Complex silhouette. Using silhouette in design and drawing
Dry and strict, at first glance monotonous and lifeless, art captivates us with its intimacy, mysterious reticence and subtle grace. The closer you look at him, the more you become dissuaded of his “poverty” and “naivety.” Mastering the art of silhouette is not as easy as it seems.
Solidity of drawing, respect for perspective and proportionality are necessary here no less than in any painting. Despite the fact that the silhouette lies in two dimensions, and not in three, the laws of three dimensions, oddly enough, apply to it: a talented silhouette artist knows how to convey movement, relief, and even facial expression in monotonous black spots. The plane and the line that closes it acquire exceptional significance in the art of silhouette. The outline, contour, outline of an object enslave the silhouette artist’s attention, limiting his means, but at the same time forcing him to be especially inventive. There are silhouettes in which there is a positive sense of “sculpture”, the finest “modelling”, even “colorfulness”. Mathematical laconicism, noble abstractness of the silhouette accustoms one to the sophistication of observation and vigilance. Silhouette - as if formula and- simultaneously - a hint of the invisible, a barely perceptible story about something, a phrase begun and unfinished. But even beyond its completeness, this phrase sometimes becomes a revelation, an aphorism, a symbol.
The birthplace of silhouette art is China, where monochromatic black images, the so-called Chinese shadows, have existed for a long time. From there they entered Western Europe, primarily to France, where in mid-18th century century, the fashion for silhouette portraits became widespread. The very term “silhouette” comes from the name of Etienne Silouette (1709-1767), who was minister of state in 1759. Silouette was known for his frugality and narrow-mindedness, which made him a target for witticisms Parisian society. Everything cheap and trivial began to be named after him, including portraits painted in black paint or made of black paper, “portraits a la Silhouette.” Compared to real picturesque portraits, silhouettes seemed boring and meager to many. However, this art found its masters and admirers, and not only in France, but also in other countries. In Germany, for example, at the beginning of the 19th century, Duttenhofer (who depicted a series of German writers and artists), K. Schmidt, Mühlbach, etc. In Russia, our interest in silhouette arose in the era of Catherine II, when the Parisian silhouette artist Sido appeared in St. Petersburg, whose works are still preserved in some houses. Sido painted portraits of Catherine II, members of her family and many representatives of the St. Petersburg nobility. He drew his silhouettes in ink, sometimes engraved them on copper, but most often cut them out of black paper and pasted them into engraved frames. A whole collection of these silhouettes, consisting of 183 sheets, belonged to the Duke of Mecklenburg-Strelitz and was published in phototype photographs in 1899 (“The Court of Empress Catherine II, her employees and associates”). The fascination with silhouette was also reflected in applied arts, - porcelain snuff boxes with silhouettes, cups, embroidery, inlays, etc. appeared. At approximately the same time as Sido, the German draftsman Anting (1753-1803) worked in St. Petersburg and released the album “Collection de cent silhouettes” in 1791. IN mid-19th century, interest in silhouette art almost disappeared and cutting out silhouettes turned into the profession of itinerant artists, who earned a meager piece of bread through this occupation at public festivities and fairs. People in the secular circle have lost interest in this art.
Gradually forgotten, silhouette drawing was revived in the late 19th century and early 20th century. Artists began to draw in the form of silhouettes not only profile portraits, but also figures in different poses, genre scenes, etc. Perhaps there is not a single major graphic artist who would not pay tribute to this intimate, graceful art. And it’s not in vain - it’s true
a lot of expression can be put into “sparse” black spots.
Based on materials from an article by Erich Hollerbach
October 1922
http://www.silverage.ru/stat/siluet.htm
Methodological development of the lesson visual arts in 6th grade on the topic: “SLUET AS AN EXPRESSIVE MEANS OF GRAPHICS.”
A summary of an integrated fine arts lesson for 6th grade students is presented. Lesson topic: “Silhouette as means of expression graphics" (under the program "Fine Arts and artistic work» B.M. Nemensky)
Objective of the lesson: Image of a human figure. The main task is to develop a “feeling” of silhouette and large forms, on which expressiveness depends. overall composition, as well as the characters and objects depicted.
