The term and the understanding in the imaginative mystery. Still life in painting: see and description

Ivan Vasil'ev

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Yaka is a marvelous painting - still life: there is a wondrous copy of quiet speeches, the originals of which are not fond of.

Pascal.

Thus, the great Pascal rose up, figuratively twisting the chantingly vivacity of the people in front of the mystery of the mystery, - the dead nature will drive us away everywhere. Neruhoma nature is alive to its quiet lives, before that, before her, a ludin is brutalized. People are very good at making speeches, they don’t come to terms with them, they’re talking about them every day. Only when the artist's penetrating gaze seeks the day, when he stinks, he enters into a dialogue, in red and red, he speaks about the little bits of relish and the way of life, reaching the superb maturity in the transmission of the subject. Still life has consolidated the aesthetic value of everyday life speeches. With their still life painting, Holland overcame the light of the one who, in simple speech, carries a sense and great beauty. Feel the haunted life, the dynamism of the life and become the day of the painting of the subject of philosophy.

The head of the artistry and painting is to wake up beautiful people in people, to think about it, see, the artist’s zavdannya to screw up the glance, to wake up in a new sense of dignity by the experiences, turning in the picture, the mind to look in a new way at navkolishn_y light, Rozglediti in zvichnyh subjects, superstitious essence.

The art of still life has its own beautiful and old history. Still life to introduce us to the light, the artist's navkolishny, yes, the opportunity to look back at the table, to experience spiritually in the scene with the maystr especially loving the motives.

In a still life, the artist is magical to convey the richness of his objects, to depict the pulsation of life in a skin smear, his mood, his own vision of new light.

With a stretch of baggage, the artists wander for the help of their speeches, their minds, their thoughts and interests, and the skin creator tries to go in his own way, the skin tone is individual. In some still lifes, the reality is overwhelmed, for those of them it is the majesty. Painting is more important. The skin painter has his own vision of light.

The head of the diploma robot: the enumeration of the set method and the formulation of the offensive rank:

1. Describe the history of the development of a still life.

2. There are special features, ways and a different genre.

3. Describe your vikonannya still life.

4. Describe the movement of the robot.

The diploma of the robot will be stored from chotiryh razdiliv, entry, visnovkiv, list of victorian literature and supplement.

At the beginning, a meta and a robotics design, a viclade structure is formed.

The first chapter is theoretical. At the same time, the development of the genre and vision of the most famous artists, who worked in the genre of still life.

The other has a little bit of specialties, nobles and a visit to the still life.

In the third section, a description was made for a still life: the possession of that material for oil painting; basic rules for robots with all kinds of farbs.

In the fourth section, the report describes the movement of the robot over the composition and vibration of those. I described in detail the afterlife of my robot over the canvas, from its preparation to the completion of the robot.

The relevance of the last few years is that, do not marvel at your unimportant youth, a still life of tightly knitted with a bagatovic history of light art culture... Still lifes, like in the other genres of imaginative painting, have established their own traditions, have their own canon. I, Tim is not the least, in a series of genre ієrarchії vіn buv zavzhdayut genre. You didn't get enough respect, you didn't get enough of it, you thought about the new one. Period the development of a still life, like and yogo zabuttya, mali your historical reconsideration. Representations of the element can be brought to life for an hour or so without overwhelming his life and life, so that you will be guided by one of the quiet natural threads, which will knit artists-realists with nature, life, and beauty. The skin of the world hung in its maystal still life, in its creations the artistic ideals of the hour, the freedom and the versatility of the plastic struggles that governed the context of the historical painting of such a period.

Still life

form, illumination and color.

Chapter 1. History of still life as a genre.

In the imaginative mystery of still life (in French Natur morte - "nature is dead"), it is taken to name the image of inanimate objects, united into one compositional group. Still life can be of self-importance, as well as warehouse part compositions of genre paintings.

The still life is twisted by the people to the navkolishny light. At a new age, the beauty of the beauty, which is attracted to the artist as people at their own hour, open up.

The mastery of speech is long-standing, but back to back before being transformed into an independent region artistic creativity, Bulo is not a great part of any meaningful creation. The role of the still life in the painting of the nicholas has not been reduced to simple information, but to the basic material. Already from the historical minds and suspicious feeding, objects more and more took part in the main image, which was thought of on that side. Before that, like a still life was merged into an independent genre, speeches that would make people feel like a pooped life, were deprived of those attributes in the paintings of ancient times. In some cases, such a detail was inflated unsupported to a great extent, and it trimmed out the moisture sense.

Yak singing view or the genre of still life painting is known in the history of art of its own development and fall.

Suvore, the strained-ascetic mystery of Vizantia, flashing immortal, monumental-uzagalny, given-heroic images, with an innocent virality corroded by images of objects around them.

In the old Russian iconography, there is also a great role to play on those innumerable objects, as the artist introduced into his strictly canonical creation. The stench brought the bezposrednist, life, decals were given to the creations, which were attached to an abstract mythological plot.

Still life engraving plays a bigger role in the paintings of the artists of the 15th - 16th centuries in the era of the Renaissance. A painter, for the first time having turned the saw to respect for the new light, having pushed to the point, by virtue of the value of skin speech, to serve the people. The items poured out the nobility and proud significance of the vlashnik, the one to whom the stench served. On the great canvases, still life has taken a more modest place: I will pour a vessel with water, a vase is vitonized, or lower bili lines on thin stems are often hauled into the cube of a picture. However, in the images of speeches, there are styles of poetry in nature, the sense is so highly natchnenny, but here you can also poke all the rice, as they were meant to be self-developed development of the whole genre.

Objects, speech elements were removed in paintings of a new meaning in the 17th century - in the era of the rooted still life genre. In folding compositions with a literary plot, the stench took its place with the heroes of the creation. Analyze the creation for an hour, you can play the role of yaku becoming a grati still life in the picture. The speeches began to appear in cich tors, like the head of the art, the individuals, showing how the artist can reach, assigning their majesty to the genus of art.

Objects that are broken by their wits, smart, wise hands, carry on their own doodles, bazhan, sipping people. The stench of serving youmu, delighting youmu, instilling legitimacy with pride. It’s not for nothing that we know about the epochs that have long since witnessed from the face of the earth, with quiet crockery, home stuffing and ritual objects, which form for archaeologists the development of the history of people.

Vdivlyayuchis navkolishnіy light, penetrating supplemental rosum in yogo laws, razgaduyuh thirsty taєmnitsі life, the artist more and more and more differently depicts him in his own mystery. It’s not just a picture of a new light, but a transmission of its own intelligence, its set to action.

The history of the folding and development of the genres of painting is alive with the witness of a non-voluminous robot of human svidomosty, but pragmatically hoping for an indiscriminate development of intelligence, aesthetically speaking.

Still life is a somewhat young genre. Independent value in Europe has been eliminated in the 17th century. History of the development of still life tsikava and povchana.

Especially in particular, a bright still life of roses in the Flanders and the Netherlands. Yogi recognition is tied to these revolutionary historical podіyas, as a result of such times of the country, having obliterated the independence, on the ear of the 17th century they entered the path of the bourgeois development. For Europe at that hour, it was an important and progressive phenomenon. New horizons appeared before the mystery. Historical minds, new suspenseful ideas directed and started the creative mind, the changes in the problems posed to the painter. Directly not imagining historical podіy, the artists looked at the light in a new way, they knew new values ​​in people. Life, on a daily basis stood before them in an unprecedented amount of meaningfulness and repetition. Їх got the special features of the national bobout, native nature, Speech, how to save on your own work and days common people... The very beginnings, from the familiar, lost, by the very mode of the given interest to the life of the people, were born from the originality and the independent genre of the byte painting, landscape, wine and still life.

The art of still life, which developed in the 17th century, was the beginning of the main quality of the genre. The picture, assigned to the light of speeches, told about the main power, power in objects, how to feel a human being, opened the vision of the artist and the participant before the image, caught the character and the increase in the perception of intelligence. Painting, conveying the material buttya speeches, їх obsyag, wag, texture, color, functional value of objects, їх live call with a lot of people.

The beauty and thoroughness of the homework did not begin only as it was needed, but rather as a mastery of the creator. In the still lifes of the revolutionary era, the bourgeoisie changed the artist's way to new forms of the national life of the spirits, the way to the beginning.

Formulated in the 17th century, the creation of the genre in wild rice was used in the European school right up to the middle XIX century... However, the price does not mean that the artists did not put new buildings before them, mechanically repetitively ready solutions.

Throughout the era, not only the methods and methods of painting a still life were changed, but the accumulation of artistic dosage, in the process of becoming developed, was more folding and constantly to look at the light. Not one object like this, ale of rіzni yogo power, became an object of translation, and through the openness of the concepts of the qualities of speeches, it was rotated, nowadays, it was put to action, reassessment of values, the world of intelligence of reality.

1.1. Impressionism as a leak.

Impressionism, painting of impressions ... today, one only has to understand the secret of those who are barbed by emotsiyami unknowingly the warmth of the quiet, who know the creativity of the representatives, who are probably the most popular mystics and the fun. The French words "impression" ("hostility") and "impressions" are associated with the poetic atmosphere of small landscapes for the format, dumb reminiscent of sleepy light and vivid witnesses, with beautiful female characters, I am

For a remarkably short historical period, impressionism as an artist's current has gone through the evolution of the evolution, development and crisis. The first monolithic group of artists - one-thinkers fell apart, in the creativity of the skin they had a fracture, such as zooming in from the canons of the empirical system. The canvases of impressions from the point of view of American post-avant-garde art are reimagined in the heart of a wine, dried up among the sides of favorite books, lashed out and wicked nostalgia about the past, no more; It’s a dumb thing in the light of a soulless technocracy. Ale chi so tse? And who's the stench of impression? The rest of the romance of vidzhilo civilization, with brisk, bright strokes like the brute-brown canvases of the 19th century that have been crossed out, or not so good for the colour, are licked and glorified by the canvases of glorified academics, which are very easy for the reader cultural space"Stolіttya romantikіv" and not less romantic "realistsіv"? For the first rebellions, intellectuals, that they saw freedom and the art of painting, the material elements of the headlights, those who "live" together with the artist of real life, break up the exchange of this light behind the extra majestic linen directly on , carry information to a given, specific, emotional sphere, What are your moods?

In opposition to the academic mystery, which spirals into the canon of classicalism - the idea of ​​primacy of the main characters in the center of the picture, triplanar space, victoriousness of the historical plot, - the image of the imagination of the principals in the center of the picture The stinks have ceased to distribute objects on the head, one of a high master, and another row. We show the image in the picture with the motive of the moment of the statistic, the fragment of the uneven surface of the stone gothic cathedral, the color of the objects in the midday hour, bush, the image of the green sky in the water, in the ruins With the whole stench, they did not set before themselves the zeal of copying to cross the camp of nature. Without interruption, the vibrations of pulsating, short-cut strokes in the paintings of the imprisonment gave rise to the illusion of the trivial space, the flamboyant contemporaneous duality of the painting, and the glimpse of the deciphering of the self-deciphering of the painting.

Every hour, since the impres sions waged battles with academic meters for the approval of new skills in painting, we have seen more capital. Ale superperechki near the interpretation of the decline did not grow thin until quiet feast. Hundreds of monographs, dedicated to artists, catalogs of articles and lists of articles are given an assessment of the role of this painting in the formation of new painting of the 20th century.

Two-house heads of the Impressions of Steel: Zmina picturesque technique and the psychological wisdom of the picture. For the first time, to know the situation of this era, it is important to know at once about the food, for whom the landscapes of the impressions, the details of the radio, the simple, the poetical, the criticism of the opposition The main reason To think in that, for the dwellers and official criticism, the impressionistic painting did not fit into the framework of the out-of-the-box, as if it was plain and vulgar, nowhere else, it would be a true "true" mystic.

In the spring of 1874, a group of young artists zhehtuvala official salon and vlashtuvala vistavka. Podіbny vchinok vuju by his own will be revolutionary and torn from vіkovy ambushes. The paintings of the cikh artists for the first glance turned out to be more wondrous traditions. The reaction to the price of the innovation from the side of the drive and criticism was far from friendly. The stench sounded like a call to the maister, just to screw up the respect of the public. Naybilsh blasphemy looked at the robots as a mockery, as if I would try to fire at the honest people. Consumed by the rocky hard fight, the first few members of the small group were able to transfer the publication not only in their breadth, but in their talent. The Qia group included Monet, Renoir, Pissaro, Sisley, Degas, Cezanne and Bertu Morizo. The members of Volodya were not only by their small characters, but also by the crimson world they saw the same old concepts and perekonan. However, all the stinks lingered up to one generation, went through one and the same vyprobuvannya and fought against the overwhelming disagreement. Having found a lot of vipadkovo, the stench spilo distributed their share. This is how I took the name "impressions" - the name, vigadane in fun of one journalist - a satirist.

