Painting and drawing? Is this the same thing and what is the difference? If people in beautiful clothes relax in nature - Watteau. If the paintings show people with big butts, you can be sure it's Rubbens

Starting a dialogue with world culture, modern man does not waste effort in order to rise to her level, but, on the contrary, tries to bring her down to his own. (someone smart)

Before the invention of photography, painting was seen as a tool for perhaps more clearly reflecting the surroundings. The painting was considered better the more authentically it showed real world. With the advent of photography in 1839, and cinema in 1895, the awareness of painting expanded significantly, although others adhere to a narrowly functional business at the moment.

What is the difference between a photo and a painting?

Bato Dugarzhapov "Christmas".

A photo captures a moment, in other words, a very specific, momentary state of an object. The painter, no matter how carefully and believably he writes out the details, first writes the GENERAL thing that he sees in the model, in other words, the most characteristic and expressive.

Therefore, a photo (except for the very rare works of photo artists) is an illustration, similar to a picture in an encyclopedia: this is how a squirrel looks, kids, and this is how the owner of the photo album looked 20 years ago when he was bathed in a bathtub.

Bato Dugarzhapov “Crimea”.

The modern painter has abandoned copying nature - photography and filming will do this even better and faster. Naturalism pushes painting into the dead end of repetition and banality. Moreover, nature cannot be reproduced. When the viewer accepts only the most superficial nuance of the painting - the transmission of information “where everything stood”, then the awareness of the painting will be very impoverished and distorted.

A painting is fundamentally different from a photo in that it is not identical, and this has become the fundamental difference between a colorful and photographic image. The painter decides of his own free will what and how to leave out, what and how to highlight, what to exclude from the picture, from time to time even contrary to superficial common sense.

Bato Dugarzhapov "Terrace".

A colorful painting on canvas claims to be a complete and universal display of the painted object and to convey memories from it. In an incomprehensible way, a volume appears on a flat canvas, alive and beautiful world, made by the artist.

We can enter the picture and hear the birds singing, smell the scent of a blooming meadow, feel the warmth of the water heated by the sun, see the movement - clearly understanding that all this happens exclusively in our consciousness and in front of us, and that the creator gave it all to us.

What is "alla prima"?

Bato Dugarzhapov “Morning”.

If before this the jewelry style of writing out details down to the smallest detail was welcomed, when the picture was painted over months, or even years, and then painstakingly varnished, then in the 19th-20th century the concept of “alla prima” appeared - from the Latin “all prima vista” (1- y gaze) and means spontaneous painting with impasto paint.

The painting is ready after the first session. The colors are mainly mixed on a scale where they appear fresh and luminous. When painting en plein air, this is a very suitable method of working.

Pastosity is manifested in relief, convexity of the bright layer, in a plastic brushstroke and serves to emphasize the material side of the object and impart dynamism. Paintings are larger and more informative than photos; they can sensually influence viewers with local color spots, without unnecessary clarification and specification of details. From time to time, even due to the absence of this specification.

Bato Dugarzhapov “Noon. Boats."

The alternation of seemingly random strokes and light spots at first glance is much more emotional than a photo and the ancient, licked manner conveys movement - the play of sun spots on the grass, glare on the water, swaying leaves, etc.

Unfortunately, the viewer, who has completely gone wild in terms of colorful culture, having seen the works alla prima, painted with sweeping strokes and stripes, does not bother to stop and look closely, but puffs out his cheeks and, with the words “I can paint it like that too,” with the consciousness of his own advantage goes further in search of lacquered curly-written creations, where no work of imagination and empathy is necessary.

Let’s let him go, and later we’ll look at, for example, the painting “Plein Air” by the artist Bato Dugarzhapov. What do we see in this fascinating picture?

Bato Dugarzhapov “Plein Air”.

