and followers of Polygnotus were: Mykon from Aegina, his remarkable paintings were: "Antinoe", "Argonauts", "Asterope", "Pelius", "Theseus", "Acast" and etc.; he painted partly and ??????? in Athens, where he depicted the Battle of the Amazons and the Battle of Marathon, and he was especially successful in depicting horses; his son; further Onatus of Aegina and Dionysius of Colophon; independently then acted as a decorative painter Agafarch ( cm. Agatharchus, Agatharchus), who also satisfied the requirements of luxury, which had already begun to penetrate the private life of the Greeks; but even more outstanding in this regard is the above-mentioned Apollodorus, called the skiagraph, because in addition to the invention of the brush, art in the distribution of light and shadow was also attributed to him. His primus species exprimere instituit, Pliny says about him (35, 9, 36), primusque gloriam penicillo iure contulit; neque ante eum tabula ullius ostenditur, quae teneat oculos. His disciple Zeuxis from Heraclea followed in his footsteps. Magna Graecia, lived ca. 397, although, however, he belonged to a different school, namely the Ionian, prone to tenderness and pomp, as opposed to the Attic school; he was especially good at depicting female body. Proof of this is what he wrote at the request of the Crotonians. "Elena"(was placed in the famous temple of Hera Lakinia), representing perfect beauty in the form earthly woman; in the same way he embodied the highest idea of chaste modesty in the image of Penelope. Zeuxis does not have a variety of epic compositions, like Polygnotus’s, just as expressions of various mental states are not visible in his paintings; his main attention was paid to the picturesqueness, the external side of the object, to the illusion; Compared to later times, he lacked an artistic and varied juxtaposition of colors. About his competition with Parrhasius ( cm. Parrhasius). The latter and Timanthos of Sicyon were his contemporaries; about the paintings of the latter, between which "Sacrifice of Iphigenia", where he depicted Agamemnon with his face covered to express great sadness, already in antiquity the opinion was expressed that they make the viewer guess more than how much is actually expressed in them; the viewer's imagination complements the unsaid, not only because these paintings depicted something ideal, but also because they contain a wealth of motives. The main merit of the Sikyon school, on the contrary, consisted in the strictly scientific execution of the drawing and in its most thorough clarity. The founder of this school was Eupompus of Sicyon, and its main representative was Pamphilus, who was the first to methodically study art and apply his theoretical and geometric knowledge to drawings; His student Melanphius was most outstanding in his skillful arrangement and composition of paintings and contributed greatly to the improvement of color. He is ranked, by the way, among those 4 painters (Apelles, Echion, Nicomachus) who used only 4 colors. During the time of Alexander the Great, Jeanne reached the highest degree of attractiveness and charm, thanks mainly to Apelles, a native of the island of Kos, a student of Pamphilus (356-308). He combined the merits of both schools, while trying to penetrate even deeper into the true meaning of life and breathe the richness and variety of life into his works; he combined fidelity to nature with creative power, which earned him special favor from Alexander; the latter especially praised his paintings for their grace, ?????; in the foreground he had the perfection of form, and not the ideality of content. In technique, both in relation to the drawing itself and in relation to the choice of colors for spectacular scenes, he was a master of his craft. In the temple of Artemis of Ephesus he painted an image of Alexander throwing the feathers of Zeus, and the raised hand and lightning that appeared on the surface aroused the greatest surprise. He also painted Alexander’s generals in various positions, sometimes separately, sometimes in groups. His exemplary works with ideal content included "Artemis", surrounded by a choir of young women making sacrifices, and Aphrodite Anadyomene emerging from the sea; this last picture, according to the verdict of all the ancients, was considered a model of grace; however, the lower part of this picture remained unfinished, death kidnapped Apelles at work, and none of the subsequent artists dared to take on the task of finishing it. Initially, it was in the temple of Aphrodite on the island of Cos, from where Augustus transferred it to Rome and ordered it to be placed in the temple of Caesar, who was numbered among the gods. More to the Sicyon school belonged: Euphranor, whose glory lay in the subtlety of his depiction of gods and heroes; Echion, from whose works the painting of the newlywed is remarkable (a free imitation of which is, perhaps, the Aldobrandian wedding in the Vatican Museum in Rome) and Pausius of Sicyon, who was the first, they say, to decorate the ceilings in the rooms, mostly with figures of boys, flowers and arabesques, and he was mainly famous for his flower paintings (Plin. 35, 40 mentions the beautiful Glyceria, skilled in weaving wreaths, whose image he submitted to the competition); he was famous for bringing the encaustic method to a high degree of development. At this time, i.e. approx. 