Analysis of a work of art using the example of Michelangelo Buonarroti's painting "The Last Judgment". Compositional analysis of the painting Analysis of the work of painting according to plan

QUESTIONS TO ASK WHEN ANALYZING A WORK OF PAINTING
In order to abstract from the perception of the plot and everyday life, remember that a painting is not a window into the world, but a plane on which the illusion of space can be created by pictorial means. Therefore, first analyze the basic parameters of the work:

1) What is the size of the painting (monumental, easel, miniature?

2) What is the format of the painting: a rectangle elongated horizontally or vertically (possibly with a rounded end), square, circle (tondo), oval?

3) In what technique (tempera, oil, watercolor, etc.) and on what basis (wood, canvas, etc.) was the painting made?

4) From what distance is it best perceived?

I. Image analysis.

4. Does the film have a plot? What is shown? In what environment are the depicted characters and objects located?

5. Based on image analysis, you can draw a conclusion about the genre. What genre: portrait, landscape, still life, nude, everyday, mythological, religious, historical, animalistic, does the painting belong to?

6. What problem do you think the artist solves – visual? expressive? What is the degree of conventionality or naturalism of the image? Does convention tend towards idealization or expressive distortion? As a rule, the composition of the picture is associated with the genre.

7) What components does the composition consist of? What is the relationship between the subject of the image and the background/space on the painting canvas?

8) How close to the picture plane are the objects in the image?

9) What angle of view did the artist choose - from above, below, level with the depicted objects?

10) How is the position of the viewer determined - is he involved in interaction with what is depicted in the picture, or is he assigned the role of a detached contemplator?
11) Can the composition be called balanced, static, or dynamic? If there is movement, how is it directed?

12) How is the picture space constructed (flat, indefinite, the spatial layer is fenced off, deep space is created)? How is the illusion of spatial depth achieved (differences in the size of the depicted figures, showing the volume of objects or architecture, using color gradations)? The composition is developed by means of drawing.

13) How pronounced is the linear beginning in the picture?

14) Are the contours delimiting individual objects emphasized or hidden? By what means is this effect achieved?

15) To what extent is the volume of objects expressed? What techniques create the illusion of volume?

16) What role does light play in the picture? What is it like (even, neutral; contrasting, sculpting volume; mystical). Is the light source/direction legible?

17) Are the silhouettes of the depicted figures/objects legible? How expressive and valuable are they in themselves?

18) How detailed (or vice versa generalized) is the image?

19) Is the variety of textures of the depicted surfaces (leather, fabric, metal, etc.) conveyed? Color.

20) What role does color play in the picture (is it subordinate to the drawing and volume, or, on the contrary, subordinates the drawing to itself and builds the composition itself).

21) Is color simply a coloration of volume or something more? Is it optically faithful or expressive?

22) Do local colors or tonal coloring predominate in the picture?

23) Are the boundaries of the color spots visible? Do they coincide with the boundaries of volumes and objects?

24) Does the artist operate with large masses of color or small spots-strokes?

25) How are warm and cold colors painted, does the artist use a combination of complementary colors? Why is he doing this? How are the most illuminated and shaded areas conveyed?

26) Are there glares or reflexes? How are the shadows written (deep or transparent, are they colored)?

27) Is it possible to identify rhythmic repetitions in the use of any color or combination of shades, is it possible to trace the development of any color? Is there a dominant color/color combination?

28) What is the texture of the painting surface - smooth or impasto? Are individual strokes distinguishable? If so, what are they - small or long, applied with liquid, thick or almost dry paint?

06.08.2013

B. Analysis

1. Shape:
– (color, line, mass, volume, their relationship with each other)
– (composition, its features)

3. Style, direction
– characteristic shape and features
– artist’s handwriting, originality

B. Assessment

Personal opinion:
– connection between form and content (style features)
– relevance of the theme, novelty (how this theme is interpreted by other artists;

mi).
– the significance of the work, its value for world culture.

REVIEW FOR A WORK OF ART

Review of a work of art- this is an exchange of impressions, an expression of one’s attitude to actions, events depicted, one’s opinion about whether one liked or did not like the work.

Review structure:

1. The part in which an opinion is expressed about whether you liked or disliked the work.

2. The part in which the stated assessment is justified.

Addressees of the review: parents, classmates, classmates, friend, author of the work, librarian.

Purpose of review:

· attract attention to the work;

· provoke discussion;

Help you understand the work.