Mastering the silhouette of an image is achieved by means of appliqué from black paper by cutting and sticking on White background. A clean silhouette is used here. give an idea of the silhouette as a form visual arts– graphics.
Lesson Objectives :
Educational : develop an idea of the origins of the artist’s creativity; teach silhouette techniques;
Introduce children to creating an image of a person in art using the concept of “silhouette”.
promote the development of artistic imagination, desire and interest in creativity;
Forming the skill of creating an expressive silhouette using black paper.
develop a sense of self-confidence to support creative success.
Equipment:
For the teacher: multimedia board, multimedia presentation "Silhouette", video "sand paintings" CD with music for relaxation.
For students: black cardboard, scissors, glue stick
The presented lesson consists of 7 stages.
II. Updating students' knowledge.
III. Preparatory stage.
IV. Main and control stages.
V. Reflective stage.
VI. Final stage.
VII. Information stage.
Description of the lesson
/1 slide/ There is an element in enjoying beauty
enjoyment of thinking.
/Aristotle/
Organizational stage.
1. Greeting. Set up for the lesson.
First, let’s do the reflection exercise “Faces.” Students signal their emotional state using cards with stylized drawings. Each child shows one of the “faces”, according to his mood (“smiling”, “neutral”, “sad”).
Teacher:/2 slide/
Good afternoon, Dear friends!
I am very glad to meet you.
Waiting for you in class
A story about the silhouette.
I want to hear your answer:
What do you think a silhouette is? (students' answers).
Is a silhouette a shadow? Is it so?
Not always. The silhouette is similar to the shadow of an object, but the cast shadows change depending on the position of the light. Remember summer, a hot afternoon and a shadow running in front or behind us. She doesn't follow our figure. This is a modified silhouette. And the main thing in a silhouette is truthfulness, expressive image, characterizing the shape of the object./3 slide/
So, in in a broad sense“silhouette” is a characteristic outline of objects, both in nature and in art, similar to its shadow. IN in the narrow sense“silhouette” - type of drawing, i.e. a flat, monochromatic image of figures and objects./4 slide/ A silhouette, drawn (in ink or white) or cut out of paper and pasted onto the background, forms a solid, contoured, dark or light spot on a contrasting background.
In such a drawing it is impossible to show facial features or any details, so the external outlines of each figure must be very expressive. Silhouette portraits are usually taken in profile and can not only be drawn, but also cut out with scissors. black paper. The quality of silhouette is used by artists in all types of art.
There is an explanation from history where the meaning of “silhouette” came from. In the 18th century, at the court of the French king Louis 15, the minister of finance (controller general of finance) was a certain Etienne de Silhouette (1709-1767).
There were many jokes about him, and one day an artist drew a caricature of him. It was made unusually, like a shadow. /slide 6/ This method of depiction began to be called a silhouette, after the name of the minister. And if not for this circumstance, then the Silhouette itself might have been forgotten long ago.
In factthe art of silhouette has ancient traditions. I wonder what primitive people Silhouette images were not called art. For them, black and red outlines on the walls of caves were a tool for dialogue with the gods, part of the language of prayers and requests addressed to nature. It was believed that a black buffalo or a red female deer painted on the walls of caves could ward off a storm and make the hunt successful.
The art has also been known since ancient times in China, where it preserved its traditions, Japan and other Asian countries. Unusually graceful silhouettes with the finest details cut were used in shadow theater peoples of the Ancient East.
In Europe, silhouette art has spread since the 18th century in France. Favorite genres were profile portraits, everyday scenes, illustrations, and still lifes. In Russia they were especially fond of this art famous artists F. Tolstoy, M. Dobuzhinsky, A. Ilyin, N. Rerberg, E. Kruglikova.
Teacher: Silhouette images began to come into fashion. Ordering a portrait from a painter was very expensive, but having your own own portrait Many people wanted it for a lower price. Such portraits decorated the walls of rooms and offices.
Silhouettes were used to decorate boxes, vases, dishes, and umbrellas. The silhouette has become very popular in Russia. /slide/ slide/ slide/).
Are silhouettes always black?
Screening of "Butterflies".
