Is it a Russian name? Always be in the mood

Picture on religious themes represents artistic image, created by the artist’s imagination and is a form of conveying his own worldview. The feeling of the world in turn, depends from objective reasons, historical situation, political system, on the type and character of the artist’s personality, on his lifestyle.

Rafael Santi « Sistine Madonna»

All outstanding artists were able to feel what worried their contemporaries, and, refracting the social nerve of the era through themselves, they left on the canvas a concentrated artistic image of their time.

Pietro Perugino "The Baptism of Jesus", 1482

An icon is a revelation of God expressed in the language of lines and colors, given to the whole Church, and to an individual. The worldview of the icon painter is the worldview of the Church. An icon is timeless, it is a symbol of otherness in our world.

The painting is characterized by a clearly expressed individuality of the author, a unique pictorial manner, specific compositional techniques, characteristic color scheme. Anyone, even not completely knowledgeable in painting, a person will not confuse the paintings of Leonardo da Vinci and N. Poussin.

Leonardo da Vinci "Madonna"

Nicolas Poussin "The Holy Family"

The authorship of the icon painter is deliberately hidden, since the icon is a collective creation; iconography not self-expression, but service and ascetic work. The icon painter’s brush is dispassionate: personal emotions should not take place. In the liturgical life of the Church, the icon, as and the manner of reading prayers by the psalmist is devoid of external emotions; empathy for spoken words and the perception of iconographic symbols occur on a spiritual level.

Guardian Angel Icon

The picture should be emotional, since art is a form of knowledge and reflection of the surrounding world through feelings. The picture belongs to the spiritual world.

Rembrandt Harmens Van Rijn "The Descent from the Cross"

Leonardo da Vinci "Madonna Litta"

Icon Mother of God"Three-handed"

The icon is characterized by an emphasized conventionality of the image. It is not so much the object itself that is depicted as the idea of the object; everything is subordinated to the revelation of inner meaning.

Bright Week

For example, you can compare any icon of the Mother of God painted according to the canons and “Mary and Child” by Raphael Santi. In the first case, a person stands before the image of the Mother of God, who is glorified above the ranks of angels, and in the second, he contemplates only an earthly pretty woman with a baby.

Rafael Santi "Mary and Child"

Icon of the Mother of God “Fragrant Flower”

Or you can see how clothes are depicted on canonical icons: instead of soft and smooth lines folds of fabric - hard, graphic breaks that contrast in a special way with the soft painting of faces. But the fold lines are not chaotic; they are subordinate to the overall compositional rhythm of the icon. In this approach The idea of sanctification and man can be traced to the image, and the physical objects surrounding it.

The icon lacks an external Light source. The light comes from faces and figures, from their depths, as a symbol of holiness. There is an excellent comparison between icon painting and light painting. Indeed, if you look carefully on an icon of ancient writing, it is impossible to determine where is the light source located, is not visible, therefore and shadows falling from the figures. The icon is luminous, and the modeling of faces occurs due to the light pouring out from the faces themselves.

Belynichi icon Mother of God

You should pay attention to how the halos are depicted on Orthodox icons and in the paintings of medieval painters Western Europe. For Catholics, the halo is a round flat object depicted in perspective, as if hanging above the head. This object is something separated from the figure, given to it from the outside. Orthodox halos describe a circle around the head and represent something inextricably linked with the figure. Catholic halo - this is a crown of holiness, given from the outside, and the Orthodox halo is a crown of holiness, born from within.

Color is not a means of coloristic construction of an icon; it has a symbolic function. For example, the red color on icons of martyrs can symbolize sacrificing oneself for Christ, while on other icons this is the color of royal dignity. It is especially necessary to say about gold on icons. Gold – a symbol of Divine light, and to convey the radiance on icons of this “uncreated” light, what was required was not paint, but special material. Gold became such a material.

Icon of the Mother of God “The Sign”

"Reverend Mother of God" from the troubles of those suffering"

Icons are characterized by the simultaneity of the image: all events occur at once. On the 15th century Novgorod icon depicting the Transfiguration of the Lord, you can see Christ ascending the mountain with his disciples, and the Lord Transfigured, and the disciples who “fell on their faces” (Matt. 17:6), and their own descending from the mountain. And the icon “Assumption of the Mother of God” simultaneously depicts the apostles carried by angels to the deathbed of the Virgin Mary, and the same apostles already standing around the bed. This suggests that events Sacred history, what happened in real time and space, have a different image in spiritual space.