A new stage of mystery, which was rocked by the history of 1874 rock, with a rapid vibe of revolutionary tendencies, becoming the culmination of the main and last development. If the impressions were organizing their show, the stench didn’t come from under-informed, cobbled artists; tse bully people who have stepped over 30, mali by the shoulders of fifteen rocks of the diligent robot. In the last three lessons of last year, the stench has melted its own magic.

1.2. Still life in impressionism.

The best French realist Gustave Courbet clearly formulated the new concept of still life. The lack of contact with nature and democracy, which lies in the basis of his creativity, turned the Western European still life life force, juice and glybin. Courbet became the first great maystor of the 19th century, like opening the school in still life.

The given development is a realistic still life, having taken off from the work of Edward Manet. In Manet's serious respect for the genre, Courbet's butt won a role. Both of the masses were poured over to the closest approach to nature. However, the positions of the artists differed significantly in the design and possibilities of still life. There, de Courbet, having pushed through the addiction of crescendo, evinced the same outlandish laws of life, Manet, through the fixation of callous and bi-vivid colors, magically penetrated the important and individual character of the subject. That order with Courbet Manet is less solid and unpaved. Ale in the image accessible to the eye is an artist of non-reversal. Moreover, Manet and still life are exactly the same, as in other genres, you can hardly touch happy life, Suchasne yomu beauty. I will ask for a composition, quickly a number of objects. Nicholas is not capable of being re-entangled, but of piece-richness, as his followers loved him so much. But then all the material qualities of the light of speeches, є in quiet two - three objects, which are interconnected, are imaged in great bliss and virtue. With the help of such a decision, those can serve their still life, which was discovered in the 1860s of rock.

In 1863, in the "Salon of the Frozen" in the middle of Manet's paintings, in "Snows on the Grass" (1863, Louvre, Paris), the share of some of the humor and the call of not all the literary likes of the critics, I want If you don't want to show your love, Giorgione's "Silsky Concert" is going to be in the Louvre, in a funky way, taking a walk from Proust to the bank of the Seni in Argenteuil and a species of bathers on a dream.

Human figurines "Snowflake on the grass" and still life on the first plan of the picture - drops, dressing, khlib, cat with fruits - miracles. The stench is even more real. Prospect and sleepy cleanliness and low views to the still life of the foreground - middle-aged, blakytny, which are angry at the musical harmony. Mane was the first to see this novelty and bliss in the art of plein-air painting, the Nemov took in all the wizards and insights of Velasquez, Goya, Chardin, the constable, and even more vividly, with a smile. Ale in nіy vіn shche didn’t reach the end of his little revolution. They still have a dim sense of vision, more dim color and color more local and dead. The canvas has theatricality and intelligence. If you lie on grass cloth, droplets, fruits, all the same is associated with plein air freshness, lightness and vitality. Itself through the tsi, not transferred to Manet, the compositional and coloristic rubbing in the picture of the wines of intelligence and intelligence, obviously not entering into Mane's idea.

Mane shvidko rozibravsya in the reasons for rubbing in "Snidanka on the grass" and nikoli them more not repeating. The picture of the tsia bul is a turning point in yogo creativity.

Great respect is given to the still life in the last masterpieces - we will write two rocks before his early death, the painting "Bar at Foli - Berger" (1881, London, Institute of Warburg and Curto). , - subscribed i sum. Behind her, in the mirror for the entire wall, it is imagined to shimmer with silver, filled with the publicity, flood the wide expanse of the bar with the glare of lamps and chandeliers. The prose style of the bar was transformed by the artist's charms into an expensive frame, with a glimpse of lower and glimpse still life, for a beautiful girl - a saleswoman, presented to us by Edward Manet, a beautiful goddess. At the weary light of chandeliers on the white surface of the bar, the green and brown tones shimmer with the dance of wine, golden sparkles to glimmer the heads. At the glimpses of the crystal vases, like a zitkan from the blinking vidblisks, the fruit lie like a golden mass. Directly in front of the girl on the stance in the visionary, like a kelikh, there are two trojands. Їх pelusts are also lower, yak і shkira dіvchini.

Portrait and still life in the whole picture is harmoniously based on the artist's talent for one purpose and live one life. The painting became a glimpse of the completion of this coloristic revolution, like Mane having flared up at his painting, repaired with "Olimpia", "At the Bulonsky Port" and a number of still lifes in the 1860-1870s rock. Mane sprang to the color harmony and plein-air of the view of his forebears, ale win over his color and light of special hospitality and insight, signaled to his painting of the black tune, which replaced the glare of the far-fetched spectrum of the far-fetched academic model.

Recovering from 1875 to rock and, especially in still lifes of the last rock of life, Edward Manet comes close to impressionism, he wants, in the world of rock, to become a true principle of the objective characteristics of the image. Yogo number of series of apartments, viconana is also seriously ailing as an artist, demonstrating the new zeal of Manet's creativity - still life. The robots of many rockies are at odds with the purity of nature and breadth, for those particular delicate, reverent life of the queen, yake, mabut, nichto, krim ny, not at all grasping. Before us is the painting "Vase with squares" (1882, Paris, Louvre). The composition of a still life is very simple - in a small vessel there is a modest bouquet, Green leaves and large sheets are not bald and naturally intertwined between themselves. The day to the background of the tender adorable hviley ogorta і yak bi will penetrate the light trembling masu of the bouquet. A skin duster, a dumb blizzard, a blizzard in the sky, a glimpse of the first sheets and leaves, a dream, a blue reflex of heavenly blues. The slope of the view of the stalk is in the middle and the farbi of the objects in the back of the flowerpot. Okrema ric is not Volodya Edinim, yomu we dominate the color, but yak bi is tied with a barvy middle-class with іnshim, appearing on the adjoining tony and pivtoni. The directors are set up in a special way, new for the art of today, while seeing the richness and integrity of the light. Reflexive to sense the role of light for evoking the sonority and intensity of the surrounding colorful beaches.

At once with the illumination in the still life "enter" the fortune. Objects are built with the light, blakitnyy thought-provoking vision of the spacious middle ground. From the living tissue on the sheets and leaves, there is a new tremor of the ice, of the crumblingness. The peels, reminiscent of the vologo, open up, stretch to the light of the cup of the squares, the greens insist on bubbling as virizan. Life is more common in its own quality - in the dress of a single, unpretentious, uniquely beautiful miti. Vinikak, in his own way, wants a one-sided opening of the singing powers of the navkolishny light.

At the key of vyshukanosti of the finest ancient writings, Manet's still life with quits "Biliy Buzok Sklyaniy Vazi" (1882 or 1883 rik, Berlin - Dalem, Museum). Mane can easily and easily stick the plastic of the bouquet, the bottle and the depth of space with precise and small strokes of the brush and the great areas of pure color, and the light-colored middle is transferred to the vivid gradation and the vivid contrasts of the most subtle visuals of green. The still life is marvelously laconic, in a new and dumb, curious. Tilki gilka buzku and promin light. Mane viv in the painting of the sun. Bili grona kvitiv nemov reminded, like a vologo, sleepy light, like fluttering from the lower green days in the background of the picture. It looks like a glass of light and a glass, in which there is a glass. Wine similar to a crystal of noble and pure crystal.

Not so much a lot of artisans, whose mystery was mostly of the same, truly sleepy and wise, asserted life.

The new method superbly enlivened the painters, showing the tsil of light, visually appearing before the respect of the artists. The pictures of the young painters were inspired by the nebulae freshness of the spirit, they talked about their frontier brilliance, about the quivering, lively vision of nature.

At all the keys, write your canvases and Edgar Degas. Naybilsh means a part of the early Degas' work, making portraits. The stench comes from a high quality. In his creative work, one can find the development of the tendency of a side-by-side portrait. The portrait "Ladies with Chrysanthemums" can be used as a butt. (1865, New York, Metropolitan Museum). A large part of the picture is borrowed by a magnificent bouquet of barvy quotes. Fіgura sidit zhіnki vіdsunuta towards i nabagato skromnіshe given most colorful against zavdyaki wise kompozitsіynomu rіshennyu, mіzh her i bouquet chrysanthemums vstanovlyuєtsya svoєrіdne emotsіynu rіvnovagu at Money Does stink vzaєmno dopovnyuyut one of: Kvity nadayut poetichnu prinadnіst image zamislyuyutsya zhіnki, її w prisutnіst povіdomlyaє їh krasі especially nathnenn_st. Here the still life borrows a large part of the picture. The woman thought about it, and they caught it with a stringy kilim of pink and fluffy kits.

Degas is not only a clever painter and an admirable colorist, but a talented writer and a philosopher who can see in the skin creator of a great artist.

Claude Monet tackles everything that is hostile to everyone's eyes: a meadow, a little garden, a train station, an apartment, fruit on the table - everything is the same. All his pictures are about the sparing of the great artist.

Before us is this still life "Apple and grapes" (1880, Chicago, Institute of Arts). clever, seeing as at all the accuracy, it is absolutely special gift, which is the beginning of the talent of the painter.

Bila tablecloth gra all with blakitny. Glimmer the smooth springy sides of juicy apples. Pour the grape juice over the grapes and pour the grapes on the vitoneno wicker tarilts. Kilka prozorikh, poured with juice and light of grapes scattered on the tablecloth. Seeing that still life is not empty. Space around new flooring with bright lights and lights.

Monet's many still lifes have a contribution to the subject of that strength and dynamism, as they give him life, and he inspires them. In this picture, everything is alive to the stress of life, as it is not until now not to be able to grasp it, about how it is not to be found well.

When you look at the whole canvas, you see a flood, and if it’s shkoduush, then it’s not about those who cannot take in your hand the fruits and berries and see the stigly and tight, juiced sides.

On the view of Monet, it is easy to know canvases in the genre of still life in the works of Auguste Renoir. Oh, not even big, the stench is small behind the sizes and even more so in private rings.

Renoir loving quotes and writing great love... Perhaps, this is often the result of being victorious in his genre compositions, and in his still lifes. Early still life, de panuyut paintings, painted in pastel colors; That nd smoothly say, how the stench is carried to the impressionism. Ale the axis in front of us is a small still life "Anemoni" (1898, New York, Private Zbori). "There are also no pastel tones here. ale і їх form: one quit to stand upright, one - zignulsya, and the third - lowered their heads up to the table.

There is a canvas of vikonin in the same technique, as well as in all the pictures of the times. At the new level, all those new things that have been brought into painting are impressionism: goodness and light. Zhovto - a brown background to lie in a thin ball і nemov water is wrapped in a vase і vase, flashing lightness effect. І on a whole aphid with bright color panicles, the heads of the kits are half-dead. Stroke strokes create an effect on fire. Dark vase vrivnovazhuє bouquet. On top of the table, I get angry with the background, but the great expanse of one color does not overwhelm the composition. І only small, svitlovu plyam vkazuє the surface, on which to stand kviti. Grasses and color strokes create a unique naturalness and safety, like the presence of all Renoir's robots.

The first still life from a private book is "Fruits of the midi" (1881, New York). Fruit, as having represented Renoir on the whole canvas, the dumb are alive.

At that hour, if Renoir was painting the whole canvas, he often found himself with friends in Estak, de-vying with Cezanne and his robots. Renoir Bouv in capturing from the still lifes of Cezanne, vvvazav him immodest talent. The first still life by Renoir is clearly a fusion of Cezanne's paintings. Ale є і і ​​і і і і і і і і і і ї robots. Jakshcho Cezanne having set his compositions with decilkoh objects, then Renoir has twenty chotiri! І all good news: abundance of forms і farbs! All objects in the whole still life of Renoir are also decorative. Decorative dish in the shape of a sink stool. The composition of the Duzhe Malovnich: yaskravo - red pepper, violet eggplants with bright glimpses of light - it's like living in the area of ​​the whole picture. The light and dark sides of the composition are even clearer. It is dark - in the left upper side of the canvas and in the opposite direction of the light - mainly in the foreground and right-handed. Yaskravі with the beaches of chervonyi peppers will make you even more equilateral trikutnik. It is dark - violet and blaky, green and green for the other side. The whole composition will take advantage of two round, brightly red fruits of evil and occasionally enjoy two purple pomegranates with violet vidblisks - on the right. I have all the knowledge to see the inflow of Cezanne. All the nuances of the upper part of the composition are repeated in the folds of the tablecloth;

A miraculous still life in the first genre painting "Dreams of Veslyars" (1881, Washington, Fillips Gallery).

