Flemish still life in art presentation. Presentation on the topic "Dutch still life"

Src="http://present5.com/presentation/3/19073041_26144984.pdf-img/19073041_26144984.pdf-1.jpg" alt=">Dutch and Flemish still life 17th century.">!}

Src="http://present5.com/presentation/3/19073041_26144984.pdf-img/19073041_26144984.pdf-2.jpg" alt=">Holland 1. AMBROSIUS BOSCHART THE ELDER (1570- 1621) 2. BALTHASAR VAN DER ACT (1594 -1656)"> Голландия 1. АМБРОЗИУС БОСХАРТ СТАРШИЙ (1570- 1621) 2. БАЛТАЗАР ВАН ДЕР ACT (1594 -1656) 3. ПИТЕР КЛАС (1597- 1061) 4. ВИЛЛЕМ КЛАС ХЕДА (1594 -1682) 5. АБРАХАМ ВАН БЕЙЕРЕН (1620/21- 1690) 6. БИЛЛЕМ КАЛФ (1622- 1693) Голландское искусство ХУ 11 века не оставалось безразличным к достижениям живописи крупнейших фламандских мастеров. Однако это воздействие (бывшее к тому же взаимным) не могло стать определяющим для живописной школы, установившейся, окрепшей и достигшей расцвета.!}

Src="http://present5.com/presentation/3/19073041_26144984.pdf-img/19073041_26144984.pdf-3.jpg" alt="> AMBROSIUS BOSCHART THE SR. Flemish"> АМБРОЗИУС БОСХАРТ СТАРШИЙ Фламандский живописец цветов, Родоначальник жанра натюрморт в Голландии. Натюрморт с цветами. 1614!}

Src="http://present5.com/presentation/3/19073041_26144984.pdf-img/19073041_26144984.pdf-4.jpg" alt="> Vase with flowers in a window niche, about 1620 g Vase with"> Ваза с цветами в оконной нише, около 1620 г Ваза с цветами 1622 г. Цветочный натюрморт стал развиваться в Южных Нидерландах немного раньше, чем на Севере, и северонидерландские мастера были фламандского происхождения или формировались под прямым или косвенным влиянием фламандцев. В дальнейшем развитие шло параллельно, более того, на Севере страны этот жанр получил большее распространение, чем на Юге.!}

Src="http://present5.com/presentation/3/19073041_26144984.pdf-img/19073041_26144984.pdf-5.jpg" alt="> BALTHAZAR VAN DER ACT Utrecht artist,"> БАЛТАЗАР ВАН ДЕР ACT Утрехтский художник, подражатель и ученик Амброзиуса Босхарта Старшего. Он, с его поисками внешней занимательности натюрморта, шел по ложному пути, отвергнутому его последователями, но беспредельная любовь художника к малым формам и мельчайшим деталям предметного мира стала национальной чертой голландского натюрморта. Корзина с фруктами 1625 г.!}

Src="http://present5.com/presentation/3/19073041_26144984.pdf-img/19073041_26144984.pdf-6.jpg" alt=">Still life with a blossoming branch of an apple tree 1635 In still lifes dating back to the beginning of the 17th centuries, details"> Натюрморт с цветущей веткой яблони 1635 В натюрмортах, относящихся к началу 17 века, детали наделены символическим значением. Яблоки – Грехопадение Адама, виноград – искупительная жертва Христа. Раковина – оболочка, оставленная когда-то жившим в ней существом, увядшие цветы – символ смерти. Бабочка – воскресение.!}

Src="http://present5.com/presentation/3/19073041_26144984.pdf-img/19073041_26144984.pdf-7.jpg" alt=">Still Life with Fruit 1657 This work illustrates the early stage of Dutch still life, for which is characterized"> Натюрморт с фруктами 1657 Эта работа иллюстрирует раннюю стадию голландского натюрморта, для которой характерен подбор несколько необычных объектов изображения. А поскольку автор еще не может объединить это пестрое зрелище в единую картину средствами самого натюрморта он привносит в натюрморт присущие другим жанрам живописи литературный сюжет и механическое движение.!}

Src="http://present5.com/presentation/3/19073041_26144984.pdf-img/19073041_26144984.pdf-8.jpg" alt="> PETER KLAS"> ПИТЕР КЛАС Питеру Класу принадлежит честь открытия тона и световоздушной среды как главнейших средств выявления этого единства и даже честь создания целого жанра так называемых монохромных завтраков. Кладбищенское спокойствие 1630!}

Src="http://present5.com/presentation/3/19073041_26144984.pdf-img/19073041_26144984.pdf-9.jpg" alt="> Was the first master who concentrated all his"> Был первым мастером, сосредоточившим все свое внимание на изображении предметов, окружающих человека в его повседневной жизни. Суета сует!}

Src="http://present5.com/presentation/3/19073041_26144984.pdf-img/19073041_26144984.pdf-10.jpg" alt=">Still life with a nautilus cup 1633">!}