The main task of the icon, in contrast to the painting, which conveys the sensual, material side of the world, is to show the reality of the spiritual world, to give a feeling of the real presence of the saint. A painting is a milestone on the path of aesthetic development of a person; An icon is a milestone on the path of salvation.

Internet resources: Wikipedia. Free encyclopedia. – Access mode: http://ru.wikipedia.org/wiki Russian painting. – Access mode: http://www.artsait.ru

Biblical themes in fine art.

Garden of Eden. Noah's Ark.

Special image language in Christian art Middle Ages.

Iconography.

One of the most difficult topics to teach is certainly a biblical theme. This is due to the fact that teachers themselves can tell little about the Bible and cannot always explain to students how to complete this or that task. As a result of studying this topic, in class visual arts guys should meet special language images "in the Christian art of the Middle Ages, with paintings on Bible themes in the art of Western Europe and Russia, with the art of Russian icon painting and perform practical work on biblical themes.

Unlike the world teacher artistic culture, a fine arts teacher cannot limit his lesson to just an interesting show and story, but must teach the child to create independent composition on the proposed topic. Bible topics can be difficult and boring for you modern children, since they poorly understand the plot of the picture. In order not to waste class time on conversation, some teachers take the simplest path (as it seems to them), asking children to draw an icon, believing that any student can cope with such a “simple!” task.

An icon is not an illustration of the Bible; an icon is an image painted according to canons (rules), which the icon painter must obey. Illustration is the artist’s view of the events described in the Bible, his independent choice of plot, composition, and his own view of how the characters look. In icon painting, subjects are limited, composition and appearance characters are strictly regulated. By asking children to paint an icon as an illustration of the Bible, the teacher is not following the general education school curriculum. By the way, even in Sunday schools at churches and in Orthodox gymnasiums during fine arts lessons, children do not paint faces on icons, since they do not yet have enough skill for this. Moreover, we must not forget that in secondary school Children study not only from Orthodox, but also from Muslim and non-believing families, and an icon is a prayer, only written in the language of colors. Inviting children to paint an icon is the same as offering to learn or compose a prayer in a literature lesson.

A teacher can get children interested in the world biblical paintings and help understand the language of the icon by talking about symbolic language icon painting, introducing you to the work of an icon painter and giving you the opportunity to try yourself in the role experienced craftsman a “flag bearer” who independently creates a composition for a given plot, or in the role of a novice student in a team of icon painters.

Novice icon painters depicted the details of the icon: hills, trees, architecture and animals, using “copybooks” ( outline drawing, made on paper in one or two colors (black and red-brown). Without the help of a teacher, only a few will be able to cope with practical work, and the teacher’s task is to make sure that every child in a fine arts lesson can feel like a real artist, capable of creating paintings using complex topics. To illustrate the Bible, the easiest way is to choose scenes not from the New Testament, but from the Old Testament, and to create a composition, use the landscape genre that is already well known to children. The landscape can form the basis for paintings

“Creation of the World”, “Garden of Eden with the Tree of Life”, “ global flood" and "The flight of the Israelites from Egypt through the Red Sea."

As an example, we can show illustrations of the Bible by the famous marine painter I.K. Aivazovsky. The entire third quarter of the sixth grade was devoted to the topic “Portrait,” and in the seventh grade you can create a whole gallery of portraits of biblical characters. The Bible describes events taking place in Ancient Egypt(Joseph the Beautiful, Moses) and Mesopotamia ( Tower of Babel), which means that children can use the knowledge previously acquired in history and fine arts lessons. Thus, in one practical task historical and biblical themes can be combined. For illustration, you can also use the Gospel parables, showing as an example the illustrations of the “Parable of the Prodigal Son” by Rembrandt and Bosch, which are different in nature. Acquaintance with biblical themes must begin with a conversation. In the event that the teacher himself is poorly oriented in biblical stories, the engravings of G. Doré will help to carry it out, since books with his illustrations always contain brief explanations for each engraving.

Children should not be overloaded new information, therefore, during a conversation you need to show such well-known plots as,

Expulsion from Paradise>, "The Flood", "The Tower of Babel", "The Annunciation", "Christmas", "Baptism", "Transfiguration", "The Raising of Lazarus, . Hieronymus Bosch. “Prodigal Son”, “Noon in Jerusalem”, “Crown of Thorns”, “Flagellation”, “Jesus Under the Weight of the Cross”, “Crucifixion”, “Descent from the Cross”.