The whole picture is painted in a wondrously radiant noise. The light of the bay is all canvas, everything is in it - і joy, і clarity, і speculative summer day, and tremulous green growth of chacharnits, і stuffing with dishes, fruits and dancing style. Do not marvel at the great number of objects on the table, a still life for re-dressing, everything is in new harmony. Immediately, it appears that the picture was painted by a refreshed artist - an impressionist, a posteriori, not only to mention malovniche, but rather to rob the price with a great deal of sophistication. Tsey still life is rich in art and vinyatkovy gusto. Yak and the whole picture, a still life of adorable in the bagatokh in the relations: efficiency of vitality, gamma of vitonchen, hostility to one and only, light of miraculous generation. Still life of writings with great breadth, as all paintings of impressions appear. Charіvnі vіdtіnki bіlіy na sotsі. Lack of turbulence and clarity is not only in the articles of people, but in objects. Everyone's got a life, start having fun summer day... Objects come to life under the penzel of the artist. To crush sleepy blisks in bottles of wine, in the crystal facets of cells and the wine itself - thick and tart - permeated with sleepy light. Sunblisks are graying on tight sides, covered with sun, fruits and grapes, which were hand-crafted at a high vitonized vase. One golden bunch of grapes on a white tablecloth is scattered all over the slopes. Blakitnі tіnі, the dumb ones are alive, huddled in the folds of bіlіy tablecloths. Be amazed at the whole picture with a sleepy summer wound, see, and still life, and the whole picture of life and carelessness. Tsi young people on the terrace enjoy life, wonderful weather, ranked sun, wonderful snidank. "Smell happy" is the axis that falls on the skin's dummy, hto bach tsyu charivnu picture.

Renoir - an empressive - romantic, overpowering temperament. Everything in this picture has a sense of dynamism, and the exchange of light has its own trepidation. The transmission of hostility in the whole picture of the picture is imperceptible, as an unprecedented hostility from the rank freshness of the rye, because of the heat, like the warmth, the smell of the rye, to the great girl in the middle of the family ... and take it on our canvas for us.

The creativity of the impressionist still life is not given an important theme, as in the realist and Mane. Impressions have set their concept of still life, like bi mimokhid, transferring to the whole genre the principle of plein air by them in the field of landscape. Having seen and in still life an active ear deprived of light and twilight, the stench re-made the object in a simple nose of light reflections. To this, the object begins to use its own active power, the contours of it expand, the exchange and masa use up their material visibility. Speech-less light from one barvy-malovny side and reached the singing progress in the sparing and fixation of illumination in nature, the stench went away, nareshty, before that, but wasted and the remaining matte The whole dematerialization of the subject in the mystery of impressions became the first symptom of the fall of the Western European still life, I want the impressionism, with the cult of the sleepy light and vibrancy, with pure colors of fun palette, the genre

Impressionism of a nedovgo bv directly in Western European still life. Krim K. Monet and O. Renoir, two actors of the middle of the Impressions set the meaning of creation in the whole genre. Alekremi Maystri, including such great ones, yak P. Bonnard, inherited the butt of K. Monet in the XX century. The first reaction to the impressionist concept of the image of the subject light boule of Cezanne's still life.

Still life in a different genre, painting a landscape, in the works of Paul Cézanne. Robots on the cob of the 1870s, rocky, still awkward and awkward arrangement of objects, and in them you see something like the warmth that is about Chardin. Until the end of the period, the romantic mood "Still Life with Black Years" (1869 - 1870, Privatne zbori) was rendered romantic. In a new year, a sink, a vase, a cup, a lemon - Cezanne served as a motive for a still life, which is, by virtue of its strength, by simplicity, and by smut - by the dullness of form, infinitely, one of Cezanne's greatest successes. Obtain objects and carry symbolic associations, altogether the accent is shifted to the area of ​​constructive mood: here you see space, from both sides you can draw speeches, and at the same time, from the side of the picture, the area of ​​the picture is taken up.

The problem of space in the creativity of Cézanne Bula is great, more "to promote the impressionism of Bula, and nothing. it’s like a space, so it’s an hour. It would be necessary to go to the assault for an hour, as if Giotto pishov to storm the open space.

In 1873 he went to Auvers-sur-Oise Cézanne to paint still life until one Gachet. Dr. Gachet put fruit, glechik and kitchen, Italian faience, porous slope and all sorts of things in this order. Kvіti, selected for the new pani Gachet, the artist to put in the Delphic vases.

Cezanne is terrific, you fire up your bachelor's, you get a good deal of the farb, yake you give it to you. Until the end of the day, Cezanne - Pissaro's student - became truly an artist - an empress. However, by virtue of his natural schlichnosti, and perhaps it is, to be known and the name to the accuracy and order, Cezanne is very pleased with the simple transfer of "feud"; a new kind of need to "organizuvati" his canvas, put it on a string, rhythm, unity, to fill it with a rose. Impressionism, madly, insinuating Cezanne to everything, whoever, accept, is really important. And the smut - to the one that has a great meaning in painting. Ale in impressionism yak is a tendency to surface hostilities, yak to an artist, and yak vin big-mensh will surely get tired of it. Besides us, he may be guilty of saying his word. Impressions from the flood of poets are surrounded by those who, without a doubt, have all the freshness to see, in nature. Ale Cézanne is no longer important, let's say so simply, without some kind of zusill, we will come to the will of our sensitive mind. "An artist," says Vin, "is not guilty of conveying an emotsion, like a madly spirited bird, an artist to create svidomo."

Wonderful is the mystery of the painting! Spostering objects, Cezanne comes before the day, and the symmetry, as it is introduced into the image, is no more deception. As a matter of fact, as a report and respectfully vivchati the form, meanwhile, that side of the object, as hung from the side, as a bi-razbuhaє, to get better, to be knocked to see, in that hour I will go to the dark Z'yasovuє vin tse with a penzel in his hands. From yogo strokes of the boki vazi - "Blakitny vazi" (1885 - 1887 rock) - add proportion.

For a long time in the painting Cezanne was ahead of the era. Win rushed to the Maybut. It is maturely thought out and exactly prompted, the skin of Cezanne's robot is becoming dreamy, like an artist I have a sickly journey and trembling feelings.

"Lit with light in porcelain vases, spread out on white tablecloths, lay pears and apples, rough, rough, like not forged with a shovel of plaster and corrected with a great finger. Having entered the focal point, bach the fruit that is good for the store ", juices, stigli, appetizing. And here you will see those whom you haven’t mentioned until now: wondrous and at the same time, the real colors, the colors of the beaches are not matched by their credibility, the charming coarse ones in the folds of the wintry rose-colored tablecloths. Rovnyuchi tsi canvases with extravagant still lifes, vikonanimy in unattractive gray tones and on the inviolable aphids, and with special clarity see all the novelty. In a word, before us is a colorist - a provincial of the maybutny, who in a still larger world, nizh Mane, having developed an impressionism; "Winning the horizon of a new painting" - this is how the Parisian journalist "La Kravash" Huysmans wrote about Cézanne's still lifes in 1888.

Until the end of the 1880s, the still life "Peaches and pears" (Moscow, Museum of Alexander Pushkin) was rendered. Looking at you, seeing the inner tension of the picture. Here Cézanne himself asks his own lesson, arranges dishes, podsladaє drіbnі coins for fruit, schob nadati їm rіzniy nahil, choose a point of view.

A simple table with a hanging drawer of a figurine in still lifes dozens of times, a little leathery times it can serve as a maidan for an action.

Objects do not crap about the artist's private life, there are no associations in them, like in early robots. The power of їх and beauty is in the presentation of simple forms and pure colors. In a whole still life, there are servetka struma, winters on the table, and, leaning on the ruch, lie important pears, lightly healed a tart of peaches, and a tall milkman stood stiffly straight, put his nose into the top of the picture. The dynamism in a still life is bald on the one that can be seen on the other side of the table, the lower part of the wall with a wide blue smoky along the bottom. The space is flabby to the right, wrapped and wrapped around all objects that are flashed between them as the field is strained. It is easy to remember that in the picture you cannot grasp the rules of direct perspective, you will find a few points of view - this is how you didn’t get stuck in painting before Cezanne.

We have had a short period of imprisonment and have tried some of the weak sides of the current trend. Cezanne, turning the color of a stylish character, having seen the overwhelmingly nuanced color of impressions - the color, ordered by the image of light. The staff of Cézanne is familiar with the material subject in still life. Be-like the color of the beach in the artist's adult works, lie strictly behind the shape of the object, to indicate about it to the real color, the framing of the contour and the obsyag.

Impressions - the cues of the optical, superficial, and in the literal and figurative sense of the word, the conception of an object - they completely forgot about the idea of ​​the material substance of speeches, about their internal wickedness and structure. Have a pochuku cich yachts Cezanne trocha pereginaє club. Pragnennya turn the object of the wag, kistiak and obsyag to produce it before trying to harden the objects, like bi-cob shapes of objects, prototypes of some wines in the main simplest items of stereometry - coolers, cylinders, pyramids. Compositions of yo still lifes to recognize style and even classical timeliness, ale of light, seeing the laws of yogi art, seemingly letting the fair life be static. Thus, the one-sidedness of the imprisonment of the subject is only the shvidkoplinny moment of the uninterrupted, which is known for the calm ruin that Cezanne's extreme extremity - for the children of him at the moment of absolute, never broken down. In the works of the last period of Cezanne's creative work, the singing world shares some of its shortcomings - its composition is dynamic, emotional, driven earlier by the sense of nature to know more often of this particular one.

1.3. Russian still life of the XIX century.

Russian culture at the frontiers of the capital can be the best before the history of empathy. And Moscow, on the order of Paris and New York, the third place in the world, before the first light war, was shedding a part of the emphatic decline. It is the merit of the representatives of the two old merchant homelands - Shchukin and Morozov, who enriched our capital on the ear of the capital with unique collections of new French painting, from Monet to Picasso.

The creativity of the Russian realism in the middle and the other half of the 19th century still has a still life, which is, by some means, born. First and second only at the turn of the last and ninth century artistic manifestation light meaning.

A special interest to still life in Russian painting began to prokidatsya in the 80s of the last century. One of the main missions is to lay the robots here І. І. Levitan (1860 - 1900). The stench is not great for the size, modest for the idea. The robots of Levitan, in essence, are quite traditional: the bouquets were taken isolated from the open space of the room, on a neutral aphid. The zavdannya here is clear and simple: according to the possibility of greater flexibility to convey the unique beauty of the opposite nature. However, in the works of K.K.Korovin (1861 - 1939) and V.A.

The nature of the new tendencies can be visually significant, as the artist's pragmatic engaging in a still life - plot and malovnicho - with a navkolishn_m middle. "Dead nature" to wine in the open air, so on by the clock, before see the sky, to tie it with the landscape, or, navpaki, organically dance with the interior of the room. In still life, I want to show the image of a particular people, their way of life, and their mood.

One of Korovin's early canvases is beautifully illustrated with new trends. There is about the image of friendly fellowship at the dachas of the artist V. D. Polunov - "At the tea table" (1888, museum-sadiba V, D, Polunova). The picture was painted in the open air - on the terrace of the Zamisky booth. Sitting at the table is the artist's squad, instructing him to peacefully move the sister and sister of Polunov himself - offending the young talented artist. By means of painting, it conveyed the impression of a warm summer day, the belonging of an unimpressed friendship. The freshness is good enough to go around the sleepy greens, from young people, in the big world to turn into a still life - a species of worm-colored stiglich berries in the biley tariltsi, on the white-lily moth Internal, emotional unity, in which all the images in the picture are located, reach, first, for everything, purely picturesque solutions of the canvas. І figures of people, і the expanse of nature, і items and items of serving on the table - everything is written from the urahuvannya of this light-and-food middle-class, as you will leave. The greenery of the garden is permeated with the sun, a green light appears to denounce people. The samovar in the center of the table is covered with greens and golden blisks. M'yako vibrantly the crypt of flasks, which are visible and at the same time passing through the light. Lying lightly cold on a tablecloth, on a white, stylish blouse for a young woman; into your own charm, light, go to blouses, tablecloths, more visually, like light ones, like in pictures.

At the tsіy robotі Korovіn poklav a cob to a fake development of a still life. The artist's pragmatism is to expand the boundaries of a still life, it is less difficult to tie it with people, with navkolishnіm light, to bring up to the organic evil of the genre with a portrait, landscape, interior and side-by-side painting. The image of "dead nature" is here more meaningful, transformed into an active image. The first is not only typical for cob stages, but for the whole period of development of a still life from the end of the 19th to the cob of the 20th century. Especially the sounds of a still life with a landscape are quilted in the works of K. A. Korovin and E. Grabar.

І. E. Grabar is an artist not only of the first generation, but of the very first straight, not of K. Korovin, and even of that also insures that they are beautiful and typical representatives of the Russian impressionism.

Ale K. Korovina and Grabar can be unified, deprived of the widespread and enigmatic intelligence as a mystery of hostility, so bi-moving, optical recovery and interpretation of nature. Along with the zymnom to reclaim, there is a great difference in the most specific experience.

The creativity of the cich artists is very robust, as you can call it a still life in a clear view. Itself in all the new tendencies they knew their best twist: the still life became a defiance of the mood of the people;

Grabar's robots have a vision of their life. Zgaduyuchi his robots, Grabar rozpovidaє, how many of them bulo mayzhe tsilkom "pobachene" in a real bespoke situation, in the zamyskiy's mask of his friend the artist N.V. Meshcherin, they dearly loved the quit, and the dearest bouquets tsiliy rik... There were shoots of stems "Kviti and fruits on royali" (1904, Russian Museum), "Lilacs and forget-me-nots" (1904, Russian Museum). The stench craved, for the artist's own testimonies, for the insignificant compositing, for the sake of nature before that.

