Photography as a means of reflecting reality. Artistic means of painting
VLASOVA Irina Lvovna, literature teacher
Theater Art and Technical College of Moscow
About some ways of depicting reality in the works of N.V. Gogol
His article about N.V. Gogol V. Nabokov begins like this: “Nikolai Gogol is the most unusual poet and prose writer that Russia has ever produced.”
Gogol often walked on the wrong side of the street that everyone else walked on, sometimes he put his right shoe on his left foot, and he arranged the furniture in his room in disarray. This “most unusual poet and prose writer” entered Russian literature “In the evenings on a farm near Dikanka,” and then decided to “show at least one side of the whole of Russia.”
He showed Russia not “from one side,” but absolutely. From Uncle Miny and Uncle Mitya to the bird-troika, from village house, where Afanasy Ivanovich and Pulcheria Ivanovna lived, to the most mystical city of Russia, once founded in a swamp and human bones to those who "bridle iron Russia reared up."
“I just read Evenings near Dikanka,” wrote A.S. Pushkin to a friend. “They amazed me.” This is real gaiety, sincere, relaxed, without affectation, without stiffness.” When, shortly before Pushkin’s death, Gogol read him a draft of the first chapter of “Dead Souls,” he exclaimed: “God, how sad our Russia is!”
Portraying our sad Russia, the writer never ceases to amaze us. He burst into literature with the gaiety of “Evenings...”, where everything is so unusual: the devil is a vehicle, the witch is a charming woman. There they steal a month, the capricious lady demands the shoe from the royal foot. Dumplings and dumplings themselves are dipped in sour cream and jump into your mouth. I was truly surprised and surprised! There will also be a story “Taras Bulba”. In it, he fiercely executes his hero: Taras will not only die painfully, he will also see terrible death Ostap. The writer will never have anything like this again. Then he will pay attention to the conflict that his brilliant fellow writers explored before him - the conflict of the hero with the environment. The same one that is known precisely because it always eats up someone (how many times will we hear: “Wednesday has eaten up”!) But if Pushkin, Griboedov, Lermontov more interest called by the hero, and the environment was represented by a series of guests at Famusov’s ball or at Tatyana Larina’s name day, in the murderous characteristics of Pechorin (“a drunken captain with a red face”, “a lady in a low neckline and with a wart on her neck”, “countess, at this hour usually sweating in her bathroom"), then Gogol’s entire interest is directed precisely to this environment. That environment where the bride is chosen according to the amount of movable and immovable property, knowledge French, by weight (well, just like a goose at the market!), where you can buy dead souls. To describe this very environment, the writer uses unique artistic means. Most often, his hero travels along the road (so beloved by Gogol the principle of “long, long journey»!) He goes and observes the life of the old-world village in which Afanasy Ivanovich and Pulcheria Ivanovna lived; in the glorious city of Mirgorod, in the central square of which the famous puddle never dries up, along the banks of which several generations of Mirgorod residents grew up; in the provincial townNN, where one scoundrel decided to buy dead souls, and five scoundrels sold them (one even gave them as a gift!); in the city of St. Petersburg, where Pushkin had already noticed the devilry, in the city where “the demon himself lights the lights.”
In my opinion, in the writer’s work (except for “Evenings...” and “Taras Bulba”) two themes that are most important to him can be distinguished: provincial Russia and St. Petersburg. He paints a portrait of the city and its character so powerfully that his Petersburg no longer becomes so much a place of action as a hero of the story. A hero who interferes with the fate of a character, invades his life, changing it. The writer introduces his heroes to the reader, starting with a portrait. And he describes the city, starting from the main street. She is the face of the city, its business card(like a nose, which, according to the writer, is the calling card of a face) And the reader probably wants to know what kind of city this is, where (as in the cityNN) you can buy dead souls. Or what kind of city is this, where sideburns and mustaches walk independently along the main street, where Major Kovalev’s nose “disappears for no reason, for no reason” and lives independently.
There is some strangeness in this, perhaps, mystical city Russia was noticed at one time by Pushkin (it was this oddity that drove poor Eugene, who challenged the Bronze Horseman himself, crazy). Then F.M. will tell you a lot of interesting things about this strangeness. Dostoevsky. He will show us this city as a city without people (“White Nights”). Here the hero lives among bridges, streets, pavements, houses, stone walls and communicates with them as with friends, with acquaintances. This strange world– his world, his and the City. For Dostoevsky, this city is a two-faced Janus, one side of which is beautiful (balls, beautiful women, the shine of diamonds), and the other is ugly. On this side they drink, steal, here the stairs are filled with slop, here children get sick and die, here crazy ideas are born. On the streets of this side of the city the most happening terrible tragedies. This strangeness will later be seen by A.A. Blok, whose hero finds himself in a vicious circle: “Night, street, lantern, pharmacy.” You can’t break out of this circle: “If you die, you’ll start over again, // And everything will repeat itself as before: // Night, the icy ripples of the canal, // Pharmacy, street, lantern.”