Src="http://present5.com/presentation/3/19073041_26144984.pdf-img/19073041_26144984.pdf-11.jpg" alt=">Still life 1646. Subtly and skillfully emphasizes the originality of each dish, pot , glasses, finding for"> Натюрморт 1646 г. Тонко и умело подчеркивает своеобразие каждого блюда, горшка, бокала, найдя для каждого идеальное соседство.!}

Src="http://present5.com/presentation/3/19073041_26144984.pdf-img/19073041_26144984.pdf-12.jpg" alt=">Breakfast with ham 1647 Subtly harmonized in color “Breakfast with ham" (1647)."> Завтрак с ветчиной 1647 г. Тонко сгармопирован по цвету «Завтрак с ветчиной» (1647). Локальные цвета предметов подчинены нежному серебристому тону, прозрачная светотень мягко лепит объемы, очень сдержанно выявляя фактурное разнообразие вещей.!}

Src="http://present5.com/presentation/3/19073041_26144984.pdf-img/19073041_26144984.pdf-13.jpg" alt="> WILLEM KLAS HEDA Second Lead Master"> ВИЛЛЕМ КЛАС ХЕДА Второй ведущий мастер жанра «монохромных завтраков» . Колорит его произведений в большей степени, чем у Класа, подчинен тоновому началу, и его натюрморты состоят из предметов, почти лишенных ярких локальных цветов: цинковые кувшины, оловянные тарелки, прозрачное или зеленоватое стекло, серебряный или, иногда, позолоченный кубок. Натюрморт с позолоченным кубком, 1635!}

Src="http://present5.com/presentation/3/19073041_26144984.pdf-img/19073041_26144984.pdf-14.jpg" alt=">Still life with ham 1635. The composition of Heda’s still lifes is strictly thought out and always solidly built."> Натюрморт с окороком 1635 г. Композиция натюрмортов Хеды строго продумана и всегда крепко построена. За кажущейся случайностью расположения вещей скрывается тонкий расчет на контраст различных материальных качеств предметов и настойчивое желание полнее рассказать о каждом из них.!}

Src="http://present5.com/presentation/3/19073041_26144984.pdf-img/19073041_26144984.pdf-15.jpg" alt="> The flowing calm serves the same purposes"> Этим же целям служит льющийся спокойным потоком свет, посредством многочисленных рефлексов обобщающий все предметы. ВЕТЧИНА И СЕРЕБРЯНАЯ ПОСУДА. 1648 г.!}

Src="http://present5.com/presentation/3/19073041_26144984.pdf-img/19073041_26144984.pdf-16.jpg" alt="> The calmness of Dutch still lifes, with rare exceptions,"> Спокойствие голландских натюрмортов, за редким исключением, не нарушается присутствием живых существ, но изображение вещей так проникнуто личным отношением, что в натюрморте всегда ощущается близость человека и предметы как бы сохраняют следы его прикосновения. Натюрморт 1948 г.!}

Src="http://present5.com/presentation/3/19073041_26144984.pdf-img/19073041_26144984.pdf-17.jpg" alt="> Intentional disorder designed to impress"> Намеренный беспорядок, призванный произвести впечатление большей "живости", обманчив. Натюрморт построен очень строго - линия стола и стоящие на нем кубки и бокалы образуют четкую систему горизонталей и вертикалей - композиция его нерушима. Цвет в натюрморте подчинен единству коричневато-серой тональности, даже красный краб и зеленые оливки должны пожертвовать своим естественным цветом ради этой цели. Завтрак с крабом. 1648!}

Src="http://present5.com/presentation/3/19073041_26144984.pdf-img/19073041_26144984.pdf-18.jpg" alt="> ABRAHAM VAN BEYEREN Still life with"> АБРАХАМ ВАН БЕЙЕРЕН Натюрморт с рыбой 1653 г. Лучший «живописец рыб» . Тональный колорит господствует в натюрмортах мастера 1640- 1650 -х годов, хотя отдельные пятна красного, розового и синего цветов уже оживляют монохромное видение мира. «Рыбная лавка» 1650 г.!}

Src="http://present5.com/presentation/3/19073041_26144984.pdf-img/19073041_26144984.pdf-19.jpg" alt="> In the late period of Wang’s work"> В поздний период творчества ван Бейерен обращается к теме «завтраков» , но не в прежнем скромном, типичном для Класа и Хеды, а в роскошном и пышном варианте, который будет характерен для второй половины XVII столетия. Роскошный натюрморт, около 1655 г.!}

Src="http://present5.com/presentation/3/19073041_26144984.pdf-img/19073041_26144984.pdf-20.jpg" alt="> New trends have appeared in the field of still life,"> Новые тенденции появились в области натюрморта, который, хотя и оставался по-прежнему на реалистических позициях и даже сумел их обогатить и умножить, обслуживал теперь эстетические потребности верхушки общества. Дело в том, что сам предметный мир в жизни Голландии второй половины века выступает все чаще в качестве свидетельства могущества национальной буржуазии. Натюрморт 1660 г.!}