370-330, the Theban Aristides also flourished, remarkable mainly for his art of depicting battles and conquests of cities and his masterful ability to give life and expressiveness to his paintings, although his distribution of colors was not particularly successful. His painting depicting the battle of the Macedonians with the Persians contained up to 100 figures; The sad scene during the destruction of the city was considered his masterful work, and the main group depicting a dying mother and a baby catching her breast attracted special attention; but she pushes him away for fear that he might suck blood instead of milk. Around this time, Protogenes from the city of Kavna in Caria achieved even greater fame, who until the age of 50 supported his existence with the most ordinary works; but the famous Apelles recognized this and, appreciating his art, bought some paintings from him for a significant sum of money, showing his fellow citizens their inability to appreciate the works of Protogenes and at the same time trying to arouse in them the suspicion that he wanted to pass them off as his own. This helped the poor man make a name for himself among his fellow citizens. Above his best painting, where he depicted Ialisa ( cm. Ialis) a hunter with a dog panting on the side, he worked for 7 or even 11 years. When Demetrius Poliorcetes was besieging Rhodes, he could not decide to attack from the side where he knew this painting was located, and because of this he did not win. He sent guards to guard the artist, whose workshop was in the most dangerous place outside the city walls, and even personally visited him. During the time of Pliny, this painting was in Rome, in the temple of the world, but already during the time of Plutarch it was destroyed by fire. His picture "The Resting Satyr", which he placed on one column, was written by him during the siege, when weapons thundered all around, and was also considered an exemplary work. The main merit of Protogen, as well as Apelles, was not so much in the richness of thought or poetic content, but in the charming artistic execution, and the illusion was brought to the highest degree; but with Apelles this was a consequence of his natural talent, and with Protogenes this was achieved by his greatest patience and remarkable diligence. While everyone was surprised at his diligence and perseverance in his works, in the works of his contemporary, Nicomachus, a native of the city of Thebes, who lived at the end of the 4th century. BC, the son and student of Aristodemus, were most amazed at the speed of execution combined with remarkable artistry. They were written - "The Rape of Proserpina", in the Capitol, in the Temple of Minerva; "Goddess of Victory", riding on a four-wheeler, and "Skilla" in the temple of the goddess of peace. Further remarkable are: Theon from the island of Samos, who aroused surprise with the liveliness of his imagination and lived during the time of the Macedonian kings Philip and Alexander; he owns: "Mad Orestes" and kifared "Thamiris", Nicias, originally from Athens (painted animals and battles encaustic; many of his paintings were in Rome; one of the best was "Kingdom of Shadows According to Homer"; they praised the color, position and roundness of figures in his paintings, especially female ones), Antiphilus ( "The Boy Stoking the Fire", "Workshop for woolen work") and Ctesilochus (caricatured the birth of Dionysus from the thigh of Zeus). In all likelihood, Aetion (??????) with his famous painting belongs to the Alexandrian time - "The Marriage of Alexander and Roxana" (Cic. Brut. 18, where some, however, read Echion; Lucian de Merc. cond. 42.imagg. 7). From then on, art begins to decline and is no longer distinguished by grace and ingenuity, but only by care in decoration. Thus, Peyraijk depicted with a brush scenes from everyday life, depicted with remarkable skill the workshops of shoemakers, barbers, kitchens, markets, etc., which was especially appreciated by the Romans, who respected not so much the intricacy of the composition as the correctness and clarity of the drawing; Thus, he became the best master of real genre painting, the so-called riparography. As for the Romans, we should mainly point out their lack of understanding works of art; Even the capture of Corinth could not produce a beneficial revolution in art for a long time. Very often there were examples when soldiers and generals not only did not respect, but even destroyed the precious works of J. Mummius did not understand, for example, how Attalus of Pergamon could value so dearly the painting of Aristides depicting Bacchus; Believing that some secret power was hidden in her, he took her with him and placed her in the temple of Ceres. But soon afterwards the Romans, and in this case, quite clearly demonstrated their greedy system of colossal accumulation of other people's treasures; they began to decorate their homes, dining rooms, dachas, etc. with precious paintings. That is why, in general, we can only point to individual names of artists, such as, for example, Timomakh from Byzantium, famous for his ability to touchingly depict curbed passions, as he proved in his painting "Furious Ajax", which Caesar ordered to be installed in Rome; Timomachus lived in the last century BC. During the time of Augustus, Ludius was famous. Meanwhile, during the reign of the emperors, many Greek painters moved to Rome, whose talent and taste can be understood by the elegant decorations in the famous baths of Titus. Mosaics also developed in a similar way for purposes of luxury; point primarily to Coca of Pergamon, who painted an image of a pool with doves on the floor of one room, but the best work of mosaic was considered to be the image of a whole "Iliad" on the floors of the magnificent ship of King Hieron II of Syracuse. Our information about the sources and objects of ancient history is extremely scarce. The newly discovered remains of paintings near Athens on Greek tombstones are not particularly valuable, while numerous drawings on Greek clay vessels already indicate some craftsmanship, and mural paintings found in Herculaneum and Pompeii do not belong to the time of the prosperity of this art and can be considered as more or less light indoor decorations. In general, even in painting, the ancients were distinguished by the choice of beautiful figures, the simplicity of scenes and compositions, and the correctness of drawing, but in the application of the laws of perspective in paintings of large sizes, in the shadows resulting from a certain combination and fusion of colors, and mainly in poetic depth, they were far inferior the latest art. Wed art history Schnaase, Kugler´a, L?bke and others; especially Brunn, Geschichte der. griech. K?nstler, II, p. 3-316 and W?rmann, die Malerei des Alterhums (in Woltmann´a Gesch. der Malerei, vol.?, 1879, p. 32-140).