Those who want to see how the characters' shoes are made - nothing. The viewer, tuned to the wave of awareness, first sees a lot sunlight. Then we see several artists in summer dresses at easels and a bearded artist in jeans and with brushes in his hand. Then a warm stone wall appears with climbing wisteria trees lit by the sun above them, blue sky in the gaps of foliage, the parapet of the embankment and the sea behind it. That is why the foliage is not written out in details and veins, because it moves, sways, and the light also moves, the shadows move and the reflection from the sea in the distance changes every minute...

The mood of the picture is absolutely phenomenal, it simply emits light and positivity. And at the same time, it is impossible to point with a pointer and explain - this is this, and here is this. You just need to see this by moving away a little from the picture and looking at it for quite a long time. Moreover, this is only a file, I can imagine for myself how it should act in the original!

Bato Dugarzhapov “On sketches”.

The painting “On Etudes” “appears” in a similar way. At first - chaotic spots of sunlight and reflections of the sea. Then the gray-haired painter leaned towards the easel. Then - the sea itself: the gaping sea, it moves, it’s restless, the sun’s glare from the waves actually blinds the eyes (how it’s made is impossible to comprehend), in the sea there are mountains, pebbles and boats, on the left again a climbing plant, maybe grapes.

The atmosphere of a hot morning (and this is morning, because when the sun is high, the sea does not sparkle so much, it turns blue), the beauty of the southern coast and admiration for this beauty is indescribably conveyed.

Bato Dugarzhapov “Southern Evening”

Bato Dugarzhapov’s paintings are immersed in an extraordinary luminous environment, which speaks of the highest colorful culture of the artist, of a narrow awareness of color and spatial relationships. His works are distinguished by freshness, rapid rhythm of lines and color spots, romantic elation, and a narrow perception of light-spatial relationships.

With particular ease, with large strokes, he creates a complete, integral image of nature in color, light and actual dynamics... everything sparkles in the rays of the sun, even where there is shadow, reflections sparkle, which is especially striking and amusing. Freely thrown, the colors lie on top of each other and form a multi-colored harmony and rhythm, in which special meaning have iridescent colors.

Bato Dugarzhapov “Lake Como”.

Bato Dugarzhapov was born in 1966 in Chita. Finished art school in Tomsk and the Capital Municipal Academic art institute them. IN AND. Surikov. The artist’s works are in personal collections in Russia, the USA, France, Italy and Spain.

K. Yu. Starokhamskaya

For many, remembering artists and their paintings seems like an impossible task. Over hundreds of years, history has written down the names of many artists whose names are well-known, unlike their paintings. How to remember the artist's personality and style? We have prepared brief description for those who want to understand fine arts:

If the paintings show people with big butts, you can be sure it's Rubbens

If people in beautiful clothes relax in nature - Watteau

If men look like curly-haired women with hairy eyes - This is Caravaggio

If a painting with a dark background shows a person with a beatific expression or a martyr - Titian

If the painting contains multi-figure compositions, many people, objects, Christian and surreal motifs - this is Bosch

If the painting contains multi-figure compositions and complex plots, but they look more realistic than Bosch’s paintings, rest assured that this is Bruegel.

If you see a portrait of a person against a dark background in dim, yellow light - Rembrandt

Biblical and mythological scenes depicting several plump cupids - Francois Boucher

Naked, pumped up bodies, perfect shapes - Michelangelo

Ballerinas are drawn, this is Degas

Contrasting, sharp image with gaunt and bearded faces - El Greco

If the painting shows a girl with a unibrow, this is Frida

Quick and light strokes, bright colors and depictions of nature – Monet

Light colors and rejoicing people – Renoir

Bright, colorful and rich - Van Gogh

Dark colors, black outlines and sad people - Manet

The background is like from the movie “The Lord of the Rings”, with a light blue fog. Madonna's wavy hair and aristocratic nose - Da Vinci

If the body depicted in the painting has an unusual shape - Picasso

Colored squares like an Excel document - Mondrian

When starting a dialogue with world culture, modern man does not expend effort in order to rise to its level, but, on the contrary, tries to bring it down to his own. (someone smart)

Before the invention of photography, painting was seen as a tool for reflecting the environment as accurately as possible. Painting was considered the better the more accurately it depicted the real world. With the advent of photography in 1839, and cinema in 1895, the understanding of painting expanded significantly, although others still adhere to a narrowly functional attitude.