Forms of feedback: letter, newspaper article, diary entry, review.

When writing a review, use combinations of words: I think, I believe, it seems to me, in my opinion, in my opinion, it seems to me that the author is successful (convincing, bright), etc.

How to review a work of art:

1. Determine the addressee of the speech, the goals, and objectives of the statement.

2. Select the desired feedback form.

3. Determine the style and type of speech.

4. Express your opinion about the work of art.

5. Pay attention to the verbal format of the review.

FUNCTIONAL-SENSITIVE TYPES OF SPEECH
Narration	message, story about developing events, actions. The narrative is a plot-organized text, the focus of which is the dynamics of the development of an action, event, process. The narrative can be written in artistic, journalistic, scientific and official business styles.	The composition of the narrative includes: 1) the beginning - the beginning of the development of the action; 2) development of action; 3) climax - the moment of the most intense development of the narrative; 4) denouement - summing up the narrative.
Description	verbal picture, portrait, landscape, etc. The main things in the description are the accuracy of the details, recognition, reflecting the features of the depicted object or phenomenon. Description is possible in all styles of speech.	The composition of the description includes: 1) a general idea, information about the described object, person, phenomenon; 2) individual signs and details of what is being described; 3) author's assessment.
Reasoning	reasoned and evidence-based statements of the author’s thoughts. The focus of the discussion is on the problems posed and ways to solve them. Most often it is found in scientific and journalistic styles, as well as in the language of fiction.	The composition of the argument includes the following elements: 1) thesis - the problem posed and the attitude towards it; 2) arguments - evidence of the thesis, its justification; 3) conclusion - summing up the results of the work.

	Review	Review
Features of the genre	A detailed statement of an emotional-evaluative nature about a work of art, containing the opinion and argumentation of the person writing the review.	A detailed critical judgment about a work of art, which is based on an analysis of the work of art in the unity of its content and form.
Target	Share your impressions of what you read, draw attention to the work you liked, and participate in the discussion.	1) Give a reasoned interpretation and assessment of the ideological and artistic originality of the work. 2) The same as in the review.
Features of the approach	The author of the review explains his interest in the work by personal preferences, as well as the social significance of the problems raised in the work, their relevance. The argumentation system is based on the reader's personal experience, taste and preferences.	The review is dominated not by an emotional-subjective one (liked it or not), but by an objective assessment. The reader acts as a critic and researcher. The subject of the study is the work as a literary text, the poetics of the author, his position and means of expression (problematics, conflict, plot-compositional originality, character system, language, etc.).
Construction	I. A narrative about the reading habits of the author of the essay, the history of his acquaintance with this work, the reading process, etc. A thesis in which the assessment of what was read is briefly formulated. II. An argument in which the stated assessment is substantiated and argued for: 1) the importance of the topic raised by the author and the problems raised in the work; 2) an overview (not a retelling!) of the events depicted by the author, the most important episodes; 3) assessment of the behavior of the characters, their participation in the events depicted, attitude towards the characters, their destinies; 4) the result of the reasoning (the thoughts and feelings of the author of the essay in connection with what he read). III. A generalization in which the assessment of a given work is given in comparison with other works of the same author, the intention to continue acquaintance with his work is expressed, an appeal is made to potential readers, etc.	I. Justification of the reason for the review (new, “returned” name, new work of the author, the author’s work is a notable literary phenomenon, controversy surrounding the author’s work, the relevance of the work’s problems, the author’s anniversary, etc.). The most accurate indication of the 1st edition of the work. Thesis-assumption about the historical and cultural value of the text under study. II. Interpretation and assessment of the ideological and artistic originality of the work. 1) Analysis of the name (semantics, allusions, associations). 2) The method of organizing the narrative (on behalf of the author, the hero, “a story within a story”, etc.), other compositional features and their artistic role. 3) Characteristics of the problematic, artistic conflict and its movement in the development of the plot. 4) The author's selection of a system of characters as a means of expressing an artistic idea; mastery of character creation. 5) Other means of expressing the author’s position (author’s characterization, lyrical digressions, landscape, etc.) and their evaluation. 6) Other features of the author's style and method. III. A conclusion about the artistic merits of the text under study and its significance for the literary process and social life. An invitation to debate.