A black butterfly flew in and sat on a white field (show /slide/). A white butterfly flew in and sat on black field(show /slide/). The third butterfly has arrived - a multi-colored one (show /slide/). How are its wings different from the wings of silhouette butterflies, other than color? (Children's answers).
That's right, y colorful butterfly The wings are detailed inside - there are veins, dots, and specks. But the silhouette inside is not worked out, so it is perceived as a spot.
Here's a whole flock of butterflies. From a distance they look like black specks (show /slide/). But these are not just blots. Each butterfly has its own wing shape. And therefore we can distinguish silhouettes from each other.
/slide/ Tell me, why are people’s heads in silhouettes shown in profile and not from the front? (Students' answers).
Right. Because it is with such an image that we have a better idea of the facial features and even the character of a person.
3. Statement of an artistic task.
Teacher: Today we will draw silhouettes,
Then cut them out of paper.
And silhouettes, like in past centuries,
We will decorate household items.
Select silhouettes antiques everyday life: caskets, lamps, vases, bowls, dishes, books - and decorate them in your groups with black or white silhouettes - portraits of fairy tales by A.S. Pushkin or others famous writers(optional).
4. The sequence of drawing a human head in profile.
Teacher: Let's remember how to draw a person's head in profile. /slide/
You have a drawing algorithm on your tables, pay attention to it.
Teacher's pedagogical drawing on the blackboard.
1) Sketch the basic shape of the head.
2) Draw construction lines and indicate the shape of the hair.
3) Draw facial features taking into account the lines.
4) Correct the contours of the face, hair, neck so that it looks like the chosen model.
5) Trace the finished outline with chalk, trying not to tear it off the board.
6) Erase all unnecessary lines.
Teacher: The result is a silhouette portrait.
5. Instructions for work.
1) Remember the heroes of A.S. Pushkin’s fairy tales.
2) Discuss in the group what silhouette portraits you will use to decorate the object, what color it will be.
3) Distribute the work.
4) Draw silhouettes on half a sheet of black or white paper.
5) Cut them along the contour with scissors, starting from the side.
6) Glue it into an oval or rectangle.
7) If someone in the group is left without working on the silhouette, he can complement the decor of the vase or book with some beautiful element: a sprig of laurel or an inkwell with a feather. Everyone must take part in the design of the item. You must be able to negotiate and cooperate.
Don’t forget that the main thing is the silhouettes of people (don’t draw animals).
8) Choose the work that turned out better, and the silhouettes are more expressive.
Teacher: Don't forget about safety precautions when working with scissors and glue. Be careful!
HEROES OF PUSHKIN
We can choose with confidence
Who to draw on the vases:
Or a proud maiden -
Shamakhan queen.
Astrologer and Dadon,
Princess Swan and Guidon,
Babarikh il Saltan,
Or brave Ruslan,
Chernomora with a beard,
Lyudmila with long braid,
A fisherman, an evil old woman,
Search another one like this,
Greedy priest, Baldu,
Trait and Babu Yaga,
Or the greedy Koshchei,
What becomes decrepit from stinginess,
Princess, seven heroes
Let's draw quickly!
Or maybe their creator -
Genius, writer?
Practical implementation of the task. /Slide with music/
Summarizing.
1. Analysis of work, conclusion.
The first completed works are immediately pinned on the board. The most beautiful, with original, expressive silhouettes. The character of the characters is determined. One silhouette with flaws is noted, and it is found out what the error is.
Teacher: Well done, guys! You all tried very hard, worked together, that’s why you decorated your items so well with silhouette portraits fairy-tale heroes. Some even managed to do decorative elements for items.
Exercise “Faces” (express survey). (“smiling”, “neutral”, “sad”).
Teacher: There are more smiles - the lesson was a success!
Final word teachers.
Today you were in the role for real creative person. Lesson completed. I wish you creative success
COMMENTS
The greeting at the beginning of the lesson is unconventional. Students say their name (at this age this is important, because more often teenagers address each other using nicknames) and positive quality. The psychological technique creates a positive background for work, enhances psychological attitude. And, what is especially valuable, it helps to overcome psychological barriers, interfering with full self-expression, which is extremely important for fine arts lessons.