What is the difference between a photograph and a painting?

Bato Dugarzhapov "Christmas".

Photography captures a moment, that is, a very specific, instantaneous state of an object. The artist, no matter how he writes out the details in detail and believably, writes first of all the GENERAL thing that he sees in the model, that is, the most characteristic and expressive.

Therefore, a photograph (with the exception of very rare works by photo artists) is an illustration, similar to a picture in an encyclopedia: this is what a squirrel looks like, children, and this is what the owner of the photo album looked like 20 years ago when he was bathed in a bathtub.

Bato Dugarzhapov “Crimea”.

The modern artist has refused to copy nature - photography and filming can do this much better and faster. Naturalism pushes painting into the dead end of repetition and banality. Moreover, nature cannot be reproduced. When the viewer perceives only the most superficial aspect of the painting - the transmission of information “where everything stood”, then the understanding of the painting will be extremely impoverished and distorted.

A painting is fundamentally different from a photograph in that what is created is not identical, and this has become the fundamental difference between a pictorial and a photographic image. The artist decides with his own will what and how to leave, what and how to highlight, what to exclude from the picture, sometimes even contrary to superficial common sense.

Bato Dugarzhapov "Terrace".

A pictorial oil painting on canvas claims to be a complete and universal display of the painted object and to convey the impression of it. In an incomprehensible way, a volume appears on a flat canvas, alive and beautiful world, created by the artist.

We can enter the picture and hear the birds singing, smell the smell of a flowering meadow, feel the warmth of the water heated by the sun, see movement - clearly understanding that all this is happening only in our minds and in front of us, and that the author conveyed all this to us.

What is "alla prima"?

Bato Dugarzhapov “Morning”.

If previously the jewelry style of writing out details down to the smallest detail was welcomed, when the picture was painted over months, or even years, and then carefully varnished, then in the 19th and 20th centuries the concept of “alla prima” appeared - from the Latin “all prima vista” (at first glance) and means spontaneous painting with impasto paint.

The painting is ready after the first session. The colors are mostly mixed on the palette, where they appear fresh and luminous. When writing en plein air it is very suitable way work.

Pastosity is manifested in relief, unevenness of the paint layer, in a plastic brushstroke and serves to emphasize the material side of the object and impart dynamism. Paintings are more voluminous and more informative than photographs; they can have an emotional impact on viewers with local color spots, without unnecessary clarification and specification of details. Sometimes even due to the absence of this specification.

Bato Dugarzhapov “Noon. Boats."

The alternation of seemingly chaotic strokes and spots of light is much more emotional than photography and the old, polished manner conveys movement - the play of sun spots on the grass, glare on the water, swaying leaves, etc.

Unfortunately, the viewer, completely wild in the sense of pictorial culture, seeing works alla prima, painted with sweeping strokes and stripes, does not bother to stop and look closely, but puffs out his cheeks and, with the words “I can paint like that too,” with the consciousness of his own superiority goes further in search of lacquered, curly-written creations, where no work of imagination and empathy is needed.

Let’s let him go, and then consider, for example, the painting “Plein Air” by the artist Bato Dugarzhapov. What do we see in this interesting picture?

Bato Dugarzhapov “Plein Air”.

Those who want to see how the characters' shoes are made - nothing. The viewer, tuned to the wave of understanding, first of all sees a lot of sunlight. Then we see several artists in summer dresses at easels and a bearded artist in jeans and with brushes in his hand. Then a warm stone wall appears with sunlit climbing wisteria above them, a blue sky in the gaps of foliage, an embankment parapet and the sea beyond. The reason the foliage is not drawn out in detail and veins is because it moves, sways, and the light also moves, the shadows move and the reflection from the sea in the distance changes every minute...