The methodology of a systematic approach to art is clearly visible in the works of M. S. Kagan. Kagan turned to the study of the place and functions of art in society and culture as a whole and among various forms of culture (religion, morality, philosophy, science), art as a special type of activity in the system of human activity, the place of various types of art in the system of 711 historical development of culture, systems of types, types and genres of art, artistic activity as a system of interrelation of artistic creativity, the existence of artistic works and artistic perception, artistic culture as a system of institutions for the production, functioning and consumption of artistic values. Without denying that art is capable of deeply penetrating and reproducing reality, Kagan simultaneously points out that the artistic image is also its assessment, expressing the artist’s attitude to the world, and its transformation with the help of creative imagination, from which it follows that art cannot to be a simple copy of the surrounding reality. In the artistic world created by the imagination of the creator, the objective is combined with the subjective, the spiritual with the material, the class with the national, the individual with the universal. Possessing epistemological, axiological (value), creative sides, art brings artistic information to a person about the world and about himself, therefore it is included in the world of human communication and acts as a specific artistic language1. Extensive research into the structural complexity of the organization of a work of art has shown that it can be close in some respects to science, in another to morality, in a third to technical structures, in a fourth to language, to be a mirror of culture and at the same time retain its sovereignty712 713. In A number of studies have shown that art is a powerful means of connecting individual human experience to universal human experience714. Summing up the results of the 60-70s, we can say that much of what we find in Russian aesthetics in subsequent decades originates from that time. The formation of Marxist axiology as an independent science was of great importance for aesthetics. Once the theory of value was recognized as an integral part of Marxist philosophy, the debate about beauty subsided. It became impossible to accuse of subjectivism those aestheticians who defined beauty as a value, that is, correlated it with taste, with ideals, and norms emanating from the subject. The axiological aspect was included on equal terms with the epistemological aspect in art. The first edition of L. Vygotsky’s book “The Psychology of Art,” written 40 years before its publication in 1965, gave impetus to the beginning of psychological research in aesthetics, which very quickly grew into a comprehensive analysis - involving many sciences (natural and humanities) artistic activity. Symposia on the comprehensive study of artistic creativity were held first in Leningrad, then in other cities*. The beginning of the development of semiotic analysis of art can be dated to the same moment. In Tartu, under the leadership of a graduate of Leningrad University and closely associated with the Leningrad philological school, prof. Y. Lotman began to work as a school for the structural study of sign systems, which spread far beyond art, to literally all cultural phenomena715 716. The birth of sociology also dates back to the 60s, first as an autonomous philosophical science, then creating its own “daughter” branches, in including the sociology of art, divided into theoretical717 and applied718. At the same time, research on the history of Russian and world aesthetic thought developed on a broad front. Readers on the history of aesthetic thought and individual works of classics of world aesthetics were published in the series “History of Aesthetics in Monuments and Documents,” numbering dozens of volumes, and works on the history of aesthetics were created, written from a Marxist position1. An important event in scientific life was the publication of the monumental multi-volume “History of Ancient Aesthetics” by A.F. Loseva. The ideas of information theory, cybernetics, and mathematical methods of analysis began to penetrate into aesthetics, and a new science arose - artometry. did not allow the free development of new beginnings in everything. Nevertheless, it was no longer possible to block the way to innovative ideas. Those provisions of Marxist aesthetic theory that have scientific meaning turned out to be in demand in the problematic field of post-Marxist philosophy, the beginning of the official existence of which can be conventionally dated to the turn of the 80-90s. In general, as an ideological doctrine, Marxist-Leninist aesthetics is a thing of the past.

Ministry of Education of the Russian Federation Kuzbass State Technical University Department of National History

ANALYSIS OF WORKS OF ART (graphics, painting, sculpture, architecture)

Guidelines for seminar classes for full-time and part-time students in the discipline “World Culture and Art” for students of the specialty

230500 “Social and cultural service and tourism”

Compiled by V.L. Pravda Approved at a meeting of the department Minutes No. 8 of 04/05/01

An electronic copy is located in the library of the main building of KuzSTU

Kemerovo 2001

Methodical explanations

The course “World Culture and Art” pays special attention to painting, graphics, sculpture and architecture. It is through them that the features of styles in different eras are most clearly manifested. Understanding the aesthetics of an era, its artistic content is revealed through comprehension of monuments of art, understanding their features, their beauty and imagery.

The technique offers a brief algorithm, a sequence of approximate analysis of graphic works, paintings, architecture and sculpture.

Despite all the inevitable sketchiness and extreme laconicism, it will help students independently assess the merits of cultural monuments. Will introduce you to the circle of art criticism terminology.