Src="http://present5.com/presentation/3/19073041_26144984.pdf-img/19073041_26144984.pdf-21.jpg" alt="> WILLEM KALF The largest Dutch"> ВИЛЛЕМ КАЛФ Крупнейший голландский натюрмортист второй половины XVII века, исходил в своем творчестве из достижений Ф. Рейкхалса и Я. Трека. К первому из них он был близок широтой тематики: у обоих можно встретить все разновидности жанра натюрморта - от кухонного до роскошного. Натюрморт с кувшином и фруктами, около 1650!}

Src="http://present5.com/presentation/3/19073041_26144984.pdf-img/19073041_26144984.pdf-22.jpg" alt="> No one else, including the most talented"> Никто другой, включая и самых талантливых учеников Рембрандта, не мог достичь того богатства и тонкости светотени, той сочности и глубины как бы изнутри светящихся красок, того горячего золотистого колорита, какие отличают произведения Калфа. В умении видеть живописную сторону предмета, в мастерстве перевода прозы материальных вещей на поэтический язык живописи Калф не имел соперников. Натюрморт с китайской супницей. 1655 г.!}

Src="http://present5.com/presentation/3/19073041_26144984.pdf-img/19073041_26144984.pdf-23.jpg" alt="> But more often this wealth of pictorial qualities is combined in"> Но чаще это богатство живописных качеств сочетается в натюрмортах Калфа с роскошью и пышностью предметного мира, вошедшего в быт знатного буржуа второй половины XVII века. Эрмитажный «Десерт» , принадлежащий к этому ряду произведений, - подлинный шедевр мастера. Весь свет сосредоточен на китайской фарфоровой тарелке с фруктами и небрежно скомканной под нею белой салфетке. «Десерт» свидетельствует о победе новых качеств в натюрморте: яркой красочности, золотистого колорита, выразительной светотени и подвижной живописной пластики. ДЕСЕРТ 1659!}

Src="http://present5.com/presentation/3/19073041_26144984.pdf-img/19073041_26144984.pdf-24.jpg" alt="> Portraying the same as his predecessors,"> Изображая те же, что и его предшественники, обыденные, «демократические» , предметы домашнего обихода: старую бочку, глиняный горшок и медный котел, - художник сумел открыть волшебное воздействие на вещи золотистого солнечного света, который превращал этот бедный крестьянский скарб в изысканные произведения ювелирного искусства. Натюрморт 1660 г.!}

Src="http://present5.com/presentation/3/19073041_26144984.pdf-img/19073041_26144984.pdf-25.jpg" alt=">Flanders 1. Frans Snyders (1579 -1657) 2. Jan Faith (1611 -1661) General feature"> Фландрия 1. Франс Снейдерс (1579 -1657) 2. Ян Фейт (1611 -1661) Общей чертой обеих художественных школ была любовь к жизни, к ее земным радостям. Но в то время как голландские художники изображали быт, повседневную будничную действительность, фламандские живописцы, часто связанные заказами католической церкви и знатных дворян, обращались к религиозным и мифологическим темам. Фламандскому искусству было свойственно стремление создавать героические образы, большие многофигурные сцены, разнообразные по содержанию и характеру.!}

Src="http://present5.com/presentation/3/19073041_26144984.pdf-img/19073041_26144984.pdf-26.jpg" alt="> Frans Snyders Unlike most"> Франс Снейдерс В отличие от большинства фламандских мастеров творчество Снейдерса ограничено достаточно узким кругом тем: по преимуществу это сцены охоты и натюрморты. Натюрморт с крабом и фруктами 1613 г.!}

Src="http://present5.com/presentation/3/19073041_26144984.pdf-img/19073041_26144984.pdf-27.jpg" alt=">Still life with a basket of fruit, 1613. Dutch still lifes are simple in composition and include,"> Натюрморт с корзиной фруктов 1613 г. Голландские натюрморты просты по композиции и включают, как правило, немногочисленные предметы, а фламандский художник каждый натюрморт стремился превратить в гимн богатству и изобилию даров природы.!}

Src="http://present5.com/presentation/3/19073041_26144984.pdf-img/19073041_26144984.pdf-28.jpg" alt=">Still life 1616. Snyders's early still lifes in his native Antwerp were widely popular and"> Натюрморт 1616 г. Ранние натюрморты Снейдерса в его родном Антверпене были широко популярны и породили многочисленные подражания. Это скромных размеров холсты с одинокой корзиной или чашей с плодами; иногда к этому прибавляется ваза с цветами.!}

Src="http://present5.com/presentation/3/19073041_26144984.pdf-img/19073041_26144984.pdf-29.jpg" alt=">Fruit and vegetable counter 1616. Subsequently, the canvases sharply increase in sizes, filled with many"> Фруктово-овощной прилавок 1616 г. В дальнейшем холсты резко возрастают в размерах, заполняются множеством предметов: битой дичью, рыбой, устрицами, мясными тушами, овощами, фруктами.!}