The mood of the picture is absolutely phenomenal, it simply radiates light and positivity. And at the same time, it is impossible to point with a pointer and explain - this is this, and here is this. You just need to see this by moving a little away from the picture and looking at it long enough. Moreover, this is only a file, I can imagine how it should work in the original!

Bato Dugarzhapov “On sketches”.

The painting “On Etudes” “appears” in a similar way. First - chaotic spots of sunlight and reflections of the sea. Then the gray-haired artist leaned towards the easel. Then - the sea itself: the shining sea, it moves, worries, the sun's reflections from the waves practically blind the eyes (how this was done is impossible to understand), in the sea there are rocks, stones and boats, on the left, again, a climbing plant, perhaps grapes.

Bato Dugarzhapov "Southern Evening"

Bato Dugarzhapov’s paintings are immersed in a special luminous environment, which speaks of the artist’s high pictorial culture and a subtle understanding of color and spatial relationships. His works are distinguished by their freshness, rapid rhythm of lines and color spots, romantic elation, and subtle perception of light-spatial relationships.

With great ease, using large strokes, he creates a complete, integral image of nature in color, light and vital dynamics... everything sparkles in the rays of the sun, even where there is shadow, reflections sparkle, which is especially amazing and pleasing. Freely thrown, the colors lie on top of each other and form a multi-colored harmony and rhythm in which special meaning have iridescent shades.

Bato Dugarzhapov “Lake Como”.

Bato Dugarzhapov was born in 1966 in Chita. He graduated from art school in Tomsk and the Moscow State Academic Art Institute. IN AND. Surikov. The artist's works are in private collections in Russia, the USA, France, Italy and Spain.

K. Yu. Starokhamskaya

Do the necessary work. Explore the work, check out the author’s other works, compare captions, look at them up close. Improving your knowledge is essential to evaluating a painting and understanding what to look for to determine authenticity.

Visit the museum and look at the patina. If you ask to see the back of the painting, the staff will help you do it. Appreciate the feel and look of old works of art. Evaluate the depth and number of layers that were required to achieve the color desired by the artist.

Look at the patina of the wood to determine if it is ancient. Determine how the frame is assembled and what nails and fasteners are used.

Look for brush hairs. Copies of paintings sometimes have hairs left over from cheap brushes on the canvas itself.

Use your sense of smell. If you manage to get close to it, smell it. Paint takes a long time to dry; it takes years for a painting to completely stop smelling.

Decide how the painting makes you feel. Analyze everything together. For example, many fakes do not have sufficient color depth or layers. It is possible to photocopy a work with ease, but it is impossible to convey the layers of paint in a painting.

Everything must fit together. Check whether everything fits in the painting - for example, the frame and the canvas; it is also difficult to fake the patina.

Order a job evaluation. If you really like a piece of art, you need to involve a third party who can impartially evaluate the painting. How can you be sure that the appraiser can be trusted? Must be certified by one or more professional art appraiser associations and have experience working with a specific artist. Preferably he is not an art dealer or broker. An example is http://www.bernardewell.com, which is an expert on Salvador Dali, whose paintings are often copied. Research how this artist's paintings are sold - which auction houses are they sold at, what size are they, when are they sold and with what agent?

Please note that some dealers, particularly those on cruise ships, may try to defraud the buyer by overselling the painting. Look for the signature and number - they should always be there. Paintings without a signature are of little interest, because many such copies can be made.

Explore the gallery. Many pieces will have gallery stickers or information on the back. Check out the gallery to see if this is true. In some cases, the frame and canvas should show signs of wear. Wooden edges may not remain as sharp after 50 or 100 years; the frame itself must become drier. Research the artist's reputation. Find out that some writers signed a blank form, after which their signature was copied onto the paintings. This is a negative sign, and therefore their paintings have a lower price. It is known that Salvador Dali sometimes did this.

Painting of any genre (from still life to religious painting) is artistic image, created with the help of the artist’s imagination and personal worldview. The artist’s worldview and attitude are formed under the influence of the environment - era, state, society, family, lifestyle, etc. The art of great artists is always a portrait of an era through the prism of a self-portrait, a personality that passes through the surrounding reality and the spirit of the time.