To evaluate a work of art is not only to list all the elements of its expressiveness, it is also necessary to connect the feeling, to enter into emotional contact with the artistic image.

The analysis sequence is approximate. It is subject to change. The proposed schemes require a creative approach. They are only auxiliary material for compiling a living emotional story about a specific work of art.

Analysis of a graphic work of art

Elements of expression		Notes
zestfulness		Notes
zestfulness

1. Definition	The type of graphic being considered is determined	Often in the title of the game
type of graphics	works: a drawing or a type of printed graphic	physical work
	fics (woodcuts, copper engravings, etchings, lithographs and	indicates the type of graphic
	etc.). This makes it possible to evaluate the features of production	ki: “Drawing
	reference: the nature of the line (it is different for different species	“Etching”, “Lithograph”
	engravings), chiaroscuro (it can be more or less con-
	trust, depending on the technique), etc.
2. Analysis of the composition	Composition analysis is an assessment of the overall		“compositio”
	constructing a drawing, a figurative-plastic idea: why	(Latin) means composition
	exactly like this, on such a scale, in such turns, from such a point	nie, binding.
	the artist depicted a figure, a group of people,
	meta, etc.
3. Analysis of technology
		is
	image: spot (tonal pattern), stroke (line drawing)	technical
	sunok). Line (linear drawing). Or are used	graphic
		Denia. Here
		characterize
		visual handwriting


3. Analysis of technology	Analysis of the drawing technique should determine which
	it is graphic tools that are used to create	is
	image: spot (tonal pattern), stroke (line	technical
	drawing). Line (linear drawing). Or are used	graphic
	all three graphic techniques. At the same time, it is also assessed
	drawing style: close to academic, detailed,	characterize
	naturalistic, or free, generalized, sharp.	visual
	The whole task is to select accurate, appropriate
	manner of execution of definitions and epithets.
	The assessment focuses on analyzing the nature of the line	To assess the character-
	artistry of a graphic work. The image created	ra lines need to be selected
	given by a line (stroke, spot), its expressiveness,		definitions.
	its grace, its rhythm. Feel the character of the line, its	For example: graceful, lo-
	unity with the image, convey it in words, make the main	manaya, nervous, rude
	great work on the analysis of a graphic work. Next	melting, etc.
	You should also pay attention to the rhythm of the lines. (See rhythm in
	compositions, p. 5).

Analysis of a pictorial work of art

Exposed					Notes
					Notes


1. Definition	Initially, the question of how to				Definition of genre
	Which of the existing genres of painting belongs to				will tell an important part -
	analyzed pictorial	work		art	ity: to which hundred
	(historical, mythological, everyday, battle				area of objects and spirits -
	portrait, landscape, still life). When analyzing a portrait, we use				interest from the whole world
	use bust analysis techniques (p. 8 of this method)

	Plot analysis requires the ability to understand the content and				Often the plot of the picture
	the meaning of the events depicted by the artist. Existence				is revealed by its own
	There is also plotless painting: non-objective painting.
	It is assessed in terms such as voltage, di-
	namika, harmony, contrast,		and requires special
	methods of analysis. Non-objective painting builds its own
	imagery exclusively
	their rhythms, as the main elements of expressiveness
	pictorial language. An example of non-objective painting
	si is abstractionism, suprematism.


	Revealing an artistic image is an assessment of your
	strikingness, authenticity, strength in the reflection of chosen
	Noah theme artist. Thus, many artists appealed
	focused on the theme of awakening nature, but rare oils
	tera rose to such a height as Savrasov in the race
	covering the theme of spring (“The rooks have arrived”).
4. Composition analysis	Composition in painting is analyzed in the same way as	What has been said, of course, is not
	in the graphics (see p. 2). The composition actively influences the re-	exhausts		of all beings
	acceptance of works.		principles on
	Thus, the composition can be emphasized theatrically	structure of the composition, but,
	noah, built on a stage principle. Or maybe	I think it will allow orientation
	produce a sense of randomness. Analyzing the company	to rummage in her assessment.
	position, we can come to the conclusion that it is harmonious
	structure, balance of all parts, or acute
	dynamism.
	If the composition is formed by straight horizontal			know about psycho-
in composition	tall or slightly inclined lines, is created	logical		influence
	the impression of rest or measured movement. Soche-	verticals		contours.
	avoiding sharp vertical angles or rounded lines	Predominance of horizontals
	gives the compositional scheme dynamism. Diago-	calms or even
	mental construction helps to better sense the speed,	builds		melancholic
	pressure, movement. The painter often uses this	Chinese style, suppresses. Verti-
	called circular construction, which allows you to call	Kali are active, infuse op-
	arrange a large number in a certain order	timism, cheerfulness, mood
	of people. You should catch the rhythm of the composition, see it	they feel joyful and uplifting.
	basic scheme.