Charming and frightening, this City is approaching us: “And beyond the bridge it flies towards me // A horseman’s hand in an iron glove // And two hooves of his horse” (N.S. Gumilyov)
A.N. Tolstoy, in his novel “Sisters,” recalled a drunken sexton who, two centuries before the events he described, driving past, shouted: “Petersburg be empty!” That's how things have gone since then: then along the pavements Bronze Horseman galloped, then the nose of the unfortunate major went on a spree, then the deceased official raged in the vacant lot like a ghost, tearing the greatcoats from the shoulders of passing influential persons. If Pushkin and Dostoevsky, Blok and Bely noted the amazing strangeness of this City, then Gogol understood everything to the end and told about it in such a way that everyone who wrote after him “... only more fully reveals the city of Gogol, and does not create some new image of it. It is no wonder that Petersburg revealed all its quirkiness when the most bizarre person in all of Russia began to walk along its streets, for that is what it is, Petersburg: a blurry reflection in a mirror...; pale gray nights instead of the usual black ones and black days - for example, the “black day” of a shabby official” (V. Nabokov)
In his article “St. Petersburg Notes of 1836” N.V. Gogol wrote: “It is difficult to grasp the general expression of St. Petersburg, because disunity reigns in this city: as if a huge stagecoach arrived at the tavern, in which each passenger sat closed the whole way and entered the common room only because there was no other place.” . On Nevsky Prospekt - the “universal communication of St. Petersburg” - there is a different picture. Here everyone has their own movement at their own time. Only the location of the action does not change - Nevsky Prospekt. Gogol had previously begun his description of any city with a description of its main street. And there was always some kind of catch in this description. Well, for example, the famous Mirgorod puddle. The writer dedicates a poem to this puddle and sings a hymn! Everything is superlative, all exclamation marks! It's big, like a lake. It does not dry out in summer and does not freeze in winter. All the townspeople love her and are very proud of her. A few more touches (a pig lying in the center of a puddle, chickens pecking grain on the porch of a public place) - and here it is, a portrait of the city! Wow, a city whose main and, by the way, only attraction is an unforgettable puddle!
So Gogol begins his description of the “beauty of our capital” Nevsky Prospect with an obvious catch: “There is nothing better than Nevsky Prospect.” After such an enthusiastic exclamation there is a whole series of proofs: he is good because everyone loves him; they love it because everyone walks along it; they walk on it because it is good. “How clean its sidewalks are swept, and, God, how many feet have left their traces on it! And the clumsy dirty boot of a retired soldier, under the weight of which the very granite seems to crack, and the miniature, light as smoke, shoe of a young lady..., and the rattling saber of a hopeful ensign, making a sharp scratch on it - everything takes out the power of force on him and the power of weakness." Is it possible now, after reading the description of all kinds of traces and even scratches, to believe in the unimaginable purity of the “universal communication of St. Petersburg”, its “main beauty”? And what is the writer’s statement, which was subsequently unconfirmed by anything, that “a person met on Nevsky Prospect is less selfish than in Morskaya, Gorokhovaya, Liteinaya, Meshchanskaya and other streets.” N.V. Gogol paints Nevsky at different times of the day. The character of the city, its mood, its smell changes every minute, it fascinates with this elusiveness, this changeability. Early in the morning “... all of St. Petersburg smells of hot, freshly baked bread and is filled with old women... making their raids on churches and compassionate passers-by.” Well, isn’t at least this phrase about old women worth a lot! Next, the writer comes to a conclusion (presumably based on close observation): until 12 o’clock “the right people” trudge along Nevsky Prospect to work, or “a sleepy official trudges” to the department.” “At 12 o’clock Nevsky Prospekt is a pedagogical prospect,” because it is “raided by tutors ... with their pets.” The old women who raid churches and the tutors who raid Nevsky Prospect will then be replaced by mustaches and sideburns. It turns out that sideburns “velvet, satin, black, like sable or coal” are the privilege of only one foreign board. Those serving in other departments, “to their greatest trouble (and why trouble, and even the greatest?) are destined to wear red hair.” This procession of mustaches and sideburns of all styles and colors is accompanied by the smells of “delicious perfumes and aromas.” And then, completely independently, “thousands of varieties of hats, dresses, scarves”, narrow waists, ladies’ sleeves march. And the inhabitants and smells here will change endlessly, the nature of the “universal communication of St. Petersburg” will change. But then it comes magical time, when “... the lamps give everything some kind of tempting, wonderful light.” Now Nevsky Prospekt consists of two parallel straight lines: Nevsky daytime and Nevsky night. The story is based on a comparison of two storylines. When describing the daytime Nevsky, Gogol turns to the principle of detail in the description: endless external signs (sideburns, mustaches, ranks, hats, boots, etc.) In the evening, when the lanterns are lit, the City fascinates, captures and sends the seeker in different directions beauty (artist Piskarev) and adventurer (Lieutenant Pirogov). Both of them are in for a complete fiasco. Only now the beauty seeker will die, and the adventure seeker will get off with a slight fright and will forget himself in the pastry shop, eating pies. And the evening mazurka will completely calm him down. There is a complete discrepancy between tragic meaning and ironic intonation in the description of these events. This is fully confirmed by the writer himself at the end of the story: “Oh, don’t believe this Nevsky Prospect!” “Everything is a deception, everything is a dream, everything is not what it seems!.. He lies at all times, this Nevsky Prospekt, but most of all when the night falls on him in a condensed mass... and when the demon himself lights the lamps just so that show everything not in its real form.” So why be surprised in a city where “the demon himself lights the lights”? It is clear that this is where the strangest things should happen: the artist will give in to temptation and, for the sake of fame and wealth, will pledge his soul to the devil. What seems only at first glance to be “perfect nonsense”, but in fact an “extraordinarily strange incident” will happen: Major Kovalev’s nose turned out to be (how?) baked in dough, thrown into the Neva (under what circumstances?). Then, with the rank of state councilor, he traveled around St. Petersburg and was spotted in church. By the way, he flatly refused to have a close relationship with Major Kovalev! "I am on my own. Moreover, there cannot be any close relations between us. Judging by the buttons on your uniform, you should serve in the Senate, or at least in the Justice Department. I'm a scientist." Then, finally, the runaway nose returned to its rightful place, “between Major Kovalev’s two cheeks.” Nikolai Vasilyevich states quite authoritatively that such incidents are “rare, but they do happen.” And as evidence he writes: “But here the incident is completely obscured by fog, and absolutely nothing is known what happened next.” So here you go! Gogol is always like this. As soon as we get to the solution, he will definitely promise to tell you later or, even better, suddenly declare that it doesn’t matter now.