Src="http://present5.com/presentation/3/19073041_26144984.pdf-img/19073041_26144984.pdf-30.jpg" alt=">Pantry 1617">!}

Src="http://present5.com/presentation/3/19073041_26144984.pdf-img/19073041_26144984.pdf-31.jpg" alt="> In 1618, Snyders received an order for"> В 1618 г. Снейдерс получает заказ на монументальные декоративные картины, изображающие нагруженные дичью, рыбой, овощами и фруктами прилавки, за которыми стоят продавцы и покупатели. Композиции, воплотившие дух фламандского барокко, имели грандиозный успех. Рыбная лавка 1618 г.!}

Src="http://present5.com/presentation/3/19073041_26144984.pdf-img/19073041_26144984.pdf-32.jpg" alt=">Fish shop 1618 In general, shops selling various kinds of food occupy in creativity"> Рыбная лавка 1618 г. Вообще лавки, торгующие разного рода снедью, занимают в творчестве Снейдерса значительное место.!}

Src="http://present5.com/presentation/3/19073041_26144984.pdf-img/19073041_26144984.pdf-33.jpg" alt=">Cook at the food counter 1630s.">!}

Src="http://present5.com/presentation/3/19073041_26144984.pdf-img/19073041_26144984.pdf-34.jpg" alt=">Fruit seller. 1636. The artist paints each item with great care, however, first of all he"> Торговка фруктами. 1636. Художник со всей тщательностью пишет каждый предмет, однако прежде всего он видит натюрморт в целом, стремясь к всеобъемлющему изображению богатства природы. Яркие, нарядные натюрморты Снейдерса полны ликующей праздничности и меньше всего могут быть названы «мертвой натурой» - настолько полны они кипучей жизни.!}

Src="http://present5.com/presentation/3/19073041_26144984.pdf-img/19073041_26144984.pdf-35.jpg" alt="> Ian Faith More reserved"> Ян Фейт Более сдержанно и утонченно творчество Яна Фейта. Он не стремится, в отличие от Снейдерса, к созданию произведений мощного монументально-декоративного размаха. Его натюрморты - это замкнутые станковые картины, более интимные, более строгие в выборе предметов, обладающие четкой и компактной композицией и редкой красотой колорита. Натюрморт с собакой!}

Src="http://present5.com/presentation/3/19073041_26144984.pdf-img/19073041_26144984.pdf-36.jpg" alt="> Dogs Striving for dynamic forms, Flemish masters"> Собаки Стремясь к динамичности форм, фламандские мастера очень часто вводили в натюрморт изображения людей и животных (обычно дерущихся или преследующих друга).!}

Src="http://present5.com/presentation/3/19073041_26144984.pdf-img/19073041_26144984.pdf-37.jpg" alt=">The booty of 1649. With particular virtuosity, Feith conveys the texture of the depicted objects: delicate iridescent pearl gray"> Добыча 1649 г. С особой виртуозностью Фейт передает фактуру изображенных предметов: нежных переливчатых жемчужно-серых перьев птиц, пушистого мягкого меха зайца, влажного, сияющего, как драгоценности, винограда.!}

Slide 2

What is still life?

Still life is the depiction of inanimate objects in painting or graphics.

Slide 3

From the history of still life.

Still life arose in the era of antiquity, but as an independent genre it began to develop only in the 17th century. Its heyday began in Holland, where the Reformation, by prohibiting artists from painting on religious themes, forced them to look for new directions. Frans Snyders. Flemish school. Fish shop.

Slide 4

Dutch still life

In still lifes dating back to the early 17th century, objects are arranged in a strict order, like exhibits in a museum showcase. In such paintings, details are endowed with symbolic meaning. Apples are reminiscent of Adam's fall, and grapes are reminiscent of Christ's atoning sacrifice. A shell is a shell left behind by a creature that once lived in it; withered flowers are a symbol of death. A butterfly born from a cocoon means resurrection. Such are, for example, the paintings of Balthasar van der Ast. Balthasar van der Ast. Still life with apple flowers

Slide 5

Dutch still life of the 17th century. amazes with its richness of themes. In every artistic center of the country, painters preferred their own compositions: in Utrecht - from flowers and fruits, in The Hague - from fish. In Haarlem they wrote modest breakfasts, in Amsterdam - luxurious desserts, and in the university of Leiden - books and other objects for studying science or traditional symbols of worldly vanity - a skull, a candle, an hourglass. Peter Claes. Breakfast with ham.