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INTRODUCTION

1. TYPES OF PAINTING

2. PAINTING AND ITS GENRES

CONCLUSION

BIBLIOGRAPHY

INTRODUCTION

The word “painting” is derived from the words “vividly” and “write”. “To paint,” explains Dahl, “to depict faithfully and vividly with a brush or words, a pen.” For the painter, depicting correctly means accurately conveying the external appearance of what he saw and its most important features. It was possible to convey them correctly using graphic means - line and tone. But it is impossible to convey vividly with these limited means the multicolor of the surrounding world, the pulsation of life in every centimeter of the colored surface of an object, the charm of this life and constant movement and change. Painting, one of the types of fine art, helps to truthfully reflect the color of the real world.

Color is the main visual and means of expression in painting - has tone, saturation and lightness; it seems to fuse into a whole everything characteristic of an object: both what can be depicted by a line and what is inaccessible to it.

Painting, like graphics, uses light and dark lines, strokes and spots, but unlike it, these lines, strokes and spots are colored. They convey the color of a light source through glare and brightly lit surfaces, sculpt a three-dimensional form with subject (local) color and color reflected by the environment, establish spatial relationships and depth, and depict the texture and materiality of objects.

The task of painting is not only to show something, but also to reveal inner essence depicted, to reproduce “typical characters in typical circumstances.” Therefore, a truthful artistic generalization of the phenomena of life is the basis of the foundations of realistic painting.

1. TYPES OF PAINTING

Monumental painting is a special type of large-scale paintings that decorate the walls and ceilings of architectural structures. It reveals the content of major social phenomena that have had an impact positive influence for the development of society, glorifies them and perpetuates them, helping to educate people in the spirit of patriotism, progress and humanity. The sublimity of the content of monumental painting, the significant size of its works, and the connection with architecture require large color masses, strict simplicity and laconicism of composition, clarity of contours and generality of plastic form.