When displaying paintings on biblical themes by Western European and Russian artists, it is necessary to show different attitude artists to the same subject. It will be easier for the children to discuss the paintings if the teacher leaves reproductions of engravings by G. Dore on the board. The paintings should be famous, such as “The Appearance of Christ to the People” by A. Ivanov, but also very emotional, like “Calvary” by N. Ge; "Annunciation", "Rocky" and "Annunciation" by Geliy Korzhev.

Such works of art will never leave children indifferent. When talking about Russian icon painting, it is necessary to explain the difference between a painting and an icon, showing reproductions of icons in parallel with reproductions of graphics and paintings. As a result of the conversation, each student should understand that a picture is an object aesthetic pleasure, and an icon is both an object of aesthetic pleasure and an object of prayerful veneration.

Practical work on the theme “Garden of Eden”, “Noah’s Ark”. "Tower of Babel".

Before you start depicting, you need to discuss with the guys the event that is chosen for illustration, and the following will help you talk about the Bible interesting sciences, like biblical history, biblical archeology, biblical geography, biblical geology.

Practical work on the topic “Illustrations of the Bible” can be done using details of an iconographic landscape. The teacher explains the stages of work “step by step” on the board. To prevent children from repeating every stroke after the teacher and making their own individual composition, it is better for the teacher not to use paints for display, but to draw on the board only with chalk and water. The water dries quickly, the children have time to understand how to draw and work with strokes, but at the same time they do not copy every stroke made by the teacher from the board. As a result, it may turn out interesting compositions, made by novice icon painters.

Biblical scenes in painting

Completed by a 6th grade student

gymnasium No. 587

Nikitin A. A.

Saint Petersburg

For two thousand years, the whole world has been brought up on fairy tales and legends, songs and parables taken from the Bible.

The Bible has reached us through the centuries. They banned her and burned her, but she survived. It took 18 centuries to compile the Bible. Over 30 authors worked on it. 66 books of the Bible were written on different languages people who lived at different times.

Great artists of the world depicted biblical scenes in their paintings.

In the history of fine art of past centuries, the brilliant Dutch artist Rembrandt, perhaps more than anyone else, was able to deeply moving, truthfully reveal the inexhaustible wealth inner world person.

Dutch painters were the first to see a person as he is in life, and reflected in art various aspects of his everyday existence. Some of them approached the solution of a more complex task - to reflect the beauty and significance of spiritual world ordinary person

It would seem, turning to the biblical and gospel themes, Rembrandt moves away from depicting the society of his time. In fact, his biblical and gospel heroes in many ways reminiscent of his contemporary ordinary people, invariably attracting the sympathy of the artist. In his mind, biblical heroes serve as vivid personifications of the beautiful human qualities. The artist sees in them spiritual greatness, internal integrity, stern simplicity, and great nobility. They are not at all like the petty, self-satisfied burghers of his contemporaries. Genuine human passions are increasingly reflected in the artist’s canvases; more and more often, theatrical drama, a “terrible” event will be replaced by the true drama of life.

These new features clearly appear in the Hermitage painting “The Descent from the Cross,” painted in 1634.

Night. Mournful silence. A silent crowd of people surrounded the huge cross on which Christ was crucified. They came to Golgotha to pay their last respects to their teacher. In the cold light of torches, they remove his dead body from the cross.

One of the men, climbing the ladder, pulls out the nails with the help of which Christ was crucified on the crossbar; others take his sliding body into their arms; women prepare a bed for the remains by spreading a large heavy cloth on the ground. Everything is done slowly, in respectful and sad silence. The experiences of those gathered are different: some faces express bitter despair, others express courageous grief, others express reverent horror, but each of the people present is deeply imbued with the significance of the event. The boundless sorrow of the old man who receives dead christ. He holds it with noticeable effort, but very carefully, cautiously, touchingly touching his cheek to the lifeless body. Maria is exhausted from grief. She is unable to stand, loses consciousness, falls into the arms of the people who carefully surrounded her. Her emaciated face is deathly pale, her eyelids are closed, her weakened hand, outstretched forward, droops helplessly.