As it is allowed to judge the artwork, the same tsikava is one of the early robots of the group - the canvas "Rank tea" (1904, National Gallery, Rome). "It was amazingly summer, - the artist writes. - For rank tea, I stewed with a samovar, and nailed it to the booth of an ale of young lindens ... on a nearby kitchen, covered with a tablecloth, standing a pot-bellied small samovar in cups, cups, vials I’m tired of ... The whole style was flooded with sleepy bunnies, like grating on samovars, dishes, tablecloths, quits and ale's pie ". A similar theme is rooted in the painting "At the Samovar" (1905, State Tretyakov Gallery), the artist's painting at the Wislow, "half-life" speech. Here, Mabut, one of Meshcherin's niece is pictured, and she became Grabar's squad. The feeling of the warmth of the home and the quiet lull of the day is spreading to the smallest vugil in the samovar, soft, muffling the sparkle of the crystal. You can see the colder light of a dying day. The little girl quieted down for the hour, to be built, I keep quiet with all the unity, it has come. "I have occupied me with the head rank of a crystal in the evening time, if there are blakitny reflections everywhere," the artist wrote to a note.

Nowadays, there is a specific still-life workshops because of the open-air painting, which nominated, like new, in the Korovinsky canvas "At the tea table", to be seen in the "Delphinium" (1908, Russian Museum). A vase with high blue colors is painted on the garden tables under the trees. І vase і tablecloth - everything is in light-colored windows, in tints of glass birches, to taste the style. Characteristically, it is possible to wind a curtain in a closed curtain, a great canvas "untied style" (1907, Tretyakov Gallery) to be painted in a garden - so abundant in a new light and fortune.

One of the most significant still lifes of Grabar is "Chrysanthemum" (1905, State Tretyakov Gallery). Here, the internal unity of all objects, but the leading edge of the same mood and the same emotional camp, is displayed in the blink of an eye. At the center of the table, there are great bouquets of fluffy zhovtikh kvitiv. A sunny light, glorious in the room, which is filled with squares, relieving the objects of readability of forms and contours. Wine re-make porcelain and crystal on the table in bunches of blaky, greenery, biruse and lemon-zhovty vidblisks. In the clearing hut of lemon-chrysanthemum chrysanthemum vipprominuyuyut free light is being created. Lying on the tablecloth and crystals, I repeat the same light, lick it in the green glass of the window, on the crystal of the piano. Dense blue, even lilovy color of vase in contrast to the seemingly fresh light of special hospitality: it can be crushed in the unfinished facets of the crystal, angry because of the deep tone of the dark-toned day. It is foldable, inspired by contrasts and all the same, the same color of the symphony is necessary for a purely beat-by-word one, to create a bit of a banal motive of presenting sounds, firing it in a romantic tone.

The artist himself has brought his still life of the 1900s into the open for an immense impression. "Buzok and forget-me-nots" win by starting yak "pure-blooded impressionism". Same todі Grabar using Claude Monet's stingray method. "Chrysanthemum" in a wide variety of superb types. Collegiate analysis of the various light-and-food middle-class is close to the deyakim jokes of French painters directly. However, already in the "Chrysanthemum" one can see the pragmatic podolatility of the form, the instability, the "tanennya" color. The artist shukku vyhodu in the suborder of forms and farbicular decorative rhythm.

Even sooner than later, the end of the interconnectedness of the empressive method of stavati at Grabar's last. The artist staged a still life with a special analysis of the color, form, materiality of the object. About the price of robots "On a blue tablecloth", "On a blakitny v_zerunku" (offense 1907). Still life for the rock in the minds of the versatile and folding buildings, with the jokes of the new artists. Tse is not vipadkovo. All here is to talk about the closeness of the new stage in the development of the Russian still life. In the atmosphere of struggle for new artistic forms, which is imbued with the painting of the 1900s, still life is one of the provincial genres, the arena of creative experimentation.

Robots I. Grabar can be noted for decorativeness.

The picture of the image, consuming spaciousness, became, by the day, flat. The density of the painting with other strokes, as they look like they are drawn on the same area, the moments of decorativeness appear in K. Korovin's robots since 1900. But the decorativeness does not go beyond the boundaries of the impressionistic manner of his painting with a wide and dynamic brushstroke and the motives of the image of color beaches. The stench is deprived of intensification, the color will grow and we will strain. Allegedly decorative rice at the old Cow and at the Grabar saw the opinion of the various artists. Viyavlyak, Grabar's creativity is priceless, low-level impressionism. The impressionism of K. Korovin was a natural visitor from the "truth of the bachelor", this kind of emotionalism, which developed in the painting of the 80s-90s. Before the impressionistic decisions, they come independently, before the knowledge of the impressionism and post-impressionism. The first ones were the rounds of Grabar's creativity and his formation. Even at Ashba's school and on his first trips to Paris, I learned about impressionism and post-impressionism. As the creativity of Korovin developed into a larger world spontaneously, then the development of Grabar's creativity was overwhelmed by the previous rockets of modernity and the most popular memories. It didn’t let Grabar’s mystery, nor its national character, nor independence and originality, nor did it stimulate him in his jokes, but it did not stimulate him in his jokes, but it didn’t help him. new system painting.

Turn around to Korovin, then respect that the boy's method is also close to the impressionism of the world. Yogo still life of the 1900-1910-ies developed the same problematic as Malovnich, yaka Bula was staged in the 1880-ies in the painting "At the Tea Table". Chutta is the beauty of objective light - the axis, on the day, the zmist yogo robot. The joy of buttya is the їх axis Head topic... In the tradition of painting in the 1880s - 1890s, Korovin zblizhu still life with a landscape, combined with the principles of plein air painting.

One of the miraculous canvases of cich rockyv is "Troyandi and Fruits" (Kostromska Art Gallery). The whole horny-blakytny still life of vibuha penetrations through the open window with the sun. A beautiful decanter, "twisting" according to all the rules of impressionistic painting from some reflections. The perception of a large form is given here only with color, with smears of Farbi, which transmit the image of the sleepy light on the surface of the slope, which means reflexes, which are thrown with objects. The 1910s rocky (privately zibrannya, Kiev), images on the sea, on the tables, loaded with yaskravny berries on tarіltsi have come to the tsіy typical vikonany "Troyandi"; all objects are here to tell the witnesses, the sky can be seen above them. Korovin has a lot of robots. This stench was written in Krima, at the dachas in Gurzuf. They have a superbly overconventional conveyance of the impression of a warm drink, of sea vipariv, a bright dream, of all the atmosphere of the day. Much good, and at the same hour, typically in the most popular canvas "Troyandi" (1912, Omsk Museum of Creative Artists). Still life here organically reflects the landscape. On the table, covered with a white tablecloth, there is a majestic, sun-drenched bouquet of black and horny kits. Navkolo - a panorama of the Gurzuf bay, with the blue sea, a small pier, with figurines of people, with skeletons on the horizon. Visually, the initial moment of the virgin color is to serve the yaskraviy, the direct sleepy light, generously gulfs and coastal skels, the sea, and the great tight windows, throw three ten on the tablecloth. All the dikhaє I sing. Changing the sun yak bi z'ydayut the color of the subject, embarrassing everything with a loose haze. At the cikh exchanges, the skeletons are swollen with roaring - populous vidtinoks, the whitewashed-blisks are thrown on the peels of the quits, and the glass on the table is like a bunch of glimpses; I only in the glybin terasi, in the tin, thickening in the dark, warm toni.

Korovinskoe zhittaradisno - chuttєve sprynyattya svitu even more differently in the writing descho piznish robots "Ribi, wine and fruits" (1916, State Tretyakov Gallery). An oily blisk of luschi in the sound of dried ribs, whiskers, a glimmering tone of red wine in the dance, with a drop of gold and crooked reflexes, - everyone can see the biological aroma of a seaside little red wine with a simple, ale, very simple. All the different forms, colors and textures of objects are given by purely picturesque methods. V'yalena riba is painted on warm brownish-christian underpainting with vilny rhythmic strokes of farbs with cold gamy: horny, blakytny, bryuzovy, buzkovy. At the same time, the enemy is overflowing in the middle lusts. Tin from the dance of wine, which makes the space for the foreground objects more spacious, like bi and not one call: come out of color and stock up from golden views, like the people of sleepy prospect, passing through the edge. It is wonderful to harmonize with the golden red apples, rosy in the foreground. There is no way to see the joy of life, how to go through the canvas (as and from the artist's work), in the very manner of Cow, in good and easy. Vona artistically conveys something like a radish burial, like looking at the first moment at the first moment when looking at all the windows, flooded with a dream and permeated by the sea, or even a very large amount of ribs, penetrating the puppies of the dream. However, if the artist is not bald, the artist's smear is superbly accurate in the transmission of color, vidtink, tone.

The Іnshі emotsії wiklikayut still life, written in Paris: "Troandy and violets" (1912, Tretyakov Gallery) or "Carnations and violets in the biliy vazi" (1912, Tretyakov Gallery). The visibility of the serving, the bliss of the medium, the blissful red-and-violet colors, it is great to enjoy the casual lights of a new place. "Vuzol" of the colossal solution of the first still life - a thick cherry tone of Trojand, cold lilac violets in dark brown leaves and gold, bright orange, so you see warmly syaivo. Everything is covered with a warm, indistinct light, going from the edge of the room, from the front edge of the picture. And here Korovin already doesn’t get along with the transfer of a group of objects. Win pragmatically to open up that mood, like a wickedness in us looking at these objects, those associations, as we awaken the stench. Vin write here vogni for viknom not just as a dzherela light, ale pragnuti convey it to a frivolous, addictive tremor, as to talk about the romance of a great, three-talented place, about the romance of no-nonsense Paris. A spice of lilac, cherry-chervony and cold green echoes a great impression. The inert lights on the dining room are overwhelmed by the fancy high street lights behind the windows. The yaka is especially half-amused with orange beaches, just as far as the gazebo of a latent life, conveying the atmosphere of the evening in a distant, "alien" place. Come on in the most idea of ​​the picture is dumb great glibini, Emotional reconciliation of the disclosure of the idea is insane.

On the other hand, slid zrobiti zarezhenya. Not all of Korovin's robots, especially the 1910s, and so on. The doers of them lick the notes of saloonity, which is superficial. The freedom of your manners to sound like self-sufficient for an hour. Korovin's malovnichy method, which is cleverly possible, can be called empressive, bringing in still lifes of times of rock to vitality. However, in the offensive of the rock, the development of the still life as the genre went by the same paths. The same in robots Korovin is such a method in one giving to the sight, revealing its weak sides. Form for an hour zanadto razdrіbnyuyut, kolіr zgasav. Inodi, bazhayuchi podolati tsyu crisis, the artist fell into the line.

Those rosuminnya still life, as we know from Grabar and Korovin, is not exactly the same for the end of the XIX - the first years of the XX century. Rozkvit still life, a kind of instruction in the 1910s rock, spent an hour in shukannyy artists, often who are engaged in the cim genre in a special way. Some artists, who see the truth in the process of analysis, go deafly to realism, see what is in the past in the past. Among them, shukannya is transformed into experimentation, as self-purpose, and sometimes overgrowing in a kind of speculation on the relish of light, poorly prepared bourgeois publications, as well as fashionable displays.

The poses of the new in still life boules are superbly rіznomanіtnі.

Russian artists of the first half of the 19th century, in their own way, performed the art of still life in front of them. Dignity is alive, the image, I respect everything, I will bend the life of nature, meaning beautiful create tієї pori.

Introduced into the still life of Russian artists, by the way, as the stench came to their factory in a fashionable way, and it was obvious to see in the character of the image of these objects.

1.4. Kriza still life on the cob XX century.

Western European art of the other half of the 19th century inevitably went along the path of specialization, the emergence and vision of the efforts of the artists' works from the worst, most hospitable boys and girls problems. Such maestri, like Cezanne or Matisse, were able to tell about the speeches, did not show all the power of the nature of the peculiarities, but they didn’t rob one of the possible aspects, in addition to ordering their tvir, according to the interconnected imagery systems.

Impressiveness, in their creative method, follow the mittєvostі of healthy sleep and self-sufficiency of the light-airy meanness, the minuteness of the barvy by one and the cunning spaciousness, were perceived through the flesh of the voices of speech Post-impressions, which appeared in the end of the 19th century, were enchanted by the painting of impressions, turned the material and the subject matter. Tse can be done in still lifes by Paul Cézanne and Anri Matissa.

However, talking about the mystery of the end of the XIX - the ear of the XX century, the visibility of the glories of the outstanding creatures, who are open in the whole hour, it is impossible not to bachiti, as the genre of still life has spread out the share of mystery and culture of the era. So it rose in blood and harmoniously in the 17th and 18th centuries, like having taken a number of tsikavi and new straightforward in the middle of the 19th century, at the turn of our capital still life adding the specificity of quiet tendencies, which are in the meanings of all painting for the whole painting. Having seen from the image, the artists spent an hour at a time whispering and in still life not the whole thing about the life of the subject matter - the stench passed on to the other side, isolating and re-transforming it into self-sufficiency.