Decorative painting used to decorate buildings and interiors in the form of colorful panels, which with realistic images create the illusion of breaking through the wall, visually increasing the size of the room, or, on the contrary, using deliberately flattened forms, they assert the flatness of the wall and the enclosure of the space. Patterns, wreaths, garlands and other types of decor that adorn works of monumental painting and sculpture tie together all the elements of the interior, emphasizing their beauty and consistency with the architecture.

Theatrical and decorative painting(scenery, costumes, makeup, props, made according to the artist’s sketches) helps to further reveal the content of the performance. The special theatrical conditions for perceiving the scenery require taking into account multiple points of view of the audience, their great distance, the influence of artificial lighting and colored backlights. The scenery gives an idea of the place and time of the action, and activates the viewer’s perception of what is happening on stage. The theater artist strives in sketches of costumes and makeup to acutely express the individual character of the characters, their social status, style of the era and much more.

Miniature painting received great development in the Middle Ages, before the invention of printing. Handwritten books were decorated with the finest headpieces, endings, and detailed miniature illustrations. Russian artists of the first half of the 19th century skillfully used the miniature painting technique to create small (mainly watercolor) portraits. Pure deep watercolor colors, their exquisite combinations, and the exquisite fineness of the writing distinguish these portraits, full of grace and nobility.

Easel painting, performed on a machine - an easel, uses wood, cardboard, paper as a material basis, but most often canvas stretched on a stretcher. An easel painting, being an independent work, can depict absolutely everything: factual and fictional by the artist, inanimate objects and people, modernity and history - in a word, life in all its manifestations. Unlike graphics, easel painting has a richness of color, which helps emotionally, psychologically, multifacetedly and subtly convey the beauty of the world around us.

Based on technique and means of execution, painting is divided into oil, tempera, fresco, wax, mosaic, stained glass, watercolor, gouache, and pastel. These names were derived from the binder or from the method of using material and technical means.

Oil painting done with paint washed with vegetable oils. Thick paint thins out when oil or special thinners and varnishes are added to it. Oil paint You can work on canvas, wood, cardboard, paper, metal.

Tempera painting is done with paint prepared with egg yolk or casein. Tempera paint is dissolved with water and applied paste or liquid onto the wall, canvas, paper, wood. In Rus', tempera was used to create wall paintings, icons and patterns on everyday objects. Nowadays, tempera is used in painting and graphics, in decorative and applied arts and in artistic design.

Fresco painting decorates interiors in the form of monumental and decorative compositions applied to wet plaster with water-based paints. The fresco has a pleasant matte surface and is durable in indoor conditions.

Wax painting(encaustic) was also used by artists Ancient Egypt, as evidenced by the famous “Fayyum portraits” (1st century AD). The binder in encaustic painting is bleached wax. Wax paints are applied in a molten state to a heated base, after which they are burned.

Mosaic painting, or mosaic, is assembled from individual pieces of smalt or colored stones and fixed on a special cement primer. Transparent smalt, inserted into the ground at different angles, reflects or refracts light, causing the color to flare and shimmer. Mosaic panels can be found in the subway, in theater and museum interiors, etc. Stained glass painting is a work of decorative art intended to decorate window openings in any architectural structure. Stained glass is made from pieces of colored glass held together by a strong metal frame. The luminous flux, breaking through the colored surface of the stained glass window, draws decoratively spectacular, multi-colored patterns on the floor and walls of the interior.

2. PAINTING AND ITS GENRES

Genres of painting (French genre - genus, type) are a historically established division of works of painting in accordance with the themes and objects of the image. In modern painting there are the following genres: portrait, historical, mythological, battle, everyday, landscape, still life, animalistic genre.

Although the concept of “genre” appeared in painting relatively recently, certain genre differences have existed since ancient times: images of animals in caves of the Paleolithic era, portraits of Ancient Egypt and Mesopotamia from 3 thousand BC, landscapes and still lifes in Hellenistic and Roman mosaics and frescoes. The formation of the genre as a system in easel painting began in Europe in the 15th-15th centuries. and ended mainly in the 17th century, when, in addition to the division of fine art into genres, the concept of “high” and “low” genres appeared, depending on the subject of the image, theme, plot.