The picture captivates with deep penetration and life truth. Only the exaggeration of some movements and gestures reminds us of Rembrandt's baroque hobbies.

Throughout the 40s, Rembrandt several times addressed the theme of the holy family. One of the best solutions to this theme is the Hermitage painting “The Holy Family”, created by the artist in 1645. The gospel scene gives the viewer many associations with everyday folk life contemporary with Rembrandt. Silence and peace are disturbed only by the usual sounds of life at home. Burning wood crackles, and the quiet, monotonous sound of a carpenter's ax is heard. The room is shrouded in gentle twilight; Light gently pours in from different sources, tremblingly sliding across Mary’s face, illuminating the cradle, giving the image a touch of spirituality. The baby moved slightly, and the woman, obeying the subtle maternal instinct, breaks away from her lecture, lifts the curtain and looks at the baby with concern. She is the very sensitivity, the very alertness. Essentially, the great humanity and soulfulness of the picture is created with just one glance. The bright sublimity of the captured moment is also reflected in the fact that angels silently descend to the mother and boy.

In 1660 Rembrandt creates famous painting"Assur, Haman and Esther." The plot of the film was based on a biblical myth known as “The Feast of Esther.” Haman, the first vizier and friend of the Persian king Assur, cruelly slandered the Jews before the king, hoping to achieve their extermination. Then Queen Esther, who came from Judea, stood up for her people. Having invited Assur and Haman to the feast, she told about the vizier’s slander, and the treacherous face of the man whom he considered his friend was revealed to the king.

The artist depicts the moment of the feast when Esther finished the story and a deep, painful silence reigned. Sad beautiful eyes queen. Without looking at her hands, Esther mechanically wrinkles her handkerchief. She is still completely at the mercy of what she has experienced. It was painfully difficult for her to utter words of reproof; like the king, she believed the vizier and treated him as a friend. Assur was shocked by what he heard and bitterly disappointed. His big eyes filled with tears. At the same time, noble anger awakens in him, and he powerfully clutches the scepter.

Haman is depicted in deep shadow and alone. An invisible abyss separated him from the king and queen. The consciousness of doom presses him like an unbearable burden: he sits hunched over, head down, eyes closed; the hand holding the cup lies powerless on the table. He is oppressed not even by the fear of death, but by the grave consciousness of moral loneliness. He understands that Assur and Esther will never forgive him, no matter how hard it is for them to condemn their friend.

If in paintings dedicated to the history of Haman, the result of the conflict is irreconcilable condemnation, no matter how difficult it may be for those who pass the sentence, then humane forgiveness and deep repentance of a person who has made a bitter mistake are told famous work Rembrandt “The Return of the Prodigal Son”. The work was written by Rembrandt in the year of his death. Forgotten by his contemporaries, completely alone, he creates his last brilliant creation.

Again a great human tragedy. After long wanderings in a hostile, uncomfortable world, a plea for forgiveness comes to abandoned father prodigal son. Full of shame and repentance, he is on his knees, ragged, with the shaved head of a convict, trampled sandals, showing the viewer his rough heels. For the first time in many years, feeling the warmth of human affection, he clung to his father, hid his face in his chest, trying to lose himself in his father’s arms. The old man expresses neither surprise nor indignation; He forgave his son a long time ago and had been waiting for this meeting for a long time. In the look of his downcast eyes one can read both silent reproach and sorrowful humility. He gently bent over his son, placing his weak, senile hands on his back. Again Rembrandt embodies his idea that the harsh trials of fate bring people together. Above delusions, insults, and vanity are love, trust, and mutual understanding.

But still, in this meeting there is more grief than joy: tragic mistake her son left too deep a mark in the lives of both. Not only the son is broken, but also the father. It is enough to pay attention to the facial expression, the sadly bowed head, the hunched figure, the drooping senile shoulders to feel it

“The Return of the Prodigal Son” is, as it were, the result of Rembrandt’s wise thoughts about the world and people. His pessimistic attitude to reality in the last years of his life, on the one hand, and his unbroken faith in man and his moral height, on the other hand, resonate with equal force in last work genius artist.

There are few personalities in the history of art as mysterious and controversial as Bruegel. He did not write articles or treatises, left no correspondence and, with the exception of two or three close-minded people, did not know any friends. Bruegel left no portraits of his wife, children, or friends. It is believed that he sometimes portrayed himself among his own characters - but there is no evidence of this. His portraits, engraved by his friends, bear no resemblance to each other.