Topic bad dream major, assumed in the original version, Gogol later excludes. Everything would be simple: the strange incident turned out to be just a strange dream. IN final version poor Kovalev pinched himself twice to make sure whether this was a dream or a terrible reality. Alas! Instead of “... a rather good and moderate nose, a very stupid, even and smooth place.” There is no life without a nose: you have to cover yourself with a scarf in public, you can’t get married, you can’t smell tobacco, you can’t make a solid career! The nose is the “peak” of external dignity, and not “some little toe.” Nobody will see it (in the sense of a finger) in a boot. And this is the nose! “And why did he run out into the middle of his face?” – the writer once joked. Major Kovalev without a nose finds himself “outside the citizenship of the capital.” He is now completely outside of people. This makes him similar to the hero of the story “Notes of a Madman,” poor fellow Poprishchin, who “has no place in the world,” who speaks “in himself.” Life will drive him crazy. At the end of the story “Notes of a Madman,” we see Gogol’s beloved images of the troika, the road, and we hear the sound of a bell: “Give me a troika of horses as fast as a whirlwind!” ... ring my bell, soar, horses, and carry me from this world!”
“There is no place in the world” for the unfortunate Bashmachkin. He died, and “Petersburg was left without Akaki Akakievich, as if he had never been there.” Gogol explained to the reader why his hero was so unattractive (“short, somewhat pockmarked, somewhat blind, with a small bald spot on his forehead, with wrinkles on both sides of his cheeks...”): “What can we do? The St. Petersburg climate is to blame.” The beginning of the story is replete with an incredible amount of details: where the bed of the woman in labor stood, who stood on right hand, who on the left, which of the relatives (up to the brother-in-law) wore boots, etc. Then only the main event is described - the choice of name. In the case of our hero, read “fate”. Choosing a name begins with total bad luck. According to the calendar, “all the names were like this”: Mokiy, Sossiy and Khozdazat, then Trifiliy, Dula and Varakhasiy. “Well, I see that apparently this is his fate. If so, it would be better for him to be called like his father. The father was Akaki, so let the son be Akaki.” The child was baptized and he began to cry. Let us note that he cried, not notifying the world, saying, I was born, love me, but “as if he had a presentiment that there would be a titular councilor.” This is simply a sentence: to be in this life, like his father, Akaki, and to be a titular adviser. There will be no other fate. You'll pay here! Then about fifty years falls out of the description. There is probably nothing to talk about - just rewriting of papers. They put papers on him, he took them, “looking only at the paper, without looking who gave it to him,” and copied them. So he lived among papers, letters, and rewriting. In some kind of little world of his own, outside of which nothing existed for him. In this little world, however, he lives quite happily: so, having written to his heart’s content, he went to bed, “smiling at the thought of tomorrow: will God send something to rewrite tomorrow?” In “The Overcoat,” Gogol describes three main events in the hero’s life: the choice of a name, the construction of a new overcoat, and death. The apotheosis of Akaki Akakievich’s entire life will be the overcoat. With this fateful decision - to sew a new overcoat - everything changed in his life. This period of Bashmachkin’s life is his spiritual rise. Before this, Akakiy Akakievich explained: for the most part prepositions, adverbs, and, finally, such particles that absolutely do not have any meaning... he even had the habit of not finishing the phrase at all,... thinking that he had already said everything.” For Gogol, the speech characteristics of the hero are very important. Let's compare Bashmachkin's speech before and after the decision to sew an overcoat. “And here I come to you, Petrovich, that...” After making a decision, he completely changes. He “somehow became more alive, ... the doubt disappeared from his face.” Communication with letters is not enough for him; he is drawn to people. He became talkative: “He visited Petrovich to talk about the overcoat.” Why, he became a dreamer, he became daring and courageous: “Should I put a marten on my collar?” Well what! For him, the future overcoat is a friend of life, in general LIFE! Another. A new overcoat means a new life. This new life he is destined to live only one day. This whole day for him is “definitely the biggest solemn holiday.” On this day, he experienced everything that a person can experience in life: the joy of meetings, care, warmth, affection. He was in a team, among friends. He was in an apartment on the second floor, where the stairs were lit. He drank champagne. He was happy and happy people lose their vigilance. Drunk, either from two glasses of wine or from happiness, he finds himself in a vacant lot, where he is unceremoniously thrown out of his overcoat. “But the overcoat is mine,” only he heard. Thrown out of his overcoat - thrown out of life. He was shown to his place. Born a titular councilor, live as one. And he swung at his overcoat, even a general’s one. “And Petersburg was left without Akaki Akakievich, as if he had never been there.” At the end of the story, Bashmachkin will return as a ghost and take revenge significant persons, tearing off their greatcoats from their shoulders. He will calm down only after tearing off the overcoat from the boss who yelled at him: “apparently, the general’s overcoat was completely beyond his capabilities.”