	Color is the “soul” of painting, it requires especially
Color – organic	thoughtful and detailed analysis.
Color – organic	When analyzing the color system, it is determined which	Local system of colo-
color ration on	the color system underlies the color structure of the car-	Rita is historically earlier
	tina: local color or tonal. In local	Nya. Widely used in
	color scheme, color is separated from lighting conditions	decorative painting.
	femininity, no play of shades. Tonal coloring
	It is based on a complex relationship between color and its shades; behind-
	depending on illumination, distance, shadows, proximity

Coloristic	When analyzing the color scheme, it is estimated	Please note
	the artist's skill in choosing colors, the ability to combine	to the rhythm of color spots.
	melt their shades. The artist not only endows the subject		artist
	you color, he builds a color composition where	highlight one or another fi-
	certain colors and their shades dominate. So, th-	guru, face, etc.
	they talk about silver-gray-green, violet - lilac
	- pink and so on. color scheme.
	Colors can excite and soothe, irritate
The mood created	and pacify. Give off warm (red, orange)
The mood created	yellow, golden and their shades) and cold (violet-
given by color	green, blue, green and their shades) color scheme. Those-	the color is active, in the picture it is
	warm colors are active, exciting, fun, but can also	comes forward, attracts
	annoy. Cold - soothing, calming,	no attention. Cold
	sometimes they make me sad. Behind the color scheme of the painting is	the color recedes, goes into
	still a certain mood that the artist created	depth. Skillful placement
	gives color. Try to catch and convey this to	sharing warm and cold

	structure during the analysis of the color structure of the painting. Color		tones the artist builds
	reaches its expressiveness when it is organ-		nal perspective.
	is concentrated and its intensity corresponds to intensive
	ness of human feelings.

6.Stroke technique	The nature of the smear can introduce additional		Smears can be thick
	strikingness, will add artistic effects to the painting		clear, opaque – pasty
	effects. The artist can mask, smooth over		thick and liquid – laissero-
	“laying” of a stroke, or, on the contrary, may expose, overlays			Work with impasto
	paint in separate color clumps, more		makes the texture of life with strokes
	sockets. Analysis of the smear technique allows us to identify		painting canvas
	additional expression of the pictorial image.		alive, embossed.
7.Disclosure	For the analysis of certain expressive elements		Revealing the common
general plan	painting should not lose the most important thing, what				last
artist	analytical pathos is directed:	revelation of the plan			figurative
	artist. Understanding the mood	prompted him	building pictures.
	take hold of the brush.
	The development of European painting proceeded as
	For example, within the framework of one style or another direction.
	The change in styles indicated a change in artistic
	new principles, criteria, tastes. Most brightly in Europe
	European painting showed such styles as
	classicism, baroque, romanticism, realism, etc. Law-
	The analysis will be enhanced by assessing the picture from the point of view
	style.

Sculpture Analysis

Composite		Note
		Note


1. Definition	The task of determining the type of sculpture (round		- sculpture on
type of sculpture-	sculpture-statue, bust, sculptural group: reli-	plane. statue, bust,
	ef - bas-relief, high relief) is not in any way	sculptural group – various
	complex. However, this or that type of sculpture is	visibility		sculpture-
	there are different approaches. Analysis of the statue will distinguish-
	from the analysis of a bust, a sculptural group, etc.
	When analyzing a statue, the first thing to evaluate is			saturated
	expressiveness of plasticity, its semantic and emotional
	nal saturation. An important element of expression	this should be addressed
	the pedestal is assessed, the harmonic	Please pay attention to any details:
	the uniqueness of his combination with the statue. Clothes can	what it holds, what it rests on
	emphasize the monumentality of the image or the dynamics	statue, etc.
	the beauty of his plasticity. Should concentrate
	also on the face of the statue (see bust).