The Renaissance idea of the importance of the human personality did not fit into Bruegel’s artistic concepts. In his drawings and paintings, he often hides faces altogether, depriving the figures of any individuality. A similar trend can be seen in the depiction of biblical characters. He moves them somewhere to the side, hiding them among ordinary people. This is how we see Mary and the Lord in the village square, John the Baptist with Christ in the crowd of people, and the “Adoration of the Magi” is generally hidden behind a curtain of snowfall.

Bruegel's man has freedom of choice and bears responsibility for his own misfortunes. A person is forced to make the choice between good and evil, between faith and unbelief constantly, throughout his life - just as his ancestors were forced to make this choice, as many other people do today. Hence - another feature of Bruegel's works, which makes them similar to icons, but is very rarely found in modern art - the combination of temporal and spatial layers. In such paintings as “Procession to Golgotha”, “Census in Bethlehem”, “Massacre of the Innocents”, “Sermon of John the Baptist”, “Conversion of Paul”, “Nativity”, the engraving “Assumption of Our Lady”, biblical characters are present among Bruegel’s contemporaries going about their daily lives. normal life, biblical scenes are played out against the backdrop of Flemish urban and rural landscapes. For example, the figure of the Savior bent under the weight of the cross is almost lost among the many other impressions of any of the people depicted in the picture, and these people make their moral choice, not realizing that they see God in front of them.

The years of Bruegel's creative maturity pass during a period of aggravation of contradictions between the Netherlands and the monarchy of Philip II, in the conditions of a menacingly growing revolutionary situation. The anti-feudal movement merges with the national liberation struggle against the rule of Spain. In 1561-1562, Bruegel created paintings united by a premonition of impending historical cataclysms, “The Triumph of Death” (Madrid), “The Fall of the Rebel Angels” (Brussels), “Mad Greta”, “The Battle of the Israelites with the Philistines”.

During his life, Bruegel was a resident of two very rich cities - first Antwerp, and later Brussels.

Antwerp's growth rate was equal in Europe; it became the new financial and economic center of the Western world. About a thousand foreigners lived in this “bazaar” city with the largest seaport; they were treated with suspicion. In a situation where people were not united by either faith or a single church, when Catholics, Protestants, Lutherans and Anabaptists lived in the same neighborhood, a general feeling of insecurity and anxiety grew. This is how a “multicultural society” was formed, where problems of communication arose especially acutely, primarily on religious grounds.

Antwerp was a symbol of peace. A tower that casts a shadow - contrary to all the laws of nature - not on the ground, but on the sky.

Bruegel painted The Tower of Babel at least three times. The Tower of Babel (1563) and the “Small” Tower of Babel (c. 1563) have survived. The gigantic structure was captured twice. Never before have artists been able to convey so vividly the monstrous size of the tower, the scope of construction, surpassing everything previously known to man.

In Bruegel's later works the mood of pessimistic reflection deepens. In the famous “The Blind” (1568), the gospel parable is used to embody the idea of blind humanity, having lost the will to fight and passively following fate. The leader, leading the chain of blind cripples, falls, the rest, stumbling, uncontrollably follow him; their helpless gestures are convulsive, the stamp of destructive passions and vices sharply appears on their faces, frozen with horror, turning them into deathly masks. The intermittent and uneven rhythm of movement of the figures develops the theme of imminent death. However, as before, the serenely harmonious nature of the background appears as a contrasting alternative to human vanity, with its idyllic peace as if suggesting a way out of the tragic impasse.

The paintings of Caravaggio (1573-1610) caused heated debate, as they were striking in their unusualness. The character of this artist was also extraordinary - impudent, mocking, arrogant.

Among Caravaggio’s paintings there are no festive scenes - such as “The Annunciation”, “Betrothal”, “Introduction to the Temple”, which the Renaissance masters loved so much. He is attracted to tragic themes. On his canvases people suffer and experience cruel torture. Caravaggio observed these hardships of life. In the painting “The Crucifixion of St. Peter” we see the execution of the apostle, who was crucified on the cross upside down. “The Conversion of Saul” shows the merciless persecution of Christians, their death under the heel of a horse and Saul’s moment of insight. On the way to Damascus, he was suddenly blinded by a heavenly ray, and, falling from his horse, he heard the voice of Christ: “Saul, why are you persecuting me?” After his epiphany, Saul becomes one of the most devoted disciples of Christ - the Apostle Paul.