Slide 6

For artists of the next generation, things no longer remind of abstract truths, but serve to create independent artistic images. In their paintings, familiar objects acquire a special, previously unnoticed beauty. Peter Klas subtly and skillfully emphasizes the uniqueness of each dish, glass, pot, finding the ideal neighborhood for any of them. In the still lifes of his fellow countryman Willem Claes Heda, picturesque disorder reigns. Most often he wrote “interrupted breakfasts.” A crumpled tablecloth, mixed up serving items, food that has barely been touched - everything here reminds of the recent presence of a person. The paintings are enlivened by diverse spots of light and multi-colored shadows on glass, metal, and canvas. Willem Claes Heda. Breakfast with crab.

Slide 7

In the second half of the 17th century. Dutch still life, like landscape, became more spectacular, complex and multicolored. The paintings of Abraham van Beijern and Willem Kalf depict grandiose pyramids of expensive dishes and exotic fruits. Willem Kalf. Dessert. About 1659

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Flemish school of painting

The Flemish artist Jan Veit's style is more refined than that of his teacher Snyders. Emphatically modest in composition and size, Feit’s works are interesting due to the harmony of restrained light, subtle shades of brown, greenish and light gray tones. This incomparable sensitivity of the painter brings him closer to the Dutch masters. Ian Faith. Still life with a dog.

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Management of the pedagogical process.
Conversation during the show
Involving students in dialogue, using the emotionality of students' perception.
Sl. 14 .Ambrosius Bosshart . Vase with Flowers . Interest in still life intensified in the middle of the 16th century due to the division of painting into genres. The 17th century is the great century of the heyday of still life. It was a real hymn to life. Several directions arose in the development of Dutch still life, but all of them were combined into a single whole with exquisite taste, a subtle sense of harmony and excellent pictorial skill. The philosopher Spinoza, who lived in Holland in the 17th century, argued in his famous work “Ethics” that the order and connection of things in life are the same as the order and connection of ideas, and the art of still life became a clear confirmation of this. The artists’ close attention to the depicted objects expresses their attitude to the life of the Dutch burghers who lived in a rich and prosperous country. The complexity and ambiguity of life was manifested in still life in the language of things, well understood by the authors and difficult to read by contemporaries today.
Floral compositions occupied a special place in Dutch still life: “ blompot" (lit. "flower pot") . The beauty of this gift of nature is incomparable, especially since in Holland in the 17th century. there was a fashion for flowers, many of which were brought from other countries (such as tulips, first brought to Europe from Turkey in 1554). They were very expensive. The presence of flowers was a sign not only of good taste, but also of prosperity. The “Language of Flowers” ​​was well known to the painters’ contemporaries. Let's try to solve the mysteries of flower still life.
Sl.15.Ambrosio Balthazar
Sl.16. « vanitas" ("vanity of vanities"). Almost all still life compositions in one form or another reflect generalized images that allow one to think about the eternal problems of human life and its transience. Since the 17th century There is a so-called still life “vanitas” (“vanity of vanities,” the purpose of which can be expressed by the Latin saying “momento mori” (“remember death!”). Such still lifes often depict: an ivy-covered skull, withered flowers, a shell (“an empty shell "), a burning or burnt candle, an hourglass. In a number of works, jewelry, playing cards and smoking pipes are added, indicating the futility of earthly pleasures. Pieces of paper, manuscripts and printed publications with sayings are constantly found: “Sic transt gloria mundi”, “Finis coronat” opus" (“Thus passes the earthly glory”, “The end crowns the matter”). This genre was formed in Leiden, the intellectual center of Holland). The ideological foundations of this movement intricately intertwined medieval ideas about the frailty of all earthly things, the morality of Calvinism and the humanistic ideals of a wise person striving for truth and beauty.
Sl.17 .The most famous Dutch still lifes are “breakfasts”. This trend developed in Harlem. Usually the painting depicted overturned glass goblets, crumpled white tablecloths, half-peeled lemons with peels hanging in a spiral shape. These still lifes also had a double meaning: oysters were considered a delicacy, but they were also part of the circle of symbols of Aphrodite (the joys of earthly life). Such a still life is a stunning portrait of the owner. The historical roots of "breakfasts" go back to when group portraits of rifle guilds first appeared. Then the favorite view became the image of ceremonial meetings at the banquet table. The first such still lifes were distinguished by pomp and solemnity.
Sl.18. This trend was led by two Dutch masters, Pieter Claes and Willem Heda. The “breakfasts” of these artists are distinguished by their simplicity and seriousness, reflecting the moods and sympathies of the first generation of Dutch burghers who grew up in an independent country. They always bear the imprint of individual taste; they are full of calm and the invisible presence of a person who poured wine into a glass, cut a lemon, broke off a piece of a bun, and carelessly threw a crumpled but shining white napkin onto the table. V.Heda's "Breakfast with Blackberry Pie" is an example of amazing accuracy and completeness. The transparency of glass and the shine of metal are masterfully devoted. The generally written background and tablecloth promote concentration on objects. The still life is detailed and at the same time laconic. By drowning out individual colors and subordinating them to a general tone (brownish-golden for Klas and grayish-green for Kheda), their coloring creates a special, somewhat stern and melancholic mood.
The so-called “kitchen still life” was also born in Holland, in which food was depicted not on the dining table, but at the place of its preparation, along with utensils for washing, cooking and frying. But here we find gospel interpretations of the plots.
In the 2nd half of the 17th century, the place of the modest “breakfasts” of Klas and Heda was taken by the rich and spectacular “Desserts” of A. Beyeren and V. Kalfa.
Sl.19. V. Kalf “Still life with a cup and mother-of-pearl shell.”
At the end of the 17th century. Dutch art entered a period of decline.
The legislator of Flemish still life were two great masters - F. Snyders and J. Veit. Contemporaries and associates of Rubens, they did not organically perceive nature at rest. Material forms were for them a manifestation of the dynamic force that forms the basis of everything that exists in this world. For artists, there was nothing dead in nature; under their brush, everything motionless seemed to come to life - dead game, fish, dead deer, swans, hares. The bodies of the fish are tense and arched, their mouths are open in thirst for air. The art of these artists called to life, glorified life. Both artists were excellent animal painters and enlivened their still lifes with figures of living birds, animals, dogs, monkeys and cats.
F. Snyders “Fish shop”. What impression does a still life make on you?
In the 18th century The leading role in still life goes to France. But we will talk to you later about how this genre developed in European and Russian art. Now let's summarize our lesson.