Ale, if in the works of art, unimportant to the interconnection of the very approach to the image of nature, the unity of the artistic image has not yet been destroyed, but the action was not created, then the further development of the trend in the future inevitably led to Painting ceased to be alive in the sight of light. The contrived, clever design replaced the color and trembling mystery of the still life. In the middle of the 20th century, the process of spreading the artistic image in the work of a number of artists inoculated in various forms to direct visualization and visualization, to formalism and abstraction.

In the end of the 19th century in still life there is a crisis of Western European realist traditions. In the works of Gauguin, it was evident to himself with the greatest strength. The creativity of Cézanne and Van Gogh is developing entirely in the mainstream of the Western European art, as Van Gogh and Victorious in some kind of Japanese style in his still lifes with a "shifted perspective".

The 19th century was overflowing with super-verbose recession, a little bit of mystery of the XX century lay not only from the recession, but from the recession. Mistresses of the Impressions, Cézanne, Van Gogh, and Gauguin have an order of formalistic jokes, with a significant positive response to those still life. However, the decline is decrepit, so the bourgeois form of the 19th century is being developed in the modern era of imperialism through the cult of indivisualism, hedonistic economic capitalism Vono spawned and drained their mystery: Cezanne shattered the successor of cubists, from Van Gogh - the spiritual father of the expressive, and from Gauguin - the forerunner of fovist and symbolism. Within the framework of the cycle of flows and the growing still life on the cob of the XX century.

At their head rice, a still life of the XX century developed in a straight line of the last list of impressions. And the truth is that, far from all the Maystri hours have become magical in the way of reaching empressism. Among the number of non-bogus, first for everything, after the name of P. Bonnard, the creativity of every hour of the 1900s can be seen as the final phase of the emphatic backyard of objective light. The French painter J. d. Espanya was standing on even closest to the new positions.

However, the line of development of Western European still life did not seem to be similar to that one, like mav impressionism. P. Bonnard is evolving in his own creativity in a bik fovizmu, however, so and do not come close to him without precedence. J. d "Espen wants to be shocked by purely decorative effects, in the art of A. Savereys he gives himself nobility, who often wants to call, injecting expressiveness, and P. Marussig should not know in still-life the essence of visibility. The birth of F. de Pizis's experiment of boulevard, which, in his images of the cinema calls, has taken lessons of French impressionism from the national Venetian traditions of the quit genre of the 18th century. national traditions z'yavlyayutsya in Western European still life deprived of artists of the offensive generation, who knew in their own strength, turn on the path of realistic majsternosti.

1.5. History of development to still life

“Still life” is a French word literally means “nature is dead”. For the Dutch poznachennya genre to sound like a stilleven tobto "Quiet life", at a glance, the artists and artists are very different in this genre, but also the strength of tradition is also the power of the tradition itself.

Still life is an independent genre, the wine of Flanders and Holland at the turn of the 16th and 17th centuries, quickly reaching the supreme level of sophistication in the transmission of the development of material subjects.

The process of becoming a still life is the same type

at Bagatiokh Krajinah Western Europe.

During the development of Mali's history, reconsideration. Skin stolittya visuvav their maystrіv still life. In his creation, the artistic ideals of the hour, the freedom and the versatility of the plastic forces, the power of those, and the indivisibility of the painters, were involved.

The formation of still life in the Netherlands was marked by two stages, for the first time there is a lack of self-image in the image of the imaginative area of ​​the picture, for the first time there are accessories of the sides on the faces.

By the next stage of the formation of the genre of still life, do it, in which still life and religion the theme was remembered in fantasies. The imaging of inanimate objects appeared as a part of an active one in the process of all-round revelation of people real light, Yogo artistic comprehension.

The retarded development of the winners from Flanders and the history of the Flemish still life. The era of its development was tied with the names of the most famous artists of Flanders, who went into the history of the imaginative art of Western Europe: Frans Snyders and the first student of Jan Feith.

Іnsha school is forced to still life from the house under the name "Dutch still life".

The spirituality of the historical people of Holland and Flanders and only one of the past are the arts, from which both schools and schools drew on the art of painting, gave rise to a lot of spilny rice from their painting.

The most promising and progressive view of the Dutch still life in the genre "snidankiv" vinik in Kharl'ma.

In the genre of still life (by the authors of the cikh creations of the boules, the Harlem painters Zoik Klas Heda and Peter Klas), they created a special type of democratic Dutch version of "snidankiv". " dyovyi persons"The number of still lifes has become innumerable, as a rule, even more modest for their zvnіshnіm viglyad objects and haunted home pobut.

even important to our achievements Harlem Mysteries "snidankiv" boolean visualization of the role of light-witted middle-class and a single tone of color as the most important in the transmission of a rich design of textured qualities of speeches and, in one hour, the appearance of light-heartedness.

On the other hand, democratization of the genre of still life is not much of an extension to the type of "kitchen still life", like in Flanders and in Holland. Especially in the image of objects, there is a great respect for the spacious characteristics of the middle.

In the end of the 17th century, in the Dutch still life, decorative tendencies are reversed.

Hand in hand with a still life of Holland and Flanders A nice still life of the 17th century is occupied by another row. successes of Nimetsky still life XVII stolittya tightly tied with a happy Dutch mystery. In the Nimetsian still life of the 17th century, they were made more important, they did not stick two straight lines: naturalistic and decorative.

Still life in Italian painting was unintentionally rich and more bloody than Nimetsky, if not to reach the power of the Flemish one, nor the richness and glibine of the Dutch.

New tense posture of still life in Italy given by Caravaggio. Vin buv is one of the first great maestros, which has turned to the genre of pure still life and has created a monumental, plastic image of “dead nature”.

The Italian still life of the 17th century was developed by a powerful way and, as a result, added a number of qualities, which make it visible in the middle of the national schools.

The Spanish still life of the authorities has been given the rigor and especially the significance of the image of the speeches, which was especially clearly manifested in the creativity of the Spanish mayor F. Zurbaran.

Since the end of the 17th century, the French still life has overcome the decorative tendencies of the court painting. The pinnacle of the French and Western European still life of the 17th century was the creativity of Zh.B.S. Chardin. This is due to the rigor and freedom of composition, the subtlety of coloristic solutions.

A trifle more gave respect to the still life of romance. Romanticism did not dissolve the original meaningful concept of still life. The head object of the romantic still life boules quit and mislivsky trophies.

In the 17th century, still life began to carry mainstream painting, they started painting in various genres and dragged still life into the struggle of natural glances and artistic ideas. So, for example, the French realist Gustave Courbet, having formulated a new concept, visualized an unprecedented relationship to a still life with nature, turned its life force, juice and clay.

Impressions set their composition to still life, transferring the principle of plein air to the whole genre, breaking them apart in the field of landscape. visiting

still lifes deprived of light and twilight, the stench re-made objects in a simple nose of light-twisting reflexes.

A new way of still lifes of dressing up with the appearance of post-impressionism, for some speeches of light, one of the main themes, which is characteristic of the works of P. Cezanne and Van Gogh.

On the ear of the 20th century, still life has become a creative laboratory painting of its own. Franzia mayor of phomism A. Matiss and іn. Go along the path of the sharpened appearance of emotional, decorative and expressive possibilities of color and texture, and representatives of cubism J. Schlyub, P. Pikasso and іn.

ways of transferring space and form. Still life screwed up and maistriv

any leaks.

In the Russian mystery, a still life appeared in the 17th century at once from the hardened art of painting, depicting the cognitive pathos of the era and pragmatic truthfully and accurately conveying the subject light. The inscribed and illusory nature of these still lifes was given to the artist by the name of "trompe l'oeil".

The development of the Russian still life, which lasted a significant hour, was epizodic in nature.

Yoho deyakiy from the first half of the 19th century, which was marked by such names as F.P. Tolstoy, A.G. Venetsianov, I. T. Khrutsky, dressing with bazhannyam poachiti is beautiful in small and everyday.

In the other half of the 19th century, still life began to gain its own sense of strength, however, a collection of only in the plot lines of the composition of P. Fedotov, V. Petrov, V. Makovsky, V. Polunov and the other painters of democratic directing. Still life in genre paintings of the tsiy kola by the authors of the curtain and the socially straightforwardness of their creations,

characterizing the hour.

Self-adjustment to still life-etude of growth at the turn of the XIX and XX centuries in the robots of M. A. Vrubel and V. Borisov-Masutov. Rozkvit of the Russian still life of an attack on the ear of the XX century. The art is characterized by jokes in the area of ​​color, form, spacious motivation. The practicality of expanding the possibilities of imaginative movement and the sponking of artists to turn to the traditions of old Russian and folk art, Kulturі Descent, classic decline Entry, until the bitter French painting.

Impressive robots KA Korovina, І. E. Grabar; precisely to play on the historico-whimsical character of speeches created by the artists in "The Light of the Mistresses" by A. Ya. Golovin and іnshikh; gostro decorative P. V. Kuzn'tsov, N. N. Sapunov, S. Yu. Sudeikin, M. S, Sar'yan and the other painters of the stake "Black Troyandi"; yaskravі, permeated with the still life of the still-life of the maestri "Jack of Diamonds" by P.P. Konchalovsky, I. І. Mashkov, A. V. Kuprina, R. R. Falk, A. V. Lentulova and іnshikh.

In 1920-1930s rock still life includes and philosophical comprehension of amusement in KS Petrov-Vodkin's works of fire, composition-wise. The stench is awakened by the freedom of color and promising. Objects are written in them not from the same point of view, but from decilkoh. More priyom, encourage the space to expand imaginatively artist, in addition to transferring the form and obsyag of objects and more accurate display of them together on the area.

great misce still life borrowed from the creativity of Yu. I Pimenov. The subject in his still lifes of affection for the great emotional variety.

The idea of ​​new themes, images and artistic primes, a Russian still life on the cob of the 20th century. Nicholas had not previously taken the wine of such a prominent place in the history of Russian painting.

Still life, as it is possible to say, judged articles for the artistes of art, the same for the Russian painting on the cob of the XX century of the clever laboratory of ideas of the new painting move. Ale, wickedly, it’s changing and in general, in its own way, it’s not just the title of formal painting, but it’s the method, the principle of the figurative system.

Still life for hours with goiters' tied to over-widespread expansion between this kind of creative genre. human specialty of this folding era to open up in a new arc in a wide range of ways. In the whole still-life of gazes, it is not only the specifics of that living way of life, but the unique rice, which is imperiously singing individuality. The glibinous day of the appearance of the light is now more full.

The understanding of the beautiful in still life has become rіznomanіtnіshe; an artist to lay down a wealth of forms and farbs there, before not knowing anything primitive. Immeasurably expanding the number of appearances to know their images in still life.

Chapter 2. Peculiarities, paths and a different genre

2.1. Still life yak genre painting

Order s let's play the genre still life for the last hour, having entered a different kind of painting, in which it is uncomfortable to see the great huge ideas, civil garbage. Surely, a lot of things that are so imperious for the creators of the historical, battle and those genres, is not available to still life. However, the great Maystri brought them, so that speech can characterize socially, І way of life of the master, giving rise to such ways, developmental associations and social analogies.

Still life as a genre of painting can be called creative laboratory painting, fragments of wine and stock and touchstone of easel painting. At the newest, the plastic and coloristic possibilities of painting are as much as possible, and the special features of his mission appear.

Tsey genre maє bagato functional features, Inodі yogo call painting chamber music. Yogo victorious as the first production, the first stage of vivchennya nature in the period of scholarship. A professional artist is not so easy to get involved in a still life, yak to a boy's sketch from nature. Still life, as not one of the genres of painting, is a characteristic of the style of possibilities for occupying with formal malovnik jokes. Vіn can also become an independent picture, in its own way, I open up the theme of mystery - the theme of buttya people. Such is the range of functions of the still life genre and to rob the painting of inanimate objects in the sphere of the trick not only of forms and wickedness, but of the trick of the artist's special glance at the artist’s new mind, mind and vision of life, the twisting of his style.

The joy of a bezpolkuvannya spіlkuvannya from nature, alive dzherelo imaginative mystery, in the robot above a still life nabuva special zmіstu. "Still life - one s gostrich besid painting from nature". Robots over a still life do not want the artist to think of it as a wicked painting, a lot of beauty, a lot of beauty, a lot of beauty, a little bit of a little boy, and lie in a still life of a beauty and a lot of goodness in a variety of ways, a pleasant image of a quiet image The comprehension of simple objects is a piece of reality to rob such a monstrous genre of painting. 7

2.2. Features of the opposite genre

The light of speeches in still life depends on the cry of criticism about active freedom, unrepeatable quality, beauty. At the same time, start a human svit, how the thought and the mind bends, put before the life of the people of the singing society.8

Who has a glimpse of the genre of all? How can you paint images of inanimate speeches?