Caravaggio shows the scene of the “Entombment” as a folk drama. The lifeless body of Christ is carefully supported by the disciples. The frozen hand of the Savior hangs from the gravestone above the black space of the grave.

In Caravaggio's paintings gospel stories the everyday appearance of the characters is striking. In the gospel scenes he shows life common people. Caravaggio's contemporaries testify: he despised everything that was not copied from life. The artist called such paintings trinkets, children's and doll's things.

Icon painting appeared in Rus' in the 10th century, after in 988 Rus' adopted the Byzantine religion - Christianity. By this time, in Byzantium itself, icon painting had finally turned into a strictly legalized, recognized canonical system of images. Worship of the icon has become an integral part of Christian doctrine and worship. Thus, Rus' received the icon as one of the “foundations” of the new religion.

For centuries, icons were the only objects of painting in Rus'. The common people were introduced to art through them.

Depicting events from the life of Christ, Mary, the apostles, icon painters

They found motives that touched the soul of every person, tried to express their ideas about good and evil.

The icon painter followed certain rules in his work, for example, he could not come up with a plot himself. But this does not mean that the painter was deprived of the opportunity to create. He could add some details, “read” the church plot in his own way, and choose color combinations. By these details one can distinguish the style of Andrei Rublev from the style of Theophanes the Greek or Dionysius.

The question of whether this or that work belongs to Rublev is now the subject of lively scientific discussions. The only reliable work of the artist is the Trinity icon. All other works with more or to a lesser extent probabilities are attributed to the renowned master.

According to Christian doctrine, God, being one in essence, is threefold in persons. The first person of the Trinity is God the Father, who created heaven and earth, everything visible and invisible. Its second person is God the Son, Jesus Christ, who took human form and descended from heaven to earth for the salvation of people. The third person is God the Holy Spirit, who gives life to all things. To the human mind It is incomprehensible how one exists in three persons, therefore the doctrine of the Trinity is one of the main dogmas of the Christian religions and as such is an object of faith, but not a subject of comprehension.

The true form of deity is unknown to man - “no one has seen God” (John 1:18). However, sometimes, as Christian tradition says, God appeared to people, taking for this purpose accessible to man appearance The first person to see God was the righteous old man Abraham. God appeared to him in the form of three angels. Abraham guessed that, under the guise of three strangers, he assumed the three faces of the Trinity. Filled with joy, he sat them down under the shade of the Mamre oak tree, ordered his wife Sarah to bake unleavened bread from the best flour, and ordered the servant boy to slaughter the tender calf.

It was this biblical story that formed the basis for the iconography of the Trinity. She is depicted as three angels with wandering staffs in their hands. Angels sit solemnly at a table laden with dishes. In the distance you can see the Chambers of Abraham and the legendary Oak of Mamre. Pious Abraham and Sarah offer refreshments to the winged strangers.

Vikon Rublev is struck by the extraordinary simplicity, the “laconicity” with which the biblical event is reproduced. From the Old Testament story, the artist chose only those details that give an idea of where and how the action took place - the mountain (symbol of the desert), the chambers of Abraham and the Oak of Mamre. Such courage in relation to sacred text it is in vain to look in earlier icons. Ancient Russian painting, which previously followed the sacred text without reasoning, and set as its task to give a visible image of everything that the Bible and Gospel tell about, in the person of Rublev, neglected the letter Holy Scripture and tried to open it philosophical meaning. From an illustrative art, icon painting has turned into a cognitive art.

In Russia in the 14th - 15th centuries, the doctrine of a trinitarian deity, representing “one force, one power, one dominion,” became a religious symbol of the political unity of the country. It is no coincidence that the motto of Moscow at the turn of the century was: “We live in Trinity, we move and we are.” Rublev’s “Trinity” is also imbued with the same idea, which has become, as it were, a moral symbol of the new Rus'.

So, despite the fact that bible stories tell about days long past, artists turn to them in order to reflect contemporary reality through well-known plots.

List of used literature:

Rose-Marie Hagen R. “Pieter Bruegel the Elder.” – “Art Spring”, 2000

Andronov S. A. “Rembrandt. ABOUT social essence artist" - Moscow, "Knowledge" 1978

Platonova N.I. “Art. Encyclopedia” - “Rosman-Press”, 2002