The main work of the writer’s life will be “ Dead Souls" On June 28, 1836 he writes to V.A. Zhukovsky: “I swear, I will do something that an ordinary person does not do... This great turning point, great era of my life... If I complete this creation the way it needs to be accomplished, then... how huge, what original story! What a varied bunch! All Rus' will appear in it! This will be my first decent thing that will carry my name.” On May 21, 1842, “Dead Souls” was published.
The plot of the poem is three-layered: a biography of Chichikov, “landowner” chapters and a description of city officials.
The composition of the poem is interesting. The first chapter is an exposition. In it we get to know the cityNN, where Pavel Ivanovich Chichikov will buy dead souls. Here, in this city, useful contacts are made, a plot begins, and the actual movement of the plot will begin with the next chapter. From the second to the sixth chapter, Chichikov’s trips to the landowners are described. Then the action develops more and more rapidly. And at the most seemingly inopportune moment, when, after the word “millionaire”, which was so intoxicating for Pavel Ivanovich, was uttered next to his name scary word“crook”, and the society hid, trying to figure out what would happen next, what if “The Tale of Captain Kopeikin” would suddenly be told. But maybe Chichikov is that same captain? But the captain is “without an arm or a leg, and Chichikov ...”) In the last, eleventh chapter of the first volume, Gogol will tell the biography of the hero.
In the poem the writer is faithful to his in a creative manner. Getting to know the cityNNwill begin with a description of the main street. Meet the characters from a portrait. The most important role Speech and gastronomic characteristics play a role in revealing characters. But more on that later.
Of the five visits, Chichikov planned two (to Manilov and Sobakevich). Later I learned about Plyushkin from Sobakevich and decided to go to him. I came to Korobochka by accident. Nozdryov dragged him to him almost by force. Then it was Korobochka (for fear of selling himself short) and Nozdryov (from his own) who would blurt out about dead souls. Great love spoil your neighbor). Vladimir Nabokov, by the way, reproaches Chichikov, and not them: “It was stupid to demand dead souls from an old woman who was afraid of ghosts, it was unforgivable recklessness to offer such a dubious deal to the braggart and boor Nozdryov.”
Gogol in the “landowner” chapters directly uses cinematic technique: goes from close-up to detail. This image of the “material” world, the objective environment of the heroes is one of characteristic features writer's style. Things that surround a person help to better understand his character, his world. Therefore, probably, all the things surrounding Sobakevich seemed to say: “And I, too, Sobakevich!” or “And I also look very much like Sobakevich!” Gastronomic characteristics are also of great importance. Vladimir Nabokov believes that Sobakevich’s attitude to food “is colored by some kind of primitive poetry, and if a certain gastronomic rhythm can be found in his dinner, then the measure was set by Homer.” In the blink of an eye, he gnaws and gnaws half of a lamb side to the last bone, a huge piece of nanny (“mutton stomach stuffed with buckwheat porridge, brain and legs”) disappears in a matter of minutes, and then comes such a “trifle” as “a turkey as tall as a calf stuffed with all sorts of good things: eggs, rice, livers”; cheesecakes, “each of which was larger than a plate.” If Sobakevich serves mainly meat, then Korobochka serves more and more flour. “On the table there were already mushrooms, pies, skorodumki, shanishki, pryagly, pancakes, flatbreads with all sorts of toppings: topping with poppy seeds, topping with cottage cheese...” At Manilov’s they serve cabbage soup, and we also see Themistoclus gnawing a lamb bone. But for Nozdryov, “dinner, apparently, was not the main thing in life; ...some of it burned, some of it wasn’t cooked at all.” Aqua regia has been added to Madeira; rowan ash gives off “fusel in all its strength.” And from a special bottle (“burgagnon and champagne together”) Nozdryov for some reason “added it a little.” At Plyushkin’s, Chichikov will be offered a cracker from the Easter cake and a liqueur from “a decanter that was covered in dust, like a sweatshirt.”
Returning to the speech characteristics of the heroes, let us pay attention to how Manilov’s emptiness is revealed in his florid phrases. Korobochka's club-headed nature does not allow her to immediately understand the essence of the deal. “Do you really want to dig them out of the ground?” In Nozdryov’s speech the words scoundrel, scoundrel, and fetish are constantly heard. Two minutes later he already says “you” to Chichikov. Sobakevich is cool at first, but, an experienced swindler himself (he wrote in Chichikov’s woman!), he changes dramatically as soon as the conversation concerns the deal. He even becomes graceful, eloquent, “apparently, he was carried away; There were such streams of speeches that you just had to listen.” As for Plyushkin, well, what is worth just the phrase: “The people are painfully gluttonous, from idleness they have acquired the habit of cracking ...” In conversations with landowners, Chichikov also reveals himself. He simply disappears into his interlocutor. Either he just melts away like Manilov, or he desperately bargains with Sobakevich. He does not stand on ceremony with Korobochka - driven almost to despair by her stupidity, he slammed a chair on the floor and promised her the devil for the night. He is artistic, an excellent psychologist, smart, charming. It would be, as they say, atomic energy for peaceful purposes! But no. Gogol himself calls him “scoundrel -acquirer."
We can talk endlessly about Gogol’s ways of depicting characters and reality. This is truly our most unusual writer!