The “high” genre included historical and mythological genres, and the “low” genre included portrait, landscape, and still life. This gradation of genres existed until the 19th century. Thus, in the 17th century in Holland, it was precisely the “low” genres that became leading in painting (landscape, everyday life, still life), but the ceremonial portrait, which formally belonged to the “low” genre of portraiture, did not belong to such.

Having become a form of displaying life, genres of painting, despite the stability of their general features, are not immutable; they develop along with life, changing as art develops. Some genres die out or acquire a new meaning (for example, the mythological genre), new ones arise, usually within previously existing ones (for example, an architectural landscape and a marina appeared within the landscape genre). Works appear that combine various genres (for example, a combination of an everyday genre with a landscape, a group portrait with a historical genre).

A genre of fine art that reflects the external and internal appearance of a person or group of people is called portrait. This genre is widespread not only in painting, but also in sculpture, graphics, etc. The main requirements for a portrait are the conveyance of external resemblance and the disclosure of the inner world, the essence of a person’s character. Based on the nature of the image, two main groups are distinguished: ceremonial and chamber portraits. A ceremonial portrait shows a person in full growth (on a horse, standing or sitting), against an architectural or landscape background. IN intimate portrait a waist-length or chest-length image is used on a neutral background. Self-portrait stands out in a special group - the artist’s depiction of himself.

Portrait is one of the oldest genres of fine art; initially it had a cult purpose and was identified with the soul of the deceased. IN ancient world the portrait developed more in sculpture, as well as in pictorial portraits - Fayyum portraits of the 1st - 3rd centuries. In the Middle Ages, the concept of a portrait was replaced by generalized images, although in frescoes, mosaics, icons, and miniatures there were some individual features in the depiction of historical figures. Late Gothic and Renaissance is a rapid period of development of the portrait, when the formation of the portrait genre takes place, reaching the heights of humanistic faith in man and understanding of his spiritual life.

A genre of fine art dedicated to historical events and characters is called historical genre. The historical genre, which is characterized by monumentality, has been developing for a long time in wall painting. From the Renaissance to the 19th century. artists used subjects ancient mythology, Christian legends. Often real historical events depicted in the picture were saturated with mythological or biblical allegorical characters.

The historical genre is intertwined with others - the everyday genre (historical and everyday scenes), the portrait (depictions of historical figures of the past, portrait-historical compositions), landscape ("historical landscape"), and merges with the battle genre.

The historical genre is embodied in easel and monumental forms, in miniatures, and illustrations. Originating in ancient times, the historical genre combined real historical events with myths. In countries Ancient East There were even types of symbolic compositions (the apotheosis of the monarch’s military victories, the transfer of power to him by a deity) and narrative cycles of paintings and reliefs. IN Ancient Greece there were sculptural images of historical heroes, in Ancient Rome reliefs were created with scenes of military campaigns and triumphs.

In the Middle Ages in Europe, historical events were reflected in miniature chronicles and icons. The historical genre in easel painting began to take shape in Europe during the Renaissance, in the 17th - 18th centuries. it was considered as a “high” genre, highlighting (religious, mythological, allegorical, historical subjects).

Paintings historical genre filled with dramatic content, high aesthetic ideals, and the depth of human relationships.

A genre of fine art dedicated to the heroes and events that the myths of ancient peoples tell about is called mythological genre(from Greek mythos - legend). The mythological genre comes into contact with the historical and takes shape during the Renaissance, when ancient legends provided rich opportunities for the embodiment of stories and characters with complex ethical, often allegorical overtones. In the 17th century -- beginning XIX century in works mythological genre The range of moral and aesthetic problems is expanding, which are embodied in high artistic ideals and either come closer to life or create a festive spectacle. From the 19th - 20th centuries. Themes of Germanic, Celtic, Indian, and Slavic myths became popular.

Battle genre(from the French bataille - battle) is a genre of painting that is part of the historical, mythological genre and specializes in depicting battles, military exploits, military operations, glorifying military valor, the fury of battle, and the triumph of victory. The battle genre may include elements of other genres - domestic, portrait, landscape, animalistic, still life.