During the lesson, active forms of learning are used. At the organizational and reflective stages, the “Faces” exercise is used. The child himself is aware of his condition and shares it with the teacher, which increases his self-control. The exercise also has a super effect: children see attention to themselves. And the teacher is given the opportunity to adjust the mood with two or three phrases, additionally setting the student up for work. The lesson ends with a show of faces. The teacher has the opportunity to make a comparative diagnostic section, receiving feedback from students.
At the stage of updating knowledge, the “Basic Lesson Plan” technique is used.
It differs from the common entrance to the lesson: everyone stood up, froze, looked into the teacher’s eyes, and sat down on command.
Corresponding cards indicating certain types of activities are attached to the board. The guys remember these designations easily. More interesting entertaining tasks, a secret or surprise from the teacher, is offered at the end of the lesson. Therefore, the guys have an incentive to work more organized, more actively, in order to have time to work on interesting tasks, learn the secret of the lesson or earn a surprise. The teacher comments on the lesson plan in a half-joking manner (“Let’s admire the knowledge....”, “Let’s train our brains...”, “Let’s pull out something valuable from the recesses of memory...”). This solves the main task of entering the lesson - to positively motivate students to work. Don't stress him out with a headache.
On preparatory stage A dialogue conversation is held that develops students’ ideas about the origins of the artist’s work. Attention is focused on the fact that the fundamental basis of creativity in all types of activities is the reality around us. At this stage, the children also work in dictionaries on fine arts, write down the basic concepts of the lesson, touching on psychological aspects, which allows for a deeper understanding of the nature creative activity and also enrich your vocabulary.
The “transitional bridge” to the main stage is the preparation of a syncwine. Sinkwine - a technique of development technology critical thinking Writing a syncwine is a form of free creativity that requires the author to be able to find the most essential elements in information material. At this stage, syncwine was used not only as a means creative self-expression, and a way to improve emotional state in the classroom, but also as a method of testing acquired knowledge on a topic.And most importantly, it allows you to feel like a creator, at least for a moment, and everyone succeeds!
During physical training, students are given the exercise “ Mirror drawing». This technique widely used in art therapy (a method in psychology). It is aimed at developing interhemispheric interaction, arbitrariness and self-control. Students are asked to draw mirror-symmetrical drawings and letters in the air with both hands at the same time. When performing this exercise, your eyes and hands relax. When the activity of both hemispheres is synchronized, the efficiency of the entire brain will noticeably increase.
For execution practical work sand painting technique is used.When drawing with sand, students use non-traditional technologies images, which creates conditions for creative self-realization.
It is worth noting one more important aspects using sand painting techniques. This technique, as well as the “Drawing in the Air” technique, is used in art therapy (art therapy).On normal school lesson the task is to teach how to do something correctly, for example, to draw (“The house is drawn like this, the tree is like this and in exactly this color”). The child does not have the opportunity to use his imagination and experiment; make a discovery for himself: others have already done this for him a long time ago, he can only watch, listen and reproduce, he is taught to reproduce ready-made knowledge and skills.
The art therapeutic goal of sand painting is to liberate the psyche and give creative energy an outlet. The main thing is not to do it correctly, not to focus on the mark, but to turn on emotions and feelings at full capacity. Based on these arterapeutic tasks, students themselves evaluate their work.
At the reflective stage, students have the opportunity to look at the work done by their classmates and give feedback. The express exhibition is organized right on the spot, students move freely around the classroom, evaluating each other’s work,share impressions and feelings from working with unusual material.Students who are interested comment on their drawings.
At the final stage, students' attention is focused on feelings and sensations. Attention is fixed on the emotions of creativity.
The teacher gives the necessary recommendations for performing similar work. Briefly describes the art therapy technique used, therebyequipping students with one of the accessible and pleasant ways for them to relieve emotional stress for the future.
The lesson uses the technique of self-assessment of work. The function of evaluating the results of their work, transferred to students, allows children to be more critical of their creative activity and promotes the development of reflection.
At the information stage, students are offered multi-level homework.
The first level is a mandatory minimum. The main property of this task is that it should be understandable to any student. Suggested to come up with short story to your drawing done in class.