Concluding my rather superficial study, I will again turn to the thoughts of V. Nabokov: “It is difficult to say what fascinates me most in this famous explosion of eloquence that concludes the first part - whether the magic of his poetry or magic of a completely different kind, for Gogol faced a double task: to allow Chichikov to avoid fair punishment by fleeing and at the same time to divert the reader’s attention from a much more unpleasant conclusion - no punishment within the limits of human law can overtake the messenger of Satan, hurrying home to hell ... "
Literature used in the work:
V. Nabokov "Lectures on Russian literature." Translation from English. M., Nezavisimaya Gazeta, 1996
N.V. Gogol "Petersburg Tales". “Soviet Russia”, M., 1978
N.V. Gogol "Dead Souls". “Soviet Russia”, M., 1978
Painters and sculptors, designers and architects - all these people bring beauty and harmony into our lives every day. Thanks to them, we look at statues in museums, admire paintings, and marvel at the beauty of ancient buildings. Contemporary fine art amazes us, classical art makes us think. But in any case, human creations surround us everywhere. Therefore, it is useful to understand this issue.
Types of fine arts
Fine art is spatial. That is, it has an objective form that does not change over time. And it is precisely by the way this form looks that species are distinguished visual arts.
They can be divided into several categories. For example, by the time of appearance. Until the 19th century, only three types were considered the main ones: sculpture, painting and architecture. But the history of fine arts developed, and soon graphics joined them. Later, others emerged: arts and crafts, theatrical decoration, design and others.
Today there is no consensus on which types of fine art should be distinguished. But there are several basic ones, the existence of which does not cause any controversy.
Painting
Drawing is a type of fine art in which images are conveyed using paints. They are applied to a hard surface: canvas, glass, paper, stone and much more.
Used for painting different colors. They can be oil and watercolor, silicate and ceramic. At the same time, there is wax painting, enamel painting and others. It depends on what substances are applied to the surface and how they are fixed there.
There are two directions in painting: easel and monumental. The first unites all those works that were created on various canvases. Its name comes from the word “machine”, which means easel. But monumental painting is a fine art that is reproduced on various architectural structures. These are all kinds of temples, castles, churches.
Architecture
Construction is a monumental art form whose purpose is to construct buildings. This is practically the only category that has not only aesthetic value, but also performs practical functions. After all, architecture involves the construction of buildings and structures for the life and activities of people.
It does not reproduce reality, but expresses the desires and needs of humanity. Therefore, the history of fine art is best traced through it. IN different times The way of life and ideas about beauty were very different. It is for this reason that architecture makes it possible to trace the flight of human thought.
This species is also characterized by a high degree of dependence on environment. For example, on the form architectural structures influenced by climate and geographical conditions, the nature of the landscape and much more.
Sculpture
This is an ancient fine art, samples of which have a three-dimensional appearance. They are made by casting, chiselling, hewing.
Mostly stone, bronze, wood or marble are used to make sculptures. But in Lately Concrete, plastic and other artificial materials have become no less popular.
The sculpture has two main varieties. It can be circular or embossed. In this case, the second type is divided into high, low and mortise.
As in painting, there are monumental and easel directions in sculpture. But decorative items are also distinguished separately. Monumental sculptures They decorate the streets in the form of monuments and mark important places. Easel ones are used to decorate rooms from the inside. And decorative ones decorate everyday life like small plastic objects.
Graphic arts
This is a decorative fine art that consists of drawings and artistic printed images. Graphics differ from painting in the materials, techniques and forms used. To create engravings or lithographs, special machines and equipment are used to print images. And the drawings are made with ink, pencil and other similar materials that make it possible to reproduce the shapes of objects and their illumination.
Graphics can be easel, book and applied. The first is created thanks to special devices. These are engravings, drawings, sketches. The second decorates the pages of books or their covers. And the third is all kinds of labels, packaging, brands.
The first works of graphics are considered cave drawings. But her highest achievement is vase painting in Ancient Greece.
Arts and crafts
This special kind creative activity, which consists in creating various household items. They satisfy our aesthetic needs and often have utilitarian functions. Moreover, they were previously made precisely for practical reasons.
Not every fine art exhibition can boast of the presence of decorative and applied items, but every home has them. These include jewelry and ceramics, painted glass, embroidered items and much more.
Fine and applied art most of all reflects national character. The fact is that its important component is folk arts and crafts. And they, in turn, are based on the customs, traditions, beliefs and way of life of the people.
From theatrical and decorative art to design
Throughout history, more and more new types of fine art appear. With the formation of the first temple of Melpomene, theatrical and decorative art arose, which consists of making props, costumes, scenery and even makeup.
And design, as one of the types of art, although it appeared in ancient times, was only recently singled out into a separate category with its own laws, techniques and features.
Genres of fine art
Each work that comes from the master’s pen, hammer or pencil is dedicated to a specific topic. After all, when creating it, the creator wanted to convey his thoughts, feelings, or even the plot. It is by these characteristics that genres of fine art are distinguished.
For the first time about any systematization huge amount cultural heritage was conceived in the Netherlands in the 16th century. At this time, only two categories were distinguished: high and low genres. The first included everything that contributed to the spiritual enrichment of a person. These were works dedicated to myths, religion, and historical events. And for the second - things related to everyday life. These are people, objects, nature.
Genres are forms of displaying life in the visual arts. And they change with it, develop and evolve. Entire eras of fine art pass until some genres acquire new meaning, others die off, others are born. But there are several main ones that have passed through the centuries and still exist successfully.
History and mythology
TO high genres The Renaissance included historical and mythological. It was believed that they were intended not for the common man in the street, but for a person with high level culture.
The historical genre is one of the main ones in the fine arts. It is dedicated to the reconstruction of those events of the past and present that have great importance for a people, a country or an individual settlement. Its foundations were laid back in Ancient Egypt. But it was fully formed already in Italy, during the Renaissance, in the works of Uccello.