A genre of fine art that shows scenes of a person’s everyday, personal life, everyday life from peasant and urban life is called everyday genre. Appeals to the life and morals of people are found already in the paintings and reliefs of the Ancient East, in ancient vase painting and sculpture, in medieval icons and books of hours. But the everyday genre stood out and acquired characteristic forms only as a phenomenon of secular easel art. Its main features began to take shape in the 14th - 15th centuries. V altar paintings, reliefs, tapestries, miniatures in the Netherlands, Germany, France. In the 16th century in the Netherlands, the everyday genre began to develop rapidly and became isolated. One of its founders was Hieronymus Bosch.

The development of the everyday genre in Europe is greatly influenced by big influence The work of Pieter Bruegel had an impact: he moves to a pure everyday genre, shows that everyday life can be an object of study and a source of beauty. The 17th century can be called the century of the everyday genre in all painting schools in Europe.

In the 18th century in France, genre painting is associated with the depiction of gallant scenes, “pastorals”, and becomes refined and graceful, ironic. Works of the everyday genre were varied: they showed the warmth of home life and the exoticism of distant countries, sentimental experiences and romantic passions. Household genre, display-oriented peasant life and the life of a city dweller, developed vividly in Russian painting of the 19th century: for example, in the works of A.G. Venetsianov, P.A. Fedotov, V.G. Perov, I.E. Repin.

The genre of fine art, where the main thing is the depiction of nature, the environment, views of the countryside, cities, historical monuments, is called landscape(French paysage). There are rural, urban, architectural, industrial, sea (marina) and river landscapes.

In antiquity and the Middle Ages, landscapes appear in paintings of temples, palaces, icons and miniatures. European art was the first to turn to the depiction of nature Venetian painters Renaissance. From the 16th century landscape becomes an independent genre, its varieties and directions are formed: lyrical, heroic, documentary landscape. In the 19th century the creative discoveries of landscape masters, the saturation of it with social issues, the development of plein air (depiction of the natural environment) culminated in the achievements of impressionism, which gave new opportunities in the pictorial transmission of spatial depth, the variability of the light-air environment, and the complexity of the color scheme.

A genre of fine art that shows objects of everyday use, labor, creativity, flowers, fruits, killed game, caught fish, placed in a real everyday environment, is called still life(French nature morte - dead nature). A still life can be endowed with a complex symbolic meaning, play the role of a decorative panel, or be the so-called. “trick”, which gives an illusory reproduction of real objects or figures that evoke the effect of the presence of a genuine nature.

The depiction of objects is known in the art of antiquity and the Middle Ages. But the first still life in easel painting is considered to be the painting by the artist from Venice Jacopo de Barbari “Partridge with an arrow and gloves.” Already in the 16th century, still life was divided into many types: a kitchen interior with or without people, a set table in a rural setting, “vanitas” with symbolic objects (a vase of flowers, an extinguished candle, musical instruments). Was especially rich Dutch still life, modest in color and in the things depicted, but exquisite in the expressive texture of objects, in the play of color and light.

A genre of fine art showing animals is called animalistic genre(from lat. animal - animal). The animal artist pays attention to the artistic and figurative characteristics of the animal, its habits, the decorative expressiveness of the figure and silhouette. Often animals are endowed with traits, actions and experiences inherent in humans. Images of animals are often found in ancient sculpture and vase painting.

CONCLUSION

In conclusion, let's summarize the above:

Painting is divided into monumental, decorative, theatrical and decorative, miniature and easel.

Based on technique and means of execution, painting is divided into oil, tempera, fresco, wax, mosaic, stained glass, watercolor, gouache, and pastel.

In modern painting there are the following genres: portrait, historical, mythological, battle, everyday, landscape, still life, animalistic genre.

Historical painting is images of certain historical moments, as well as public figures of the past.

Battle painting aims to capture battles, battles and wars. Mythological painting depicts events described in myths, epics and legends.

Everyday (genre) painting is a depiction of scenes of real life, its realities and attributes.

Landscape (landscape) painting is an image of natural nature or any area.

Portrait painting - artistic image person. A specific type of portrait is a self-portrait.

A still life is an image of various inanimate objects, for example, fruits, flowers, household items, utensils, placed in a real everyday environment and compositionally organized into a single group.

BIBLIOGRAPHY

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