Second level assignments - training. It is performed by students who want to study the topic in more depth. At the discretion of the teacher, students may be excused from the first level assignment. Students are offered handouts, where on separate sheets there are various figures that need to be completed by completing certain tasks.
Third level- creative task, is carried out on a voluntary basis. It is proposed to conduct a self-analysis of creative activity (Test “Determination of the level of imagination”).
Noveltythe presented lesson - in the integration of two directions: fine arts and psychology in considering the nature of creative activity
DIDACTIC MATERIALS
Exercises to develop imagination
(for execution homework 2 levels).
Exercises are offered on a separate sheet of paper for each student.
Exercise No. 1
Look carefully, what does each figure look like? Name several options, and then you can complete it the way you imagine it.
Exercise No. 2
Complete the lines and shapes to make it magical forest with its inhabitants.
Exercise No. 3
Think about how you can turn these figures into gifts for your friends. Try to finish drawing.
Exercise No. 4
Look carefully at each blot and think about what it looks like. Try to finish drawing.
Exercise No. 5
Draw these circles so that they make a picture
Exercise No. 6
See how you can make a drawing by connecting the dots. Try to draw something yourself by connecting the dots.
Test “Determining the level of imagination”
(for completing level 3 homework)
Instructions:
You are offered 12 test questions. They must be answered either “yes” or “no”.
The first number in brackets (the number of points) means a positive answer, the second - a negative answer.
Are you interested in painting? (2, 1).
Do you often get bored? (12).
When telling a story, do you like to embellish it with a colorful detail you add on your own? (10).
Are you proactive at work and at school? (2, 1).
Do you write “broadly” and take up a lot of space on paper? (1.0).
Are you guided by the laws of fashion or your own taste when choosing clothes? (2, 1).
Do you like to draw the same figures on a sheet of paper during meetings or lectures? (O, 1).
When listening to music, do you imagine any images associated with it? (1.0).
Do you like to write long letters? (2, 1).
Do you sometimes have colorful dreams? (10).
Do you like to mentally visit those dreams that you know only from stories? (10).
Do you often cry or get upset at the movies? (10).
So, count your points.
14-17 points: you have a rich imagination. If you can apply it in life, you will achieve great creative success.
9-13 points: average imagination. This kind of imagination occurs in many people. It depends on you and only you whether you will be able to develop it. cinquain ) - five-line form.
Sinkwine is a technique for developing critical thinking. Cinquains are poetry, a means of creative self-expression, and a way to improve the emotional state in the lesson, as well as a method of testing acquired knowledge on a topic.
1 line. Topic -1 word (noun)
2nd line. Description of the topic - 2 words (adjective)
3 line. Description of the action - 3 words (verb).
4 line. Attitude to the topic - a phrase of 4 words (sentence, quote, attitude of the author of the syncwine to the described subject or object.).
5 line. The essence of the topic is 1 word (synonym).
An example of a sequel on the topic “Imagination, fantasy, creativity”
Imagination.
Bright. Rich.
Introduce. Fantasize. Compose.
The ability to see the special in everyday reality.
Creation.
“THE MOST PLEASANT SHADOW” IN RUSSIA
L.L. RUDENKO
The origins of the art of silhouette take us back to ancient times...
The art of depicting black-figure contour scenes has come down to us on ancient vessels produced in Attica. Ancient artists(VI century BC) masterfully mastered expressive contour and stroke, creating complex multi-figure profile compositions.
With the invention of paper in Ancient China(105 AD) "Chinese shadows" appeared. From China along the Great silk road they penetrate into Western Europe, where public culture begins to master a new art. But by the middle of the 18th century European life The art of the “Chinese shadow” fades away and experiences its Renaissance already in France, where it received the name “silhouette”.
Russia's fascination with silhouettes is in its second half XVIII century. The honor of introducing Russians to the European silhouette belongs to Empress Catherine the Great, a German princess by origin, and to the French master F. G. Sido, who was rightly called the “artist of scissors.” He painted a portrait of Catherine the Great and presented her with a silhouette of her with the caption “ The most pleasant shade Catherine II, Autocrat of All Russia."