The mythological genre includes those works of fine art that reflect legendary subjects. Already in ancient art its first examples appeared when epics became common instructive stories. But the most famous are the works of the Renaissance. For example, frescoes by Raphael or paintings by Botticelli.
Subjects of works of art religious genre are various episodes from the Gospel, Bible and other similar books. In painting, his famous masters were Raphael and Michelangelo. But the genre was also reflected in engravings, sculpture and even architecture, given the construction of temples and churches.
War and life
The depiction of war in art began in antiquity. But this topic was actively developed in the 16th century. All kinds of campaigns, battles and victories found expression in sculptures, paintings, engravings and tapestries of the time. Name works of art on this topic battle genre. The word itself has French roots and is translated as “war.” Artists who paint such paintings are called battle painters.
In contrast, there is an everyday genre in the fine arts. It represents works that reflect everyday life. It is difficult to trace the history of this trend, because as soon as a person learned to use tools, he began to capture his harsh everyday life. The everyday genre in fine art allows you to get acquainted with the events that took place thousands of years ago.
People and nature
Portrait is the image of a person in art. This is one of the most ancient genres. Interestingly, he originally had cult meaning. Portraits were identified with the soul of a deceased person. But the culture of fine art has developed, and today this genre allows us to see images of people of past eras. Which gives an idea of the clothing, fashion and tastes of that time.
Landscape is a genre of fine art in which nature is the main subject. It originated in Holland. But on my own landscape painting very diverse. Can depict both real and fantasy nature. Depending on the type of image, rural and urban landscapes are distinguished. The latter includes such subspecies as industrial and veduta. In addition, they talk about the existence of panoramic and chamber landscapes.
The animalistic genre is also distinguished. These are works of art depicting animals.
Marine theme
Seascapes represent primarily the early Dutch painting. The fine art of this country gave rise to the marina genre itself. It is characterized by reflections of the sea in all forms. Marine artists paint seething elements and serene water surfaces, noisy battles and lonely sailboats. The first painting of this genre dates back to the sixteenth century. On it Cornelis Antonis depicted the Portuguese fleet.
Although Marina is more genre paintings, you can find water motifs not only in paintings. For example, decorative arts often use elements seascapes. These can be tapestries, jewelry, engravings.
Items
Still life is mainly also a genre of painting. Its name is translated from French as “dead nature.” In fact, the heroes of still lifes are various inanimate objects. Usually these are everyday items, as well as vegetables, fruits and flowers.
The main characteristic of a still life can be considered its apparent plotlessness. Nevertheless, this is a philosophical genre that at all times has reflected the connections between man and the outside world.
Prototypes of still lifes can be found in monumental painting Pompeii. Later this genre became part of other paintings. For example, religious paintings. But the name behind it was established only in the 16th century.
Fine art is a way of understanding reality and man’s place in it. It allows you to recreate reality using various visual images. Works of this art find a place not only in museums or exhibitions, but also on city streets, in homes and libraries, books and even envelopes. They are all around us. And the least we can do is learn to appreciate, understand and preserve the amazing heritage that we inherited from the great masters of past eras.
Artistic and expressive means of painting includecolor, stroke, line, spot, color and light contrast, coloring, shape, composition, texture.
Color. Every living and inanimate object has its own color. Just like color, lighting plays a huge role. The effects of color, location in space, air condition affect color. The beauty that we admire and love is the colorful richness of reality, or otherwise color.
The artist conveys with the help of color, color sensations, color combinations, harmonies of cold and warm colors, all the variety of moods and feelings. And to treat them - joy, anticipation, anxiety, sadness, tenderness.
Brushstroke in painting - a trace of a brush with paint left by an artist on canvas, paper, cardboard. The technique depends on the individual style of the artist; it is very diverse.
Line and spot – a clear outline of a specific object on the canvas with paint. The stain is tonal, silhouette image object. For example, to better understand this expression, let’s look at a spot - a snowy spruce against the background of the distant sky. Or a hill in the dark night sky. It is easier to imagine a line by looking at any picture. Clear lines outline the shadow of one or another object, enhancing feelings of sadness or joy.
Color and light contrast in painting, an example is the sharply highlighting the light and dark relationships of spots and areas of the picture.
Color - a system of color tones, their combinations and relationships in a work of art.
Texture - the surface of the paint layer of a painting: glossy or matte, continuous or discontinuous, smooth or uneven.
Composition – the arrangement of all objects, elements and parts of the work in a certain system and sequence for a better disclosure of the artistic image.
Here we will look atshape and design (structure) of an object, we will see artistic and expressive means -tone, stroke, line.
The shape of objects is determined by outline, contour, silhouette. In simplified form - square, triangle, circle, rectangle. Each item in a simplified form resembles a geometric figure. For example, a ball is round, a TV is a rectangle, a clown’s carnival cap is a triangle.
Design (structure) of objects - the basis of the head start, the framework of the structure of objects. The design of each object is one or another geometric body. Geometric bodies - cylinder, ball, cone, parallelepiped, cube, pyramid. Very often, looking at an object, we see that it has several geometric bodies. In drawing there is a method of drawing, or it is more often called “draft”, when you draw its structure, design, which are not visible to our eyes.
Silhouette in fine art (graphic technique) is a type of graphic representation of an object. This is a monochromatic, flat image of an object. Usually, silhouettes are drawn with ink on a light background, or with white on a black background, or a figure is cut out from dark or light paper and glued onto a sheet of a different tone.
Composition in fine graphics – the arrangement of all objects, elements and parts of the work in a certain system and sequence for a better disclosure of the artistic image. The composition is presented in a circle, square, oval, rectangle.