	Techniques for bust analysis tend towards methods of analysis.
	Lisa of the portrait in general, i.e. aimed at identifying
	internal psychology of character, expressed in
	facial plasticity, facial expressions. Must pay attention
	attention generalized or acutely individual ha-
	Characteristics of the image, the nature of the modeling of facial features
	tsa: clear, detailed, weak or soft, its pro-


Sculptural	Assessing the expressiveness of a sculptural group	Examples of successful sculpture
	associated with the analysis of the integrity of the plastic image,	tour group is quite ma-
	made up of several figures. If it is not possible	lo, but to them, undoubtedly,
	but to separate one figure from another without breaking	can be attributed to “Worker and
	plastic unity - that means we have an example	collective farmer" Mukhina, "Pie-
	a successfully executed sculptural group. At	that” Michelangelo.
	in this case, often each of the characters in the sculptural
	group “plays its part”, expressing in its own way
	feelings and experiencing the situation.
	The relief is often plot-based, it suggests a story	Often in the form of relief
	on a specific topic. He is multi-figured. Analysis of it	A portrait can also be made.
	involves characterization of individual characters,	Techniques for analyzing such a relation
	expressed in poses and gestures. Relief made in	The efa gravitates towards the bust.
	monumental style is, of course, more saturated
	ideas and symbols rather than plot.

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Federal State Budgetary Educational Institution of Higher Professional Education

Omsk State Technical University

Department of DTM

Essay

On the topic of:

Analysis of a work of art using the example of Michelangelo Buonarroti’s painting “The Last Judgment”

Completed by: student gr. ZSR-151 A.A. Kareva

Checked by: Professor Gumenyuk A.N.

Introduction

1. The plot of “The Last Judgment”

2. General information about the differences between a painting and an icon

3. Composition of the altar fresco of the Sistine Chapel by Michelangelo Buonarroti (1475-1564) “The Last Judgment” (1535-1541)

Conclusion

List of used literature

Introduction

The Last Judgment is a fresco by Michelangelo on the altar wall of the Sistine Chapel in the Vatican. The artist worked on the fresco for four years - from 1537 to 1541. Michelangelo returned to the Sistine Chapel three decades after completing the painting of its ceiling. The large-scale fresco occupies the entire wall behind the altar of the Sistine Chapel. Its theme was the second coming of Christ and the apocalypse.

“The Last Judgment” is considered to be the work that completed the Renaissance in art, to which Michelangelo himself paid tribute in painting the ceiling and vaults of the Sistine Chapel, and opened a new period of disappointment in the philosophy of anthropocentric humanism.

1. The plot of "The Last Judgment"

The second coming of Christ, when, according to Christian doctrine, there will be a general resurrection of the dead, who, together with the living, will be finally judged, and it will be determined for them whether to be taken to heaven or cast into hell. The Holy Scripture speaks about this many times, but the main authority is the speech of Christ to the disciples, told by Matthew: “When the Son of Man comes in his glory and all the holy angels with him, then he will sit on the throne of his glory, and all nations will be gathered before him; and separate one from the other, as a shepherd separates the sheep from the goats; And he will put the sheep on his right hand, and the goats on his left.” They will be judged according to their works of mercy that they performed in their earthly life. Sinners will have to go into “eternal torment.”

The second coming of Christ (or the reign of Christ on earth) was confidently expected in the year 1000, and when these expectations did not come true, the Church began to attach increasing importance to the doctrine of the “Four Last Works” - death, judgment, heaven, hell.

From this time on, images of the Last Judgment began to appear (mainly in the 12th-13th centuries) on the sculpted western pediments of French cathedrals.

This is a big story consisting of several parts. Christ the judge is the central figure. On both sides of him are the apostles who were with him at the Last Supper: “And you will sit on thrones judging the 12 tribes of Israel.”

Below are the dead rising from their graves or from the earth or sea: “And many of them that sleep in the dust of the earth shall awaken, some to everlasting life, others to everlasting contempt and disgrace.” “Then the sea gave up the dead that were in them; and each one was judged according to his deeds.” Archangel Michael holds scales on which he weighs souls. The righteous are on the right hand of Christ, escorted to heaven by angels; on his left hand below, sinners are escorted to hell, where they are depicted in terrible torment. (Hall D. Dictionary of plots and symbols in art. M, 1996)

2. Are commoninformation about the differences between a painting and an icon

The painting primarily affects the emotional sphere. The icon is for the mind and intuition. The painting reflects the mood, the icon reflects the state of the individual. The picture has boundaries, plot frames; icon - includes in the limitless. Some believe that the ancient icon painters did not know the laws of direct perspective and symmetry of the human body, i.e. were unfamiliar with the anatomical atlas. However, the artists of that era observed the exact proportions of the human body when they made statues or sculptures in general (three-dimensional images were not used in the Eastern Church, but took place only in secular art). The absence of a direct perspective indicates other spatial dimensions, the ability of a person to dominate space. Space ceases to be an obstacle. A distant object does not become illusorily smaller. The quantities in icons are not spatial, but axiological in nature, expressing the degree of dignity. For example, demons are depicted as smaller than angels; Christ among the disciples rises above them, etc.