The master worked in St. Petersburg for only two years, from 1782 to 1784, and in such a short time he created about 200 portraits. An album of silhouettes by F. G. Sido “The Court of Empress Catherine II, her employees and associates” was published in St. Petersburg in Russia in 1899.
F. Sido. Silhouette portraits
on the left – “The Pleasant Shadow of Catherine II” (1729-1796)”
on the right is a portrait of Prince Potemkin-Tavrichesky (1739-1791)
F. Sido.
on the left – Emperor of Prussia Frederick the Great (1712-1786)
on the right is Pope Pius VI (1717-1799).
At approximately the same time as Sido, the German draftsman I.F. worked in St. Petersburg. Anting (1753-1803),
who released the album “Collection de cent silhouettes” in 1791.
I.F. Anting. Russian scientist Razumovsky S.Ya. (1734-1812),
In the first half of the 19th century, silhouette portraiture became one of the favorite artistic entertainments of the Russian nobility. The “silhouette” baton is picked up by the Russian master Fyodor Tolstoy (1783-1873), sculptor, medalist, draftsman and painter.
F. Tolstoy. Russian Tsar Alexander the First (1777-1825)
F. Tolstoy.
on the left – Soldier (1812-1820),
right – Man reading a book (37x35)
The best silhouettes of F. Tolstoy are dedicated to Patriotic War 1812. Of particular interest is F. Tolstoy’s silhouette composition “Parade of the Pavlovsk Regiment at the Suvorov Monument” from the time of Emperor Nicholas I (1796-1855).
F. P. Tolstoy. Parade of the Pavlovsk Regiment at the monument to Suvorov
1816 – 1820s (Illustration: – 7x21cm.)
.
F. Tolstoy's silhouettes, depicting the everyday life of Russian life, attract attention due to the breadth and versatility of the artist's interests. Russian peasants in his works are worthy, strong, attractive people who evoke deep respect.
F. P. Tolstoy. Scene in the hut. 1816 – 1820s
(Illustration note – 8x21cm.)
In the middle of the 19th century, interest in silhouette art in Russia almost disappeared and cutting out silhouettes turned into the profession of traveling artists, who earned a meager piece of bread through this activity at public festivities and fairs. People in the secular circle have lost interest in this art.
In the second half of the 19th century, “the beautiful Diana” became F. Tolstoy’s successor. This is what contemporaries called E. Boehm (1843-1914). She created the genre of children's scenes - the whole world of childhood. Her best works are inspired by images of children.
E. M. Bem. Self-portrait.
E. Boehm. Silhouettes from the Lives of Children (1877).
A new period of silhouette revival begins in late XIX V. in the work of the Russian artist K. Somov (1869-1939) - “he is a master of lines, he is a magician of lines” in the words of A. Benois.
K. Somov. Screensavers for the magazine “Golden Fleece”, 1906:
on the left “Kiss”; on the right is “Lady with a Dog.”
But the time of real revival of the art of silhouette was the beginning of the 20th century. Returning to the traditions of the past to understand the present was completely in the spirit of ideas Silver Age. The 20th century brought new names: Nina Simonovich - Efimova (1878-1958), Georgy Narbut (1886-1920), Mikhail Dobuzhinsky (1875 - 1957) and Elizaveta Kruglikova (1865 - 1941).
N. Simonovich-Efimova. Sledging.
G.Narbut. Self-portrait with family.
G. Narbut. And Krylov (1769-1844), Russian fabulist.
With the name of M. Dobuzhinsky, the greatest master book graphics, in the history of the Russian silhouette is associated whole line“decorative” vignettes and endings for the magazine “Apollo”, distinguished by the decorativeness and whimsicality of the forms of the original pattern. Dobuzhinsky cares not so much about the expressiveness of the black spot as about the complex tortuosity of the contour lines, trying to tell as much as possible with them.
M. V. Dobuzhinsky. The ending. 1909
M. V. Dobuzhinsky. Madrigal. 1908.
Another major master of silhouette was E. Kruglikova. Her work was distinguished by her search for new modern means and forms of expression and developed in a realistic direction.