Expressive means of painting, the sequence of execution of a thematic composition, the artist pre-makessketches, studies, drawings, sketches,
thereby creating a picture.
He definitely creates it for someone, assuming that it will be read, listened to, taken away and appreciated. Art is dialogical; it is always an interaction between at least two people - the creator and the viewer. Capturing themes that concern him in artistic images, raising from the depths of his soul subtle experiences and impressions of something, the artist offers with his work themes for reflection, empathy or debate, and the role of the viewer is to understand, accept, and comprehend them. That is why the perception work of art- this is serious work associated with both mental and spiritual activity, sometimes requiring special training and special aesthetic, cultural and historical knowledge, then the work opens up, its scope expands, demonstrating the full depth of the artist’s personality and worldview.
Types of fine arts
The art of representation is the most ancient look creative activity of man, accompanying him for thousands of years. Even in prehistoric times he painted figures of animals, giving them magical power.
The main types of fine arts are painting, graphics and sculpture. In their creativity, artists use various materials and techniques, creating in a completely special way artistic images the surrounding world. Painting uses all the richness of colors and shades for this, graphics uses only the play of shadows and strict graphic lines, sculpture creates three-dimensional tangible images. Painting and sculpture, in turn, are divided into easel and monumental. Easel works are created on special machines or easels for intimate display at exhibitions or in museum halls, and monumental works of painting and sculpture decorate the facades or walls of buildings and city squares.
Types of fine art are also arts and crafts, which often acts as a synthesis of painting, graphics and sculpture. The art of decorating household items is sometimes distinguished by such invention and originality that it loses its utilitarian function. Household items created talented artists, occupy pride of place at exhibitions and in museum halls.
Painting
Painting still occupies one of the priority places in artistic creativity. This is an art that can do a lot. With the help of a brush and paints, it is able to convey most fully all the beauty and diversity of the visible world. Each image created by an artist is not only a reflection of external reality, it contains deeply internal content, feelings, emotions of the creator, his thoughts and experiences.
Color and light are the two main expressions in painting, but there are many techniques for performing work. oil gouache, pastel, tempera. Painting techniques also include mosaic and stained glass art.
Graphic arts
Graphics is a type of fine art that, compared to painting, does not strive to convey all the colorful fullness of the surrounding world; its language is more conventional and symbolic. Graphic image is a drawing created by a combination of lines, spots and strokes of predominantly one black color, sometimes with limited use of one or more additional colors - most often red.
Depending from fullness The display method of the image is distinguished:
show full And partial.
depending on the image method: general(generalized image methods) and variable
by the nature of the actions: show gesture and show image reception.
Group And individual the demonstration can take place in the form of a joint action between a teacher and a group of children or a teacher and a child.
Distinguish teacher demonstration And showing how a child portrays (actions).
In all cases, the demonstration is accompanied by verbal explanations.
Method of application
Demonstration of technical techniques can be included in the structure as information-receptive, so reproductive method. To the structure heuristic method - if you organize search activity and children can demonstrate the image options they have found, since all children are placed in a search situation, and the show is, as it were, a public demonstration of one of the image options.
Demonstration of technical techniques in the first lesson - when an object of a given form is depicted for the first time - the demonstration is carried out by the teacher, after an appropriate examination. An indispensable condition is to explain the relationship between the image method and the movement of the hand along the contour during the examination.
In subsequent lessons, where objects of the same shape are depicted, children are involved in demonstrating the method of depiction.
In younger groups the display takes up more space, and in older groups it takes up less space.
The gesture explains the location of the object on the sheet. The movement of a hand or a pencil stick on a sheet of paper is often enough for children even 3-4 years old to understand the tasks of the image. A gesture can restore in the child’s memory the basic shape of an object, if it is simple, or its individual parts.
It is effective to repeat the movement with which the teacher accompanied his explanation during perception. Such repetition facilitates the reproduction of connections formed in consciousness. A gesture that reproduces the shape of an object helps memory and allows you to show the movement of the hand of the drawer during the image. The smaller the child, the higher value in his training has a display of hand movements. The preschooler does not yet fully control his movements and therefore does not know what movement will be required to depict this or that form.
For example, when observing children during the construction of a house, the teacher gestures to show the contours of the buildings under construction, emphasizing their upward direction. He repeats the same movement at the beginning of the lesson, in which the children draw a high-rise building. There is also a well-known technique when a teacher in a younger group makes an image together with the child, leading his hand. This technique should be used when the child’s movements are not developed and he does not know how to control them. We must give the opportunity to feel this movement.
With a gesture you can outline the entire object if its shape is simple (a ball, a book, an apple), or the details of the shape (the arrangement of branches in a spruce tree, the bend of the neck in birds). More small parts The teacher demonstrates in drawing or modeling.
Character of the show depends on the tasks that the teacher sets in this lesson.
Showing an image of the entire object is given if the task is to teach how to correctly depict the basic shape of the object. Typically this technique is used in the younger group. For example To teach children to draw round shapes, the teacher draws a ball or an apple, explaining his actions.
If, when depicting an object, it is necessary to accurately convey the sequence of drawing a particular detail, then a holistic display of the entire object can also be given. With such a display, it is desirable that the teacher involve the children in analyzing the subject with the question: “What should we draw now?”
In teaching children of older groups, partial display is more often used - the image of a detail or an individual element that preschoolers do not yet know how to depict. For example, children 4-5 years old draw a tree trunk in the form of a triangle with a wide base. This mistake is sometimes caused by the teacher’s explanation: “The tree trunk is narrow at the top and wide at the bottom,” and the children literally follow this instruction. The teacher, along with verbal instructions, needs to show a picture of a tree trunk.