The starting point of early still life can be found in the 15th-16th centuries, when it was considered as part of a historical or genre composition. For a long time, still life remained connected with a religious painting, framing the figures of the Mother of God and Christ with flower garlands, and often located on the reverse side of the altar image.

Still life finally took shape as an independent genre of painting in the works of Dutch and Flemish artists of the 17th century. Subjects in still life painting of this period often contain a hidden allegory either of the transience of all earthly things and the inevitability of death (Vanitas), or in a broader sense of the Passion of Christ and the Resurrection. This meaning is conveyed through the use of objects that are mostly familiar and encountered in everyday life, which are endowed with additional symbolic meaning. Still life

Dutch still life The Dutch entered the history of world painting as unsurpassed masters of still life (French: “dead nature”). This genre in Dutch is more closely related to the word “stilleven” - “still life”, which much more accurately conveys the essence of this genre.

Dutch still life of the 17th century. amazes with its richness of themes. In every artistic center of the country, painters preferred their own compositions: in Utrecht from flowers and fruits, in The Hague from fish. In Haarlem they wrote modest breakfasts, in Amsterdam luxurious desserts, and in the university of Leiden books and other objects for studying science or traditional symbols of worldly bustle - a skull, a candle, an hourglass. Dutch still life from the 17th century

In still lifes dating back to the early 17th century, objects are arranged in a strict order, like exhibits in a museum showcase. In such paintings, details are endowed with symbolic meaning. Apples are reminiscent of the fall of Adam, and grapes are reminiscent of the atoning sacrifice of Christ. A shell is a shell left behind by a creature that once lived in it; withered flowers are a symbol of death. A butterfly born from a cocoon means resurrection. Dutch still life from the 17th century

John Calvin John Calvin(1509-1564) - church reformer and founder of one of the movements of Protestantism. The basis of the Calvinist church is the so-called congregations - autonomous communities governed by a pastor, deacon and elders chosen from the laity. Calvinism was very popular in the Netherlands in the 16th century. taught that everyday things have hidden meanings, and behind every image there should be a moral lesson. Objects depicted in still life have multiple meanings: they were endowed with edifying, religious or other connotations. For example, oysters were considered an erotic symbol, and this was obvious to contemporaries: oysters allegedly stimulated sexual potency, and Venus, the goddess of love, was born from a shell. On the one hand, oysters hinted at worldly temptations, on the other, an open shell meant a soul ready to leave the body, that is, it promised salvation. Of course, there were no strict rules on how to read a still life, and the viewer guessed exactly the symbols on the canvas that he wanted to see. In addition, we must not forget that each object was part of the composition and could be read in different ways - depending on the context and the overall message of the still life.

Flower still life

Until the 18th century, a bouquet of flowers, as a rule, symbolized frailty, because earthly joys are as transitory as the beauty of a flower. The symbolism of plants is especially complex and ambiguous, and books of emblems, popular in Europe in the 16th-17th centuries, helped to grasp the meaning, where allegorical illustrations and mottos were accompanied by explanatory texts. Floral arrangements were not easy to interpret: the same flower had many meanings, sometimes directly opposite. For example, the narcissus indicated self-love and at the same time was considered a symbol of the Mother of God. In still lifes, as a rule, both meanings of the image were preserved, and the viewer was free to choose one of the two meanings or combine them.

Floral arrangements were often supplemented with fruits, small objects, and images of animals. These images expressed the main idea of ​​the work, emphasizing the motif of transience, decay, the sinfulness of everything earthly and the incorruptibility of virtue.