For the sake of portrait painting, I can only do it with people, for a landscape that depicts nature and architecture, still life can be summed up from the Russian speeches of home and special life of people, elements roslinniy svitu, The creator of the imaginative art and the richness of the art.

Still life is more nizh be-a kind of genre from the verbal descriptions; still life of treasure respectfully marvel at, look out, porinati in nyogo, so how can you touch the painter's power, you can only touch it with beauty, strength, clay - only so touch the honorable serpent be-like a picture, її image. 10

In still life, painting turns to the light of inanimate speeches, to see the richness of the new life.

Still life is inspired by special principles and principles of composition with all the visibility of historical and individual forms of this genre in different stages of its development. Objects here take a close look, so you can look at it as it is, evaluate it in the first place, it’s hard material, the plasticity of the forms, the relief and texture of the middle, the details, and also in the middle. The scale of composition in the still life of orinting beckon to the size of the room, little speech, there is great interest in still life in the context of the other genres. At the same time, the very form of a still life is gliboko і multi-layered, polysyllabic, zmіstovna: the structure of the still life, staging, vibe, point of view, camp, character of interpretation, elements of tradition and іn.

In a still life, the artist does not just depict an object, but through his visualization of action, he is visceral and natural.

It is possible to deprive them of dodatie before, but the subject is a tsemov, as the artist speaks, and is guilty of volodya tsієyu my own thoroughly.

As an independent genre of mystery still life, it is strongly infused with the glance, the reflections of the victories and the association of the ideas and thoughts before the hour of taking in inanimate objects, for which people of singing characters, glimpses, young ages, etc. are to swing around.

Infused with a still life to lay down a perspiration for everything, both verily and correctly opened by those, as well as the peculiarities of the creative individuality of that artist.

Still life, which is a kind of non-middle genre of dressing from spouses to images, to the latest singing imaginative work.

Regardless of all the versatility, the greatness of the number of forms, the imaginative still life will become a "malim genre", albeit the same and the most valuable, for that it’s a beast of painting, for everything to itself and to its own values ​​and problems.

2.3. Model vikonannya still life

Looking at the genre of still life, it is possible to take note of it, but to be guided by its own principles. Still life becomes a master of painting, as an artist to create a plot, special features of the composition of the form, color scale, as the only plasticity of the manifestation.

In the context of a thematic picture or a landscape, in a creative still life, the artist is more able to arrange the composites of objects, as it is possible, if necessary, to remember with mice, put them over, viluchiti, nareshti, change to the stage. The whole composition of the robot is taken to feed the still life in the boundaries of the painting area. Due to the nature of the still-life group - the height and width, the breadth of space, the degree of contrast of objects for the size and color, the format and size of the area, placed in the composition center, are known the tonal and the number of things , proportional differences.

In the organization of the composition, there are different types of rhythms - lines, tones, colors. Contrast plays a special role. Vidіlyayuchi tі chi іnshі pictures of the image, the stink of rocking іkh more vіdlіsh, then fading. Tvir, prompted on the last few laps of light, and without singing to accentuate the glance of the “sleepers” without singers, to be one-of-a-kind, monotonous, merging the boyish variety. To sound sharp contrasts (scale, tones) create a spur, dynamism. On the opposite side of the symmetry, the dynamic image will be on the richest ruins in the center of the composition from the axis of the picture area. In cich vipadkah, the rhythms are straightened to the achievement of the healthy rivnovagi mas.

The rhythm of the image organizing. Insertions in the structural basis of a still life, a green frame, like a kernel for our healthy spirits. Visually, one of the elements of the world with the others is visible, I see the heads of them and I respect them. However, do not be-like the repetition of the rhythm required in the composition of still life. Zayve persistently piled up rhythms to speed up the composition, to beat it dry and small. At the connection with the cims there is a unique way of arranging objects. Looks can not be spoken to a corpse, as light objects (or by play) through one will be dark. So cherguvannya to bring the stringiness and disharmony into the backward tones. It should be borne up to any special reason. Requirements for harmoniously organizing rhythm, robustness, go from one element to the next.

To the subtle jokes, the format is rendered the size of the large masses of evil and on the right, above and below, from the group of objects. Take a look at the main pear on a different plane, at which the size of the image will quickly speed up, the perspective will appear, moving from the foreground to the depth of the picture area.

In the presence of a significant number of vіlkosti vіlnogo mіstsya s tієї chi іnshoi side and the format, message, healthy and compositional center appear strongly shifting in the opposite direction. In some vipads, the still life of the viglyad will be re-tangled in that part, the main mass will be de-roasted, and the composition will be ruined by themselves.

The light of speeches in a still life is based on the cry of curiosity about active freedom, unrepeatable quality, beauty. At the same time, start a human svit, how to represent the thoughts and thoughts, and put them to life. Subjects are a tsemov, as the artist speaks, and is guilty of my own will. In a bunch of green painting, life is growing, in a sea shell there is a majesty of nature, in a kitchenware - the joy of everyday life, in a modest piece - a whole life.

Still life - "not only an artist's work", but a svitoglyad goal. The light of speeches is a whole human light, of creation, formation and habitation of a human being. Try and rob still life with all the zest of modesty of this motive, a genre that is very wicked.

The subject is popped, filled with the warmth of a spilkuvannya with people,

allow you to touch your life more tangibly and intimate, not

mozhlivo in a razgornuyu plot picture. Speech in painting, do not wait

portentously, to play in a "hard" specially assigned genre

still life Vony revive and zapovnyuet rooms in Malovnichi

images of inter'ariv, I do not change my role, not people in

genre and historical scenes, nareshty, the stench superfluous

people in portraits.

Show speeches in, at close sight, zmusiti into them - in the whole pathos of a still life.

2.4. Ob'єkti, images in still life

Still life is a price for all objects, which are organized thematically, tied with a meaningful wizard and carry in their own singing idea.

It is possible to divide into two great groups: natural objects (kits, fruits, їzha, riba, game, etc.) and speeches, crushed by the hands of people.

The peculiarities of natural objects in still life are the lack of confidence. As a rule, the stench is admitted to the natural light (I want to boom and vinyatka). Virvani from the natural environment, the stench of being prone to shvidku bend, quit wither, the fruit rot, the game is pissed. To that, one of the functions of the genre is to give immaculateness to the minty, to keep the beauty unstoppable, goodbye to the hour, to grow tlinne vichnym.

Tse nada still life philosophy and glybin, depending on the glance.

Items that are made by people, as a rule, are broken from pre-religious materials: metal, wood, ceramics, stone, the stench is visibly stable, and the forms are stiff.

Vidmіnnіst of the readings of speeches from the natural objects of the field in this zmіstovny bіk, like the stench of playing in still life. The stench in a significantly greater degree is to serve as a characteristic of people and their performance, to bring social zmist into the still life, and yes, in a new place, there is a lot of work and creativity.

With all the visibility of natural and piece objects, it stinks zagalny rice, Scho allow organically to combine objects in still life. Both, and in part, in part, it is certainly not great for the sizes, it is harmonious to come together one for one (vases and kits, grasses and fruits). Smolder well, scho ob'єnuvati їkh - pouring into the ludin.

The great versatility of the light of speeches is infinitely widening of the versatility of still life.

It is possible to introduce elements of other genres into new images of paintings, engravings, and paintings: portraits, landscapes and interior - create new free spaces, meanings and decorative images.

Still life is also often found in images of drawings (on pidnos, cups), other sculptures (busts, statues; bas-reliefs, drawing on vases) and іnshe.

Bagati malovnichi, spaciousness and changeable efficiency give the image of the mirror.

Krim by-word in speeches є this is the name of the sign day. The particularity is even more important, as without urahuvannya it is hard to see the still life and its power.

When open, those need to create symbolic meaning of objects, roslin, so, insanely, pouring into the character of a still life, which can be lyrical, intimate, clean, etc.

2.5. The purity of figurative spraying in composition

"Bachiti, nobility and vmiti - there are three stages of knowledge of the new world: from

bezposredsnogo caution - gallantry and all the way to practice ".12

I think, nibi composition - as the area of ​​great creativity is isolated, it’s just by itself, but the robot above it doesn’t look like it’s natural, and it’s worthwhile to fix the development of healthiness, it’s artistically composure. The present about the maybutt TV is quite rich in what to lay down from that which is mentioned in nature, which has gone into it. It’s necessary to get rid of the enemy. Do not picture everything that you eat in the field, do not be carried to nature passively, mechanically visible.

In robots from nature, most of the time, as they are inscribed in the frame, can be seen in the first place, but one stroke is done on the arch. Vibir motive, the first dear hostile way of life in one's own, for the heart of someone to tackle the robot, and guilty of being seen at once, vibrating point of view, given to the horizon, established to the format - all a creative act.

In the process of seeing and improving the grain of the composition and thinking in the broadest sense. It is said that I will be without a doubt about the practical side, starting from the idea of ​​the production. To lighten the selection of the composition in one vikoristovuyut vidoshukach, to be small, right up to the size of the sirnikovy box, a frame, in how to marvel at the image of the canopy in such a rank that the composition is known and needless to transfer only leaves to the canvas.

Інshi підхід: a lot of time to try to fix those, which are in memory, from the initial method, two or three beaches, the very essence of that, which was destroyed, was done by the hostility under the guarded nature. Here it is varto persh for all the covetousness of the image as conceived by the idea.

The composition is guilty not only in the basis of the cob of robots, but in the general development and in fullness. Do not expect to find yourself in that material, in which the head's health is transferred. Some of the first ones are located in the head office. Some of the first signs are created with a line and stroke. There is a lack of one linear solution for the previous compositional handwriting. Demanding volodymy rozvinenny, yavoyu, on the basis of eskizu transfer a coloristic way.

Self-directed still-life staging takes the development of compositional targeting and the development of compositions on the basis of vividly presented objects. At the same time, the objects that are torn apart should be pragmatic for the most relfno sound of similar forms. І clearly consistently right in the unequal connection of the image with the format.

It’s simple and at the same time it’s expensive to carry the ear of corn until the end of the first day of seeing nature. If, when you take care of the good creations, the mystery will start to swallow the enmity.

Mi miluєmosya beauty artistic contributions, Pass zm_st, do not nagayuchis on the cob p_znati tamnitsyu їkh injected. If, at a closer look, it is necessary to fix the compositional well-being and integrity of the figurative harmony.

I will think about the axis of integrity, if I say not to see, not to give, with all the indications of the artist's handwriting and common sense.

Shown to the positive inflow of short-time malunks, etudes, if, with an interconnected hour of need, do not fit with the eye in one object, you can gradually change the main image forms; having hunted їх and іtochenya with one glance. It is a first-class, necessary quality - a sense of the whole appearance is not only the tvir of imaginative art, but that characterizes a lofty idea, be it a musical or a poetical tvir, an architectural ensemble. Evolving, healthily take nature into the stem of one idea of ​​the composition. 13

2.6. Compositional features of still life

The peculiarities of images in still life, convey through inanimate objects rice and characterize people, hour and the main compositional creativity of the artist in a whole genre.

A still life like this is not really sensible, it’s just to come up with, fold, compose, specially, for that, we’ll be imaged. At the same time, it is not respectful that there can be a whole life as a mother.

The whole composition of the robot is taken to feed the still life in the boundaries of the painting area. Due to the nature of the still-life group of height and width, the proportion of space, the degree of contrast of objects by size and color, the format and size of the area starts, the composition center is supposed to be tonal and the amount of composure to be done optimally, vidnosin.

In the organization of the composition, vikoristovuyut different types of rhythms - lines, tones, colors. Contrast plays a special role. Vidіlyayuchi tі chi іnshі pictures of the image, the stink of rocking іkh more vіdlіsh, then fading. Tvir, prompted on ї or pryavannyh kolyvannya lights and tіnі without singers, which accentuate the glance of "sleepers", to be created monotonous, monotonous, merging the little boy variety. Risky to sound contrasts to create a spur, dynamism, in opposition to symmetry, dynamic images will be on the small ruins of the center until the composition to the axis of the picture area. In cich vipadkah, the rhythms are straightened to the achievement of the healthy rivnovagi mas.

The rhythm of the image organizing. Insertions in the structural basis of a still life, a green frame, like a keru to our spirits. Visually, one of the elements of the image is displayed with them, I see the heads of them, and I respect them.

The food format in its basis lies in my mind, and in my own mind, I have the character of the ugrupovannya objects, її proportions.

To the subtle joke of the format, the size of the large masses of evil and on the right, at the bottom of the group of objects, is reported. The idea in still life indicates the nature of the space in the still life. The tse is tied with the peculiarities of the color fret. The nature of the spacious dressing solution is also from a number of very good motives of zliv right-handed.