IN senior group In drawing on the theme “Beautiful House”, the teacher shows on the board how different the shapes of windows and doors can be. Such a variable display does not limit the child’s ability to create the entire drawing.
During repeated exercises to consolidate skills and then use them independently, demonstrations are given only on an individual basis to children who have not mastered a particular skill.
Passion for constant display methods of completing a task will teach children to wait for instructions and help from the teacher in all cases, which leads to passivity and inhibition of thought processes.
14. List verbal methods and techniques used in the process of teaching preschoolers visual arts. Reveal the conditions for the effective use of verbal methods and techniques in visual arts classes. Argue for the need to use artistic expression in the process of teaching preschoolers visual arts.
Solve a pedagogical problem:
Having finished sticking the truck for Mishutka, Yulia shows the work to the teacher: “Did I stick it well?” - "Let's watch! - Lidia Fedorovna responds. “There is a cabin, the body also holds tightly, but as soon as the car starts moving, the wheels will immediately fall off!” The teacher shows the girl the loosely glued wheels. Yulia takes work and goes to glue the wheels. Having finished the job, she meets the teacher’s approving glance and, pleased, shows the work to Mishutka, who “agrees” to take a ride in this car.
Interpret the proposed situation. Design your activities as a teacher in a similar situation.
Verbal methods and techniques: conversation, teacher's story, pedagogical assessment and analysis of children's works
questions, encouragement, advice, directions, artistic expression.
Conversation – one of the leading verbal methods of teaching visual arts . A conversation in art classes is a conversation organized by the teacher, during which the teacher, using questions, clarifications, clarifications, contributes to the formation in children of ideas about the depicted object or phenomenon and ways of recreating it in drawing, modeling, and appliqué. The specifics of the conversation method provide for maximum stimulation of the child's activity. That is why conversation has found widespread use as a method of developmental teaching in visual arts.
The conversation is used in the first part of the lesson - when the task is to form a visual representation, and at the end of the lesson - when it is important to help children see their work, feel their expressiveness and strengths, and understand their weaknesses.
The conversation technique depends on the content, type of lesson, and specific didactic tasks.
IN subject drawing when children are taught to convey a plot, during the conversation it is necessary to help the children introduce image content, composition, features of motion transmission, color characteristics of the image, i.e. think over visual arts to convey the story. The teacher clarifies with the children some technical techniques of work and the sequence of creating an image.
Depending on the content of the image (based on a literary work, on topics from the surrounding reality, on free topic) the methodology of conversations has its own specifics. So, when drawing (sculpting) on the theme of a literary work it is important to remember its main thought, idea; emotionally revive the image(read lines from a poem, fairy tale). Describe the external appearance of the characters, recall their relationships, clarify the composition, techniques and sequence of work.
Drawing (sculpting) on topics of the surrounding reality needs revitalization life situation, reproduction of the content of events, conditions, clarification expressive means: compositions, details, methods of transmitting movement, etc., clarifying techniques and sequence of images.
When drawing (sculpting) on a free topic necessary preliminary work with children. In conversation, the teacher revives impressions. Then he invites some children to explain the idea: what they will draw (blind), how they will draw, so that it is clear to others where they will place this or that part of the image. The teacher clarifies some technical techniques of work. Using the example of children's stories, the teacher once again teaches preschoolers how to conceive an image.
In classes where the content of the image is a separate subject, conversation often accompanies the process examination (examination). In this case, during the conversation, it is necessary to evoke an active, meaningful perception of the object by children, to help them understand the features of its shape, structure, determine the uniqueness of color, proportional relationships, etc. The nature and content of the teacher’s questions should aim the children to establish dependencies between appearance an object and its functional purpose or characteristics of living conditions (food, movement, protection). Completing these tasks is not an end in itself, but a means of forming generalized ideas necessary for the development of independence, activity, and initiative of children when creating an image. The degree of mental and speech activity of preschool children in conversations this kind the higher the richer the children’s experience.
In design and appliqué classes, where the subject of examination and conversation is often sample, also provide greater degree mental, speech, emotional and, if possible, motor activity of children.
At the end of the lesson in the process of viewing and analyzing children's works we need to help children feel the expressiveness of the images they created. Teaching the ability to see and feel the expressiveness of drawings and sculpting is one of the important tasks facing the teacher. At the same time, the nature of the adult’s questions and comments should ensure a certain emotional response from the children.
In older groups, during the conversation, the teacher leads children to independently establish the dependence of the expressiveness of the image on the methods of action.
Age characteristics influence the content of the conversation and the degree of activity of children. Depending on specific didactic tasks nature of the issues is changing. In some cases, questions are aimed at describing external signs of the perceived object, others - for recall and reproduction, for inference. With the help of questions, the teacher clarifies children’s ideas about an object, phenomenon, and ways of depicting it. Questions are used in general conversation and individual work with children during the lesson. The requirements for questions are of a general pedagogical nature: accessibility, clarity and clarity of formulation, brevity, emotionality.
Explanation- a verbal way of influencing the consciousness of children, helping them understand and assimilate what and how they should do during classes and what they should get as a result. The explanation is given in a simple, accessible form simultaneously to the entire group of children or to individual children. Explanation is often combined with observation, showing ways and techniques of performing work.
Advice used in cases where the child finds it difficult to create an image, but do not rush to give advice. Children who work at a slow pace and are able to find a solution to a given issue often do not need advice. In these cases, the advice does not contribute to the growth of independence and activity of children.