In the painting by Jan Davids de Heem Jan Davids de Heem(1606-1684) was a Dutch artist known for his floral still lifes. At the base of the vase, the artist depicted symbols of mortality: withered and broken flowers, crumbling petals and dried pea pods. Here is a snail - it is associated with the soul of a sinner Other such negative images include reptiles and amphibians (lizards, frogs), as well as caterpillars, mice, flies and other living creatures crawling on the ground or living in the mud.. In the center of the bouquet we see symbols of modesty and purity: wildflowers, violets and forget-me-nots. They are surrounded by tulips, symbolizing fading beauty and senseless waste (growing tulips in Holland was considered one of the most vain activities and, moreover, expensive); lush roses and poppies, reminiscent of the fragility of life. The composition is crowned with two large flowers that have a positive meaning. The blue iris represents the remission of sins and indicates the possibility of salvation through virtue. The red poppy, which was traditionally associated with sleep and death, has changed its interpretation due to its location in the bouquet: here it denotes the atoning sacrifice of Christ Even in the Middle Ages, it was believed that poppy flowers grew on land watered by the blood of Christ.. Other symbols of salvation are ears of bread, and a butterfly sitting on a stalk represents the immortal soul.

Painting by Jan Bauman Jan (Jean-Jacques) Bauman(1601-1653) - painter, master of still life. Lived and worked in Germany and the Netherlands.“Flowers, Fruits and a Monkey” is a good example of the semantic layers and ambiguity of a still life and the objects on it. At first glance, the combination of plants and animals seems random. In fact, this still life also reminds us of the transience of life and the sinfulness of earthly existence. Each depicted object conveys a certain idea: the snail and lizard in this case indicate the mortality of everything earthly; a tulip lying near a bowl of fruit symbolizes rapid fading; shells scattered on the table hint at an unwise waste of money In 17th-century Holland, collecting various kinds of “curiosities,” including shells, was very popular.; and the monkey with the peach indicates original sin and depravity. On the other hand, a fluttering butterfly and fruits: bunches of grapes, apples, peaches and pears speak of the immortality of the soul and the atoning sacrifice of Christ. On another, allegorical level, the fruits, fruits, flowers and animals presented in the picture represent four elements: shells and snails - water; butterfly - air; fruits and flowers - earth; monkey - fire.

Still life in a butcher shop

The image of a butcher shop has traditionally been associated with the idea of ​​physical life, the personification of the element of earth, as well as gluttony. Painted by Peter Aertsen Peter Aartsen ( 1508-1575) - Dutch artist, also known as Pieter the Long. Among his works are genre scenes based on gospel stories, as well as images of markets and shops. Almost the entire space is occupied by a table laden with food. We see many types of meat: killed poultry and dressed carcasses, liver and ham, hams and sausages. These images symbolize immoderation, gluttony and attachment to carnal pleasures. Now let's turn our attention to the background. On the left side of the picture, in the window opening, there is a gospel scene of the flight into Egypt, which contrasts sharply with the still life in the foreground. The Virgin Mary hands the last loaf of bread to a beggar girl. Note that the window is located above the dish, where two fish lie crosswise (symbol of the crucifixion) - a symbol of Christianity and Christ. On the right in the background is a tavern. A cheerful group sits at a table by the fire, drinks and eats oysters, which, as we remember, are associated with lust. A butchered carcass hangs next to the table, indicating the inevitability of death and the fleeting nature of earthly joys. A butcher in a red shirt dilutes wine with water. This scene echoes the main idea of ​​the still life and refers to the Parable of the Prodigal Son Let us remember that in the Parable of the Prodigal Son there are several plots. One of them tells about the youngest son, who, having received an estate from his father, sold everything and spent the money on a dissolute life.. The scene in the tavern, as well as the butcher shop full of dishes, speaks of an idle, dissolute life, attachment to earthly pleasures, pleasant for the body, but destructive for the soul. In the scene of the flight to Egypt, the characters practically turn their backs to the viewer: they move deeper into the picture, away from the butcher shop. This is a metaphor for escape from a dissolute life full of sensual joys. Giving up them is one of the ways to save the soul.

Still life in a fish shop

The fish still life is an allegory of the water element. These kinds of works, like butcher shops, were often part of the so-called cycle of the primordial elements In Western Europe, large painting cycles were common, consisting of several paintings and, as a rule, hanging in one room. For example, the cycle of the seasons (where summer, autumn, winter and spring were depicted with the help of allegories) or the cycle of the primary elements (fire, water, earth and air). and, as a rule, were created to decorate palace dining rooms. In the foreground are paintings by Frans Snyders Frans Snyders(1579-1657) - Flemish painter, author of still lifes and baroque animal compositions.“Fish Shop” depicts a lot of fish. There are perches and sturgeon, crucian carp, catfish, salmon and other seafood here. Some have already been cut up, some are waiting their turn. These images of fish do not carry any subtext - they glorify the wealth of Flanders.