As a rule, in still life, the main group of objects may be located in their own arrangement on a different spacious plan, where there is a compositional center of the plot. Methods of completing, interconnecting the composition of a group of objects with a format є rhythmically changing the picture area, marking the beaches, pauses, the temporal importance of the picture area due to the contrast of the compositional composition, the tonality of the compositional center

So the very effective composition of the composition in still life, based on the idea, so with the robotic nature of the setting, it is necessary to lay down the need for development of the future and the peculiarities of the promising motivation. A good idea of ​​the staging gives the artist the opportunity to create the most beautiful variation of the compositional solution, which carries in itself the novelty of a natural way of thinking about objects.

A picture area can be seen as a decorative composition, it is necessary to preserve the enemy area, and the main role is played. In general, it is necessary to have respect for the character of the color decision, for the power of this emotional infusion.

An important role in the mainstream of the integral composition of the still life is the reduction of the color solution in the robot to the coloristic unity, like looking for painting. Coloring the composition of still life can be found in a warm or cold camp.

2.7 Color in painting

Painting was mastered by light, you can write the color of light, pivsvit, fog, povitrya, tini, pivtini ... 14

Kolir is the soul of painting, without the color of painting is not a dream. Chi does not take color, it is not known at all, according to the essence given to the creator. The axis of what would be a monochromatic reproduction of the picture takes away from her mainly, but from her point of view, from the point of view of the difference. Kolir is the life of painting.

The important function of the color in painting is to bring it to the border, as it is sensitive to the reliability of the image, as well as to the sense of the word and the emoticon to the variety of production. 15

Understanding the color is not randomly tied with the name of the light. V artistic performance Accept vuzka viznachennya light as energetic viprominuvannya to see visually. Color is a part of the light viprominuvannya, taken by our eye without the middle from the dzherel, for when it is seen from the surface. The color of the surface is covered with a glimpse of light, and because of the fact that a part of the light energy is seen from the surface.

The surface, where all the interchanges of light are built, are distributed on all sides - white, the surface of the clay is practically all the interchange - black, the surface of the part of the light energy and the clay is steel - kolorov.

Kolir has a number of characteristics, such as yak tone, svitlina, strength. The color can be seen and not the color of the impression, for example, freshness, lightness, coolness and flavor. These are the psychological characteristics of the color:

1. Characteristics by physical analogies (warm - cold, light - important, close - visible, etc.) 16

2. Characteristics of flowing onto the nervous system (active-passive, pidbad'orlivi - exhausting, zaspokilivi - zbudzhuyuchi).

3. Characteristics of the emotional mood (svyatkovi - everyday, cheerful - sumny, spokіynі - unsettled, etc.).

Create picturesque scenes, and convey effectively the illumination, reflections, visuals. Ale is not less important for receiving pictures from a farbi. One accepts that they allow the sounding of farbs to be hardened by those who are straining, scattering, and also to adjust the color of a smear without any nuances. For this purpose, it will be more common to spread the whole area of ​​color by using different methods.

All the changes in the colors of the order one by one on top of one one are described by the law of additional quotations and adhere to the rules of subtractive and additive change.

The knowledge of how to pick up the scientific and theoretical foundations of color knowledge in the organization of pictorial art, gives painting the ability to scientifically grunt the creative minds of young people, and it is obvious to know the ways to find them.

Alone alone, I don't know how to succeed. Tilki practical, zmіshuyuchi іzni colori, vivchauchi їх behavior at the same time, we can get familiar with all these properties. 17

All the different colors of the creature are ordered by the artist's idea and the zeal color. The baggage of the color, which is promoted in action, the artist is in harmony with the whole. The same color of the picture is called color.

The color is virіshuє the first enemy, yake the picture is correct; in the fallowness of the gaze, you go through the gallery or pass by. Shcheb z the first look zrobiti Most hostile, It is required to unicatize all the odd or piecemeal effects, the simplicity and simplicity of guilty of panuvati over our cheese. Tsomu duzhe spriy the breadth of the same and pure farbs. The enemy's magnitude can be reached by two protolezhny paths. One is to increase the size of the size to one light. Інshiy - give the farbi even clearly and intensively, but in both cases - the basic principle is to be lacking in simplicity. If you want it is possible to see, how vyshukana harmony to color, step transition of some tones in іnshі means for something like vizukana harmony in music for hearing.

The color of the paintings can be seen in the vivid colors of the coloru. So razrіznyayut rusky flavor, flavor, vitriol in blakitny, golden and інshih hues. Here, for the sake of color, you can flaunt on those who create all colors and create similar views, or one and the same output.

The same coloring of the picture can be twisted in quits close to one to one or contrasts. About the coloration it seems to be also 100% versatile in color, known by the artist. Here, I will rightfully use the terms "coloristic richness" and "common color".

In such a rank, understanding the color in oneself all the pictures in the picture for a few and versatile views, for the strength and intensity of the color, for the harmony of the day, etc.

The development of the artists for the revival of the development of the vikoristovuvaluated their flavor. The color of the creation is to lie in the mind of the picture, because of the fact that the artist seems to want to see it. Color, on vidminu from zmistu,

it is not learned, but it is too hard. 18

Knowing how to vikoristovuyutsya the scientific and theoretical foundations of color knowledge in the organization of painting, gives painting the ability to scientifically gruntuvati creative people, and, apparently, to know the ways to help them.

Pidvodyachi pidsumok all the way that has been said, mi bachimo, the best painting is even foldable and tsikaviy. Everything is repaired due to the care of nature and I finish the design of ideas and I will think of painting in my creation, in my knowledge of the laws, in the mind of the laws, and the persistent reasons of the visibility are not only real life Such a yak mi її bachimo, and it’s the honor of the artist’s experience and drowning in the art of painting.

Chapter 3. Make a visit to a still life.

3.1. Ustatkuvannya and materials for oil painting.

Oliyni farbi

From the optical side of the Farbi to be divided into two groups.

First group - head corps farbi: lead bilila; kinovar mercury; neapolitan zhovta; orange cadmium; cadmium dark; middle cadmium; cadmium light; cadmium chervoniy; cobalt green light.

The special power of the perakhovannyh farbs: the stench behind nature has its own light, even more crafty and distorted, the tone of which does not lie in the background of oils. The oil has a characteristic blisk, does not change in tone, so that the stench does not shrink through the darkness or light. Separating the cich farb may not change its tone.

Another group - forestry farbi - prozorі і napіvprozorі: ultramarine; kraplaka; volkonsky; emerald is green; Van Dik brown; Sina palena; umber is natural. Tsi farbi, rubbed with oil, dark and strongly appear behind the color and tone will become my own in a dry viglyad, in powder. Oil thickening color and tone, giving it insight, depth and sweetness. Farbi, applied to a heavy soil, flickers, darkens, becomes dull, consumes vision and sweetness.

In the process of robots corps farbi (1st group) do not take part in the dark. Qiu unfriendly role of playing viklyuchno leyirovochny farbi (2nd group); the artist is guilty of the nobility and will be even more protective and obstinate, stuck in light colors.

"Artists often, densely bathe farbi, works of barvystyu, exotically named, not impressed by this germiness, but rather to say, they are not familiar with the inheritance of the Third Gallery in their paintings. the artist behind the vinyatkovy effect of illumination and yaskravosti farb ".19

additional houses

The painting is written in olynimy farbs right from the tubes. Most often the farb is allowed to be diluted, to grow more fluid, to speed up the flow, or to save the blisk, which stench you drink when you hang out. For a lot of vikoristovyuyutsya retailers, varnishes, etc. With the use of criminals and warehouses, the artist is guilty of being even more guarded;

Schob zrobiti farbu rіdinі, її often grow with the same oil, on how erased the farbi. Ale robiti ts'ogo not slid. The surplus of oil is even more awesome for painting: win viklikak pozhovtinnya, and inodi and wrinkle, and development of a barvy ball. In quiet vipadkah, if the farba is cooked so sparsely, it’s flowing, because it’s overflowing with olia, which is more vivid. For the whole farbah, smear the paper over the archway, the yak absorbs a part of the oil, and I know, pick it up with a spatula. Robit the price is necessary quickly, inakshe farba can be wrapped in a thick putty, as if it is impossible to write.

The extravagant Russian turpentine, wiggled from pine and yalin trees, is not suitable for the whole family. The wine is not all vaped, but a sticky surplus in the farbi, strongly Chernyaev painting.

Gas may not be suitable for distribution of farbs. It is usually used to viparium, filter through the thickened farbah, propping in microscopic dirks, which give a farbey dull look, except for that, it’s overflowing with the shkidlivy for the farbi.

Є specially prepared lines for the cultivation of olive farbs, call us varnishes for painting.

laki malovnichi

Malovnichi varnishes є 30% resin in pine, with a vignette of copal varnish;

Vypuskayutsya such vid and varnish, as well as additives to oily farbs: mastic, dammarny, fistashka, acryl fistashkovy and copalovy.

Mastic varnish - 30 heaps of resin in mastic, in pinen. Mastic lacquer can serve not only as an additive to farbs, ale and wiping industrial balls when painting, and retouching lacquer. Zastosovyut mastic varnish і yak pokrivny.

Dammarny varnish - 30-hectare range of dammar resin in pinen with the addition of ethyl alcohol. Dammar lacquer is used as an additive to farb and lacquer. In case of vaping of wine, in some form of insight, ale, viscous, in case of vaporization of pinen, the lacquer is poured into clear-sightedness. For diluting the varnish, fix the pinen. When old, dammarny varnish is less, less mastic.

Copal varnish is a "alloy" of copal resin with refined oil, diluted with pinene. Dark color varnish. Zrazkovy varnish warehouse (in m. Ch.): Kopala - 20, olії - 40, pinena - 40. Varnish will be used as an additive to farb. Dry poured copal varnish is insoluble by organic razchinniki.

Krim significant varnishes, let go: balsam-oil, cedar, balsam-pentomoil and smerekovy.

varnishes

Varnishes are used for oily and tempera painting.

Fistachio varnish є in the form of pistachio resin (23%) in pineapple with an insignificant addition of white spirit (solution No. 2) and butyl alcohol.

With the best lacquer fistachio, the lack of a varnish lacquer can be increased, as it turns out to be a great elasticity. The speed of hanging varnish is significantly lower than that of other varnishes.

Acryl varnish synthetic polybutylmethacryl resin with a small amount of fistachio resin added. Resin razchinenі in pіnen. In yaky added two hundred thousand pieces of butyl alcohol. The acrylic paint varnish can be made without barriers, it is very elastic and in terms of its value it overturns the mastic and brownish varnishes. Visihannya is seen more often, less mastic varnish.

Lacquer Retouching will be stuck for zapobіgannya pozhuhanіya with bagatosharovy ole painting, as well as for hardening zheplennya barvy spheres. The varnish can be applied with a penzel or a swab.

The varnish is stored in 1 part of mastic varnish and 1 part of acryl polish varnish, distributed in 8-10 parts of gasoline.

Razrіdzhuvachі oil farbs

By the retailers of olynykh farbs є organic

retailers who have been built up to the usual level of hype. 20

Vikoristovuvati razchinniki followed the singing protection, through the penetration of the microcrops in the soil, which especially grows when robotic on the "stretchy" soil. At the same hour, I will be able to penetrate the penetrated oils with barvy balls and into the surface ball into the soil, and by themselves, make a picturesque ball.

Over-dilution of farbs by distributors can be victorious to remove farbs from a farb, which means they can be smashed with fluffy and German ones.

Razrіdzhuvachі illuminate deyakі farbi, ale when viparovannya farbi nabuvayut authorities їm color. In addition, it has been established that minor additions of pinene to a few farbs will reduce the optical power of the lassing and semi-lassing farbs.

Rosemary No. 1 is a sum of lively turpentine and white spirit, taken from spiwydnoshennі 1: 1. It’s not necessary to grow old oil farbs, relieve pastes and in other additional purposes.

Rosemary No. 2 is a white spirit - an epaulette of naphtha, a fraction of being used as an important gasoline and gas. Stasis yak razchinnik farb, scho stays for mitt brushes and palіtr. For the breeding of varnishes rozridzhuvach No. 2 is not stagnant, since at the new low dissolving building and great penetration, not at pinene.

Razrіdzhuvach No. 4 - pinen є pinene fraction of gum turpentine, when you see some of the turpentine. Pinen is oxidized significantly less, less turpentine, which is not recommended to be used for painting, it is not recommended to use it until it is reshaped and tarred. Pinned zastosovuyt yak razchinnik farb and varnish in the process of painting. When razvedennі farb pіnenom reduce їх blisk.

Essentials for oil painting

"The basis for painting is a kind of physical material, or on the surface, on the yak, farbi is applied: metal, wood, fabric, papier, tsegla, stone, plastic, vellum papir (thin parchment, tracing paper), parchment, plaster, sklo. if the deyaki of them is a traditional basis for oil painting; the stench spreads into two groups: elastic (nasty) bases, up to which canvases and papirs, and zhorstki, like wood, leafy fiberboard, metal "21.