The picture can be viewed analytically. You can talk about individual fragments of the picture, indicate what you like and what you don’t like about it. But an icon cannot be divided into cells, into fragments, into details; it is perceived synthetically by one internal religious feeling. An icon is beautiful when it calls a person to prayer, when the soul feels a dynamic field of energies and forces emitted through the icon from the Kingdom of Eternal Light. In the icon, the figures are motionless, they seem to have frozen. But this is not the cold of death; here the inner life, the inner dynamics are emphasized. The saints are in a rapid spiritual flight, in an eternal movement towards the Divine, where there is no place for pretentious poses, fussiness and external expression.

A person overwhelmed by deep feeling or immersed in thought also switches to the internal, and this disconnection from the external indicates the intensity and intensity of his spirit. On the contrary, external dynamics - the imprint of emotions as temporary states - suggests that the one whom they wanted to depict on the icon is not in eternity, but in time, in the power of the sensual and transient.

The painting of the Last Judgment in the Sistine Chapel, created by Michelangelo, is considered one of the pinnacles of Western art. The figures are executed with an amazing knowledge of the proportions of the human body and the laws of harmony. You can use them to study anatomy. Each person has its own unique personality and psychological characteristics. At the same time, the religious significance of this picture is zero. Moreover, this is a relapse of paganism that has arisen in the very heart of the Catholic world. The theme of the painting “The Last Judgment” embodies pagan and Jewish traditions. Charon transports the souls of the dead across the waters of the Styx. The image is taken from ancient mythology. The resurrection of the dead takes place in the valley of Jehoshaphat, as the Talmudic tradition tells.

The painting is made in a distinctly naturalistic style. Michelangelo depicted bodies naked. When Pope Paul III, examining the painting of the Sistine Chapel, asked the master of ceremonies of the papal court, Biagio da Cesena, how he liked the painting, he replied: “Your holiness, these figures would be appropriate somewhere in a tavern, and not in your chapel.” (“On the language of the Orthodox icon.” Archimandrite Raphael (Karelin), 1997)

We touched upon Western European painting to emphasize its fundamental difference from Orthodox art. This is a clear example of the fact that form does not coincide with content, no matter how brilliant it may be in itself. There is a methodological error in the so-called religious painting of the Renaissance. Painters try through mimetic art, i.e. a picture saturated with emotions and passions, to transfer the heavenly to the earthly plane, but they achieve the opposite - they transfer unregenerated materiality to the sphere of heaven; with the earthly and sensual they supplant the spiritual and eternal (or rather, there is no place for heaven, everything there has been occupied and swallowed up by the earth), their heart; slightly bowed figure, submission to the will of God, etc.

A Catholic painting is one-dimensional, an Orthodox icon is multi-dimensional. In an icon, plans intersect with each other, they coexist or interpenetrate, without merging or dissolving into each other. The painting records time as a moment stopped by the will of the artist, as if by a photographic flash. In the icon, time is conditional, so events in a chronological discrepancy can be represented on the field of the icon. The icon is similar to the internal plan and drawing of events. Icons are characterized by the simultaneity of the image: all events occur at once. michelangelo sistine fresco icon

The painting is an imitation of reality with elements of fantasy, which also takes material for its moods from earthly realities. An icon is the embodiment of spiritual contemplation, which is given in a mystical experience, in a state of communion with God, but contemplation conveyed and objectified through the symbolic language of lines and colors. An icon is a theological book written with a brush and paints. In the icon, the image of two spheres - heavenly and earthly - is given not according to the principle of parallelism, but according to the principle of symmetry. In a painting on religious themes, which is incorrectly called an icon, there are either no differences or demarcations between the heavenly and the earthly, or they are connected by “parallel lines” of history, as a single existence in time and space.