Next to the boy we see a basket with gifts that he received for St. Nicholas Day In Catholicism, St. Nicholas Day is traditionally celebrated on December 6th. On this holiday, as at Christmas, children are given gifts.. This is indicated by wooden red shoes tied to the basket. In addition to sweets, fruits and nuts, the basket contains rods - as a hint of upbringing with “carrot and stick”. The contents of the basket speak of the joys and sorrows of human life, which constantly replace each other. The woman explains to the child that obedient children receive gifts, and bad children receive punishment. The boy recoiled in horror: he thought that instead of sweets he would receive blows with rods. On the right we see a window opening through which we can see the city square. A group of children stands under the windows and joyfully greets the puppet jester on the balcony. The jester is an integral attribute of folk holiday festivities.

Still life with a set table

In numerous variations of table settings on the canvases of Dutch masters we see bread and pies, nuts and lemons, sausages and hams, lobsters and crayfish, dishes with oysters, fish or empty shells. These still lifes can be understood depending on the set of objects.

In a painting by Gerrit Willems Heda Gerrit Willems Heda(1620-1702) - author of still lifes and son of the artist Willem Claes Heda. we see a dish, a jug, a tall glass goblet and an overturned vase, a mustard pot, a ham, a crumpled napkin and a lemon. This is Heda's traditional and favorite set. The arrangement of objects and their choice are not random. Silverware symbolizes earthly riches and their futility, ham symbolizes carnal pleasures, and an attractive-looking lemon, sour inside, represents betrayal. An extinguished candle indicates the frailty and fleetingness of human existence, a mess on the table indicates destruction. A tall glass “flute” glass (in the 17th century such glasses were used as a measuring container with marks) is as fragile as human life, and at the same time symbolizes moderation and a person’s ability to control his impulses. In general, in this still life, as in many other “breakfasts,” the theme of vanity and the meaninglessness of earthly pleasures is played out with the help of objects.

Most of the objects depicted in the still life by Pieter Claes Peter Claes(1596-1661) - Dutch artist, author of many still lifes. Along with Heda, he is considered the founder of the Harlem school of still life with its geometric monochrome paintings. are erotic symbols. Oysters, pipe, wine refer to brief and dubious carnal pleasures. But this is just one option for reading a still life. Let's look at these images from a different angle. Thus, shells are symbols of the frailty of the flesh; a pipe, with which they not only smoked, but also blew soap bubbles, is a symbol of the suddenness of death. Claes's contemporary, the Dutch poet Willem Godschalk van Fokkenborch, wrote in his poem “My Hope is Smoke”:

As you can see, being is akin to smoking a pipe,
And I really don’t know what the difference is:
One is just a breeze, the other is just a smoke. Per. Evgeniy Vitkovsky

The theme of the transience of human existence is contrasted with the immortality of the soul, and signs of frailty suddenly turn out to be symbols of salvation. The bread and glass of wine in the background are associated with the body and blood of Jesus and indicate the sacrament of the sacrament. Herring, another symbol of Christ, reminds us of fasting and Lenten food. And open shells with oysters can change their negative meaning to the exact opposite, denoting the human soul, separated from the body and ready to enter into eternal life.

Different levels of interpretation of objects unobtrusively tell the viewer that a person is always free to choose between the spiritual and eternal and the earthly transitory.

Vanitas, or "Scientist" still life

The genre of the so-called “scientific” still life was called vanitas - translated from Latin it means “vanity of vanities”, in other words - “memento mori” (“remember death”). This is the most intellectual type of still life, an allegory of the eternity of art, the frailty of earthly glory and human life.

Sword and helmet with luxurious plumes in a painting by Jurian van Streck Jurian van Streck(1632-1687) - Amsterdam artist, famous for his still lifes and portraits. indicate the fleeting nature of earthly glory. The hunting horn symbolizes wealth that cannot be taken with you into another life. In “scientific” still lifes there are often images of open books or carelessly lying papers with inscriptions. They not only invite you to think about the objects depicted, but also allow you to use them for their intended purpose: read open pages or play music written in a notebook. Van Streck drew a sketch of a boy's head and an open book: this is Sophocles' tragedy "Electra", translated into Dutch. These images indicate that art is eternal. But the pages of the book are curled and the drawing is wrinkled. These are signs of the beginning of corruption, hinting that after death even art will not be useful. The skull also speaks of the inevitability of death, but the ear of grain entwined around it symbolizes the hope of resurrection and eternal life. By the middle of the 17th century, a skull entwined with an ear of grain or evergreen ivy would become a mandatory subject for depiction in still lifes in the vanitas style.

Sources

• Whipper B.R. The problem and development of still life.
• Zvezdina Yu. N. Emblematics in the world of ancient still life. On the problem of reading a symbol.
• Tarasov Yu. A. Dutch still life from the 17th century.
• Shcherbacheva M. I. Still life in Dutch painting.
• Visible image and hidden meaning. Allegories and emblems in the painting of Flanders and Holland in the second half of the 16th - 17th centuries. Exhibition catalogue. Pushkin Museum im. A. S. Pushkin.