An icon is a timeless phenomenon, it is a revelation of God, represented with the help of visual arts. The most important principle in icon painting is following established canons. The canons of icon painting are so unique that a person unfamiliar with the history and theology of the Church may be perplexed: why adhere to the ancient principles of depiction? Perhaps the masters who stood at the origins of icon painting simply did not master the technique that developed during the Renaissance? And maybe we should shift the achievements European civilization on this ancient art?

So, how is the icon so strikingly different from classic painting? And by what technical means is this difference achieved?

The icon painter does not transfer into the icon anything from his personal worldview that is in any way different from the worldview of the Church of Christ. The icon painter becomes a guide to the worldview of the Church. The icon does not seek to reflect the surrounding temporary reality; it is not concerned with the problems of our time, the transitory unrest of this world. An icon is a window into another, eternal world.

The painting inevitably reflects the individuality of the author; the work reflects his personal, unique features; moreover, each artist strives to achieve his own distinct unique style. One of highest achievements author's activity - the creation of a new style, direction in painting. The master's canvases are inextricably linked with his name, image, and biography.

The painting is spiritual, that is, sensual, it conveys emotions, since art represents a way of understanding the world through feelings.

The icon is spiritual, unemotional, and dispassionate. Like church singing and reading, the icon does not accept emotional methods of influence.

A painting is a way to interact with the author’s personality. An icon is a means of communication with God and His saints.

An icon, unlike a painting, directly serves the salvation of the human soul.

We have highlighted the internal differences between an icon and a painting, and which external differences can we trace?

First of all, an icon is a testimony to the true God; it is a purely religious phenomenon. Canonical icon does not have random decorations devoid of semantic meaning.

The main differences between an icon and a painting:

1. Conventional, some distortion real forms and symbolism.

The carnal is diminished in the icon, and the spiritual is revealed. Elongated proportions of the figure, lack of volume. The icon lacks heaviness, the weight inherent in the objects of our world.

2. Reverse perspective.

The picture is constructed according to the laws of direct perspective, the vanishing point is located on the horizon line, and it is always the same. The icon is characterized by a reverse perspective, where the vanishing point is located not in the depth of the plane, but in the person standing in front of the icon. This is how the idea of the appearance of the heavenly world into our world, the world below, finds its expression. And the parallel lines on the icon do not converge, but, on the contrary, expand in the space of the icon.

3. No external light source.

Light, as it were, from within the icon, from the faces and figures themselves, from their depths is the essence of holiness. The icon is luminous, and this principle is based on the theological gospel testimony about the Transfiguration of our Lord on Mount Tabor. The Orthodox halo is the uncreated light of the Divine, born in the heart of a saint and forming a single whole with his transformed body.

4. Color in an icon performs a purely symbolic function.

The red color on the icons of martyrs symbolizes sacrifice, or royal power. Gold is a symbol of non-commodity light, which has a completely different nature than other physical substances. Why it cannot be conveyed with paint. Gold on icons is the opposite of the idea of earthly gold and wealth. There are also colors that replace the presence of gold on the icon - ocher, red and white colors. Black color on icons is used only in cases where it is necessary to show the forces of evil or the underworld.

6. There is no time in the icon. All events happen at the same time.

Often, one icon depicts several different scenes, sometimes these are scenes from the life of one saint, illustrating his entire path from birth to repose. This is how the icon’s involvement in the world of eternity is conveyed, where everything is open at one time, or rather, time is simply absent. In the picture, on the contrary, it happens in one time plane.

So, the difference between a canonical icon and a painting is obvious.

The main task of the icon, in contrast to the painting, which conveys the sensory side of the world, is to reveal the reality of the spiritual world, to help gain a sense of the real presence of the saint, Mother of God or the Lord, to contribute to the opening of the heart and the birth of repentant prayer or praise, through which the mind, heart and whole life of a person are sanctified.

In the Icon Painting Workshop "Measured Icon" it is possible