E. Kruglikova. Silhouette portraits of Russian poets of the Silver Age
On the left is B. Pasternak (1890-1960), on the right is K. Balmont (1867-1942)
E. Kruglikova. Silhouette portrait of a Russian poet
M. Voloshina (1877-1932).
E. Kruglikova. Silhouette portraits of the Russian poetess
A. Akhmatova (1889-1966)
E. Kruglikova. Group portrait of Russian artists E. Lansere, I. Repin and K. Petrov-Vodkin in the halls of an art exhibition.
Having been revived, the art of silhouette no longer died. It was widely used and how independent genre, and as applied for illustrations.
N. Ilyin. Tsarskoye Selo. Russian poet Pushkin A.S. (1799-1837)
V. Helmersen. Ill. to the novel by A. Pushkin “Eugene Onegin”
(Illustration note – 7x7cm.)
The works of contemporary Russian artists of various generations show that the art of silhouette portraits is successfully developing.
Arina Daur (born 1982)
on the left is a self-portrait (12x17), on the right is a portrait of K.Kh. Andersen
Igor Babayants (born 1940).
Portrait of a mother.
Alexander Gusev (born 1953).
Just like you, the first viewers of this film were surprised. It was shown by the artist at the beginning of the last century. The audience was perplexed, argued, laughed, but the picture was preserved for posterity. - Why do you think it is now kept in the museum? - What's special about it? The artist Kazimir Malevich made his contemporaries think about the semantic meaning of color. Before us is not just a black square spot on a white background. It's darkness and light. And there is a constant struggle between them. It’s as if we’re being sucked into a black well of space, and then it seems like a few more moments – and everything will be filled with white light.
Black and white - unusual colors. With their help you can convey a wide variety of creative ideas. The combination of these colors is noble, strict, beautiful. Let's look at the exhibition of graphic works. Name the genre of fine art for each work.
What is a silhouette? A silhouette is a drawing, an image in the form of a solid spot. In such a drawing it is impossible to show facial features or other details located inside the spot, so the external outlines of each figure must be very expressive and recognizable.
Consider a series of silhouettes famous poets and Russian writers of centuries. Boris Pasternak and Marina Tsvetaeva.
Silhouette as a form of fine art arose in ancient times in the 6th century. BC e. In Greece, a legend was born about how the daughter of the potter Dibutara saw the shadow of her lover on the wall and traced his profile with a dagger. Thanks to this design, her father invented the style of painting that decorates Greek vases.
The art of silhouette has been revived in France. This is where the name silhouette itself appeared. At the court of Louis XV, the chief controller of finances was Etienne Silhouette. The fact is that Silhouette carried out a number of reforms, in one of which he proposed to reduce the king’s personal expenses and the maintenance of the court. Naturally, the chief controller became the subject of universal ridicule high society, after which he was forced to resign. He had only one consolation left - to cut out his favorite pictures from black paper. There was even a caricature of him drawn in the form of a shadow profile. This is how the name silhouette was born. It has survived to this day.
In Russia late XVIII – early XIX V. the silhouettes were also fashionable. Cutting silhouettes became a favorite pastime not only of professional artists, but also of the nobility. Black and white pictures were used as decoration in the houses of Russian nobles. Profile portraits and genre scenes were widely used. The image technique was different: either an ink drawing or a cut from plain paper. In the first half of the 19th century. The greatest master of the silhouette was Count Fyodor Petrovich Tolstoy. The Hermitage houses 50 silhouettes of his work, the State Russian Museum has 20 silhouettes, and the same number in Historical Museum Moscow.
Tingatinga painting appeared in Tanzania (Africa) in the 60s of the twentieth century. Now this direction is actively developing and is popular in the world. The first paintings were drawn on cardboard, and before that on the walls of houses. I must say that the art of creating is still colorful drawings on walls thrives in Tanzania. And this has not only a decorative, but also a practical purpose - this is what outdoor advertising often looks like. Initially, all works were approximately 60x60 cm in size, which led to the fact that in some sources tingatinga is called “square painting”. To create the paintings, paints that were used to paint cars and bicycles were used - enamel. Later, artists tried to switch to other paints, but enamel and acrylic, sometimes with the addition of oil, are still favorite.