The painting is based on the principle of direct, linear perspective, giving the illusion of volume, three-dimensionality in the depiction of both material and spiritual entities. The spiritual does not appear in the picture, but is replaced in it by material, volumetric forms and bodies, and disappears in these forms that are alien to it. The spiritual in the picture ceases to be supersensible, but becomes “natural”; here the profanation of the sacred occurs. Iconoclasts rightly pointed out this, denying portrait paintings on religious themes, but unfairly generalizing with a bad method all the possibilities of fine art - in this case, icon painting - which opens the spiritual world, without identifying it with infinity as an endless extension, with the realities of the material world located under the power of death and decay.

Iconoclasts identified the icon with a mimetic portrait, with fantasy or allegory, but the icon, as a sacred symbol, was ignored or misunderstood by them. In the icon there is not only the opposition of the two spheres of time and eternity, but in its rhythms there is the churching of time, its attraction to eternity. (“On the language of the Orthodox icon.” Archimandrite Raphael (Karelin), 1997)

3. Composition of the altar fresco of the Sistine ChapelMichelangelo Buonarroti(1475-1564) "The Last Judgment" (1535-1541)

The author's unusual decision in constructing the composition preserves the most important traditional elements of iconography. The space is divided into two main plans: heavenly - with Christ the judge, the Mother of God and the saints, and earthly - with scenes of the resurrection of the dead and their division into righteous and sinners.

Trumpeting angels herald the beginning of the Last Judgment. A book has been opened in which all human deeds are written. Christ Himself is not a merciful redeemer, but a punishing Master. The Judge's gesture sets into motion a slow but inexorable circular movement that draws into its flow the ranks of the righteous and the sinners. The Mother of God, sitting next to Christ, turned away from what was happening.

She abandons her traditional role as intercessor and listens with trepidation to the final verdict. There are saints around: apostles, prophets. In the hands of the martyrs are instruments of torture, symbols of the suffering they endured for their faith.

The dead, opening their eyes with hope and horror, rise from their graves and go to God's judgment. Some rise easily and freely, others more slowly, depending on the severity of their own sins. The strong in spirit help those in need to rise up.

The faces of those who have to go down to cleanse themselves are full of horror. Anticipating terrible torment, sinners do not want to go to hell. But the forces aimed at maintaining justice push them to where the people who caused suffering should be. And the devils pull them to Minos, who, with his tail wrapped around his body, indicates the circle of hell to which the sinner should descend. (The artist gave the judge of dead souls the facial features of the master of ceremonies, Pope Biagio da Cesena, who often complained about the nudity of the depicted figures. His donkey ears are a symbol of ignorance.) And nearby is a barge driven by the ferryman Charon. With one movement he takes away sinful souls. Their despair and fury are conveyed with stunning force. To the left of the barge there is a hellish abyss - there is the entrance to purgatory, where demons await new sinners. It seems that the screams of horror and the gnashing of teeth of the unfortunate people can be heard.

Above, outside the powerful whirlpool, wingless angels with symbols of the suffering of the Redeemer himself soar over the souls awaiting salvation. At the top right, beautiful and young creatures bear the attributes of saving sinners. (Smirnova I.A. Monumental painting of the Italian Renaissance. M.: Fine Arts, 1987)

Conclusion

This essay examined Michelangelo's fresco "The Last Judgment" in comparison with the icon "The Last Judgment" (1580s). Both the icon and the fresco are painted on the same subject - the second coming of Christ and the terrible judgment on the sins of mankind. They have a similar composition: Christ is depicted in the center, and the apostles are located on his left and right hands. God is above them. Under Christ are sinners who are promised hell. Both images are in reverse perspective. But at the same time, the icon uses less bright colors than in Michelangelo’s fresco. The icon contains many symbolic images (a palm with a baby - “righteous souls in the hand of God”, and here, scales - that is, “the measure of human deeds”).

In modern times, the creation of these works was popular among people with eschatological views, so these images justified their purpose not with the goal of scaring humanity, but to convey to them the idea of living a righteous life, similar to the earthly sinless life of Jesus Christ.

List of used literature

1. Hall D. Dictionary of plots and symbols in art. M, 1996

2. “On the language of the Orthodox icon.” Archimandrite Rafail (Karelin) 1997

3. Smirnova I.A. Monumental painting of the Italian Renaissance. M.: Fine Arts, 1987

4. Buslaev F.I. Images of the Last Judgment according to Russian originals // Buslaev F.I. Essays. T. 2. St. Petersburg, 1910.

5. Alekseev S. Visible truth. Encyclopedia of Orthodox Icons. 2003

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