During the existence of the Tingatinga school, several styles were formed within it: - images of animals and birds that have become classic, - complex multi-figure compositions from Everyday life people, often depicted in the form of a kind of “comic story”, plots of traditional mythology, -biblical motives. You can select common features Tingatinga painting: 1. Single-color background with a small number of shades. 2. The main motif is applied using simple and clear lines (silhouette) and, as a rule, occupies almost the entire background. 3. Lack of perspective. 4. The sweeping and repeating pattern of lines gives the image the character of a living, expressive ornament.
Any graphic drawing can be attributed either to linear graphics, or to spot. In the first case it will be a line drawing, in the second - a spot drawing. It is also possible to combine a line and a spot in one composition. Each of these cases has its own peculiarity for perception, its own meaning and beauty.
SILHOUETTE IN GRAPHICS
The simplest version of black and white compositions is a SILHOUETTE, a black image on a white background or white on black. You've probably come across these black and white drawings in books.
These drawings are two-dimensional, very conventional and laconic.
Silhouette art has ancient history and goes back to figurative painting on vessels Ancient Greece. Remember those beautiful images on amphoras: mythological scenes, Olympic Games, figures of Greek beauties and athletes?..
The real boom in silhouette art occurred in the 18th and 19th centuries. You could say that silhouette making was a craze back then.
Many artists paid tribute to this type of graphics and created beautiful examples of silhouette works.
Wherever they found a use: illustrations, portraits, drawings on screens, dishes and in the interior... The ability to create silhouette compositions was taught even at the Institute of Noble Maidens!
Traditionally, silhouette portraits were cut out of black paper and pasted onto a white background. The contrast of black and white made it possible to accurately and quickly convey facial features, because the profile of a person in silhouette is very easily recognizable.
Ease of execution and, accordingly, low cost made this type of graphics very popular. However, in order for the picture to be expressive, it is important to very accurately note the features of the shape of a particular character and give its characteristic details.
Although, of course, silhouette compositions can be much more complex and attractive to look at than just portraits.
BLACK AND WHITE DRAWINGS WITH SHADES OF GRAY
However, in addition to the locally black spot, all shades of gray can be used in the graphics. We see these gradations in drawings with charcoal, sauce, pastel, and ink.
In this case, the image can already be three-dimensional, realistic, very reliably conveying reality.
But be that as it may, here too the plasticity and expressiveness of the spot are of no small importance. Artists from China and Japan are especially virtuoso in mastering the expressiveness of spots.
Despite the simplicity of the motif, their graphic sheets are unusually attractive. Game of blurry and clear spots, beautiful flow gray colors, perfection and harmony of forms.
And now we feel with all our guts the delicate, refined, so fragile leaves of an orchid, the soft fur of a cat, the speed of a rushing horse, the joy of a bird in flight...
From the example of these works, we can understand that a spot pattern is something more than a recognizable silhouette.
This is very important point which I would like to convey to you.
The expressiveness of the image can be determined
NOT ONLY in the recognition of the silhouette (what is depicted),
but also IN THE FORM OF the spot (as depicted).
WHAT CAN A STAIN TELL ABOUT?
Let's take different spots as an example.
Even if our eye does not find familiar outlines in any of these spots (and it tries very hard), then we can associate the shape of the spot with certain sensations.
For example, we can say whether this spot is calm or mobile, aggressive or friendly, delicately refined or monumentally massive.
What associations do certain stains evoke in you? Can you feel them?
THE IMPORTANCE OF SPOT SHAPE
Of the main forms of spots, we can distinguish four, each of which has a different effect on the viewer:
Square and rectangle.
A complete, stable form, ready to express affirming images. The square is the most static and heavy, not prone to movement.
Circle.
Closed, compact form, focused on itself. Without a clear foundation, a circle is always unstable. For a person, a circle is associated with the concepts of “good”, “happiness”, “life”.
Triangle.
The most mobile, dynamic form is stable only if one of the sides is horizontal. The triangle is a symbol of movement, energy, and sometimes even aggression.
Amoeba form.
Its fluidity expresses images that are unstable in nature in a wide range from romance, melancholy to pessimism.
Modern artists actively use stain as a “stain”.