The most popular and widely vikoristovuvanuyu base є canvas. However, the status of the canvas is like a standard basis for admittedly young. Old-time painters willed pratsyuvati on wooden bases. In the Danish hour, a lot of artists vvazhayut for beautifully pratsyuvati on elastic ambushes. Protest, painting on the boards has its own attachments, and the vibe of the most unique natural possibilities.

induced short description The foundations of the best are often victorious by contemporary artists.

llanі bases

Cloth tightly knitted from the chemistry of the olive farbs. The linen is prepared from the fibers of the Linum usitatissimum, the very same one that stagnates at the virgin flaxseed oil. To prepare the canvas, the dewdrop should be picked up (including root) in the period of the most suitable stage of maturation, then it should be taken for overheating with a stretch of three tendencies;

Well, shall we gimp the canvas with the linen? The price is the most beautiful and the head rank. In the case of loosely woven fabrics, the linen is not mechanically correct, and the fabric is not very mechanically correct, due to the peculiarities of the weaving thread. The lion starts to appear alive with the texture of the edge applied by the shari farbi.

Riznomanittya of textures of artistic linen canvas is made up of a number of threads per inch. Llyana canvas with a medium texture to cover approximately 79 threads per inch; smooth textured canvas - t. zv. "Portrait yakosti - to reveal from 90 threads and more. Llyana fabrics can be used as a single or subwoofer weave. picturesque creatures.

Bavovnik as a basis is a modern alternative to lion. Winning for the first time has become victorious for artistic purposes in the 30s and the popularity of bagatoraz has grown from the quiet period. On the view of the llyanny bavovnyany, the canvas did not occupy such a prestigious position, moreover, it was not enough to disregard the negative messages from the press. Deyakі called yogo zvsіm not suitable for painting. A similar glance is impossible to call it generally fair, oskil bavovna ma pevny perevagi. Pricey and inexpensive material. In the case of a small thread, a spike is thinner and more significant, which is denoted by a textured little cloth. To that, in a porous with a linen canvas, bavovna does not have a flooring on a tiled surface. On the other side, the fabrics from the back are stable, the lower the lion, which is tendency to expand and to the narrowing of the fallowness in terms of vologosti, and in this way the characteristic "weakness" of the cord of the canvas will appear.

One of the reasons for the low popularity of the polygons is that the majority of the obvious artistic bases for sale are actually thin - especially those that stretch in the factory minds. Visokoyak_sny linen for a bavovni is guilty but to finish with an important 340 -430 grams per square meter... Bavovnyany canvas - a kind of preparation, gluing and priming - a wonderful basis for serious oil painting. "Rivna" or "correct" texture is not the main factor, as farba is applied with a thick pasty ball.

folding polyester

Synthetic fabrics, fabricated in 20 centuries, in the bagatioh of the clothes, I turn over both yak bavovnyany and llyanyan canvases. Folding polyester - mint and velmi stiy material. Wine is more stable, it is less sensitive to the acidic infusion of oil farbs. Vin is not strong to the bitterness, it is not tendency to expand, nor is it a tendency to grow in fallowness due to the nature of the middle, in which it is found. On a complex polyester basis, you can also use primers and glue rosters, which can be stuck with evil or basic foundations. One of the main characteristics of a folding polyester is the visibility of the texture. Tse absolutely smooth material.

Jute (mishkovina)

Jute is made from hemp - a material that is used to make machines and ropes. Cloth made of mint natural fiber with a single-sided woven fabric with a brightly twisted texture. Wonderful dominates over other elements of painting. The price is ideal for robots in the style of energetic and pasty application of headlamps. Enlighten with the threads of the jute linen wide, so that the guarantee is made in one way.

Painting primer

Soil, curling the pores of the canvas, lightening the thread with the heaving of the warp, robbing the surface with a one-sided one and the necessary color.

The soil protects the canvas from the penetration into the new farb, tied and rosredzhuvachiv. Vin nada the surface of the canvas is the building of utrimuvati farbi.

The soil is guilty of being soft and elastic for its qualities. Vin is not guilty of roasting when the linen is rolled into a roll. The surface applied to the primer is to blame for the slightly rustic, matt finish. Painting the canvas with soil is not guilty of introducing its own twisted texture.

When the canvases are taken, the soil is not guilty of darkness or zhovtiti (the soil is not guilty of being in the dark).

It is not guilty on the sound of a primed canvas that it was penetrated with glue or the ground.

web sizing

The canvas, stretching on the frame, before the rusts, glue 15 heaps of technical gelatin or ribbed glue.

Glue the canvas twice. For the first time, glue it with cold draglist-like glue, then seal the opening in the linen. Jelly-like glue is applied with a shevsky brush, the excess glue is seen with a metal line. With a full line, trim pid host kut, Pushing her onto the canvas. It is possible to push it into the openings of the canvases immediately after seeing excess glue. Pislya is 12-15 years old, if the gluing is dry, її is covered with pumice stone or with an emery cloth for coating the surface.

Another gluing to use the same glue, and now it’s victorious to use it in a native camp, for whom it’s used to play it in a water bath.

Apply the gluing in two or three balls in the form of a sheet. Apply the skin attack ball in 12-15 years after hanging down the front.

pіdramniki

The basis for the canvas is a frame, on which the canvas is stretched, as the frame of the frame can be used as a frame of work, the frame of the frame follows the robustness of the good hanging tree, you can see the picture of the frame as well as the width of the frame.

3.2. Basic rules for robots with olynyi farbs

Pererakhumo rules, as guilty for the memory of the old farbs and for any kind of fault is not guilty of entering, if he wants to keep his robot.

Do not koristuvatisya lack of dried out oily soil.

Do not write on old people, dovgo lay oil canvases or on old people

paintings that did not finish the surface before taking the olive farbi.

Do not write in black, dark-red, zanadto yaskravy, or overwhelmingly

dark ground.

In case of large ball painting, do not change the lower ball to the farboy і

do not put in a new backbone for drying the headlamp.

Chi don't put another farbi ball on a badly dry ball.

Really viskrіbati pіdlyagayut rewritten abo

misery m_stsya.

Do not add oil to the farbi.

Chi do not sinister razchinniki and driers.

In any case, do not introduce unrefined gas, pneumo

turpentine and it is impossible to prepare warehouses.

great changes.

Chapter 4. Move the robot over the still life

4.2 Robot over composition still life

The robot resumed with a joke of the composition diagram. Pidbir of objects in a state of the art due to the designated topic.

Eskizi vikonani in small formats boules were grabbed by a kervnik, ale їm butoy with a projection to lead compositions of jokes, vikoristovuchi still life staging. The axis is here and then I had a problem and a joke for requisites for performances. Possibility of the choice of the objects of the ball is interlaced, for that, in the compositional jokes, there is so abundant variability in the same and quiet objects. The residual option is based on natural materials. ...

On the other hand, it means that there has been a breakdown of childish children like small objects in okremos, vicinities in the development of colors, as well as options for small productions from small objects, changing illumination and coloring. In the case of a joke, it’s corny even in small sizes, it’s pragmatic to a specific image, and it’s even more impressive in robots over the original.

I must say in a way that the joke of the residual composition went straight to the stage, cleaned it up, added it, collapsed, rearranged the objects, the solution was needed.

We are important in the robot over the cheese є vibir format. The purpose of this is to lie in the artist's mind. From vivchennoe dosvidu it is possible to create deyakі visnovka. Accepted vvazati, scho the square format of the winged style, static composition. Vityagnutiy horizontally format vikoristovuyt at the image of a wide panoramic space. The vertical format of the building of the enemy of the majestic cleanliness, monumentality. Ale, the vertical line of the university gives the deyak fragmentation.

At the same time, it is necessary to know the solution of the picture area, to try to improve the rhythm of the composition.

4.3 Preparing the web before the robot

As of now, the preparation of the robot was carried out. One hour the preparation of the canvas went to the robot. For the whole, it is necessary to stretch the canvas onto the frame, to glue and zaґruntuvati.

The canvas is pulled onto the frame from the middle of the skin side to the grooves. The first staples, to fasten the tension of the canvas, made their way into the center of the skin side of the frame against one of them, and then lastly they nailed the brackets towards the center to the right, and at once with a one-hour stretch of the canvas on itself and up to the cut of the frame.

Canvas priming includes two steps:

1) Gluing the canvas. Є Bagato options yak tse robiti. Koristyuchis by the delight of the ker_vnik buv obrazniy nachny option: glue for ts'go gotuvavsya in such a way. Soaked and quilted gelatin 10 gr. in half the flasks of water and put on a light fire. Gelatin is to blame for the rise in the water, but in any case, it does not bring it to the point of being hot. The ready-made glue is given a troch of oholonuti and then with a wide bristle penzel cover the entire surface of the canvas with a thin ball from top to bottom. Zazvychay enough one gluing and the canvas will dry. Ziva perevantazhennya canvases with glue to produce until the ground and a picturesque ball. Pori, if you can get too thick with the first gluing, fill it with a small penzlik, if the canvas does not cover the canvas with a thin layer, it should be glued with a third weak, 4 - 5 percent glue. It is also possible to add a sprinkle of droplets to glucerin in the glue for plasticity.

Dried out after gluing the canvas covered with an emery paper. If the canvas is twisted into enlightenment, it is innocent to show the openings on the canvas, you can proceed to another stage.

2) Cover the glued fabric with a wet primer. A lot of artists create the surface of storms, cold-gray, warm-gray, or even from the bottom of the boys' houses. For exchange rate robots, biliy vidtinok. The main problem On the whole stage, vibrate the best soil with no new recipes. The buv emulsion soil was removed. Gelatin, kreida, zinkweiss, llyane oil, yak was given with intensive stirring. For the help of the flute, the canvases were primed in three priyomi, and the leather ball was dried.

4.4 Robot above the canvas

On the cob, the babies are beaten with a penzel. Rely on nature to build up the residual composites of objects.

Then came the next stage of robotics on the canvas - underpainting - tonal - color-coded layout for the selection. During the first session, it was important to close up the entire canvas, both in terms of tonal and color of the lines, which trimmed the whole idea, and especially all the color rhythms.

On the offensive stage of the robot with oil, if you know the basic tones and colors of the blue, you can proceed to a more detailed description of the surrounding parts (subordinate parts).

Tinovi parts of the image have become filled with a thin ball of farbi, so as light can be written in corpus, pasty vikory brush, palette knife. The first plan is made more efficiently, below the back (according to the laws of composition). Wanting to flatten the space of man namir is set, as one of the design of the decorative design, the form is also surrounded by vikoristovuvalasya in the development of the production.

With a hand, the robots discovered the folds: the image of the phase texture of the materials, the number of decisions of the various parts of the composition, the vision of the head and the "muffling" of the other. Analyze the composition and see the joy of the kervnik along the robot.

In the process of robots, the power supply is determined by the choice of color and tone signals.

The most basic and folding of the stages of the robot over the easel is the final one, the order of the private home ideas for the creation, Uzagalnennya, placement of accents, ensuring robotic completeness. Like a handful of robots, they were painted with a wide penzel, great vintnos, in a wide-spread palette knife, concluded opratsyuvannya vikonuyutsya with small brushes, more respectfully, from the very cob of the robot above the canvas with a curtain, the bullet was placed in front of me

task. Vibuduvati with a color yaskraviy svyatkovy image of a still life, and in a unique etiquette, bring the robot over the canvas to a greater completeness of the image. In addition, in the technological plan, we have tested all types of merit: corpus sheet; the stem of the invoice with a palette knife; rubbing with a sponge; penzem i hand; glazing. It is imperative to respect that the cob and end of the picturesque robots are not one by one. To come to the singing result, urge to rewrite a lot of material, handwriting, eskiziv.

The creator of the robot can be seen from the beginning. Creative robots have a victorious mind in the distance to solve their primary tasks. At the same time, there is a problem with passing the relevant laws, the victorious registration of businessmen and women artistic variety, Z'єdnannya respectable logical.

4.5. robot design

The problem of picking up the ramies before the completion of the robot is to be made to the choice of width, the nature of the profile to the end of the color

So, when the frame of the trocha is decorated, you enter the image along the perimeter, then it will be written off along the cuts, which will help you to concentrate the glance at the images.

Yakshto tinker deyak rogue rules framed robin, with its color and decorative obrobkoy frame is not guilty of seeing and looking at the picture, like framing. Make a baguette for making frames, which is a shaped bar, ornamented and covered with a light brown stain. For the preparation, it is taken dry, the showroom is a tree, the bars are covered with a shaped plane, and they are ready for a given profile. Then the workpieces are re-sanded, glued from the sides, and then primed from the face side.

When gluing kuti rami, it is necessary to lie down one to one, so that there is no gap.

Before the still life of the bullet, a frame of a folding profile, 10 cm wide, was prepared. The price was dictated by the fact that large shapes, great colors, dominate in robots. Kolir ramie is guilty of the picture's customization of the image;

Visnovok.

Still life is the artist's spirit. I can't help but be a singer. The train is a city, in which wine is alive, and is alive permanently. Shvilovanist - the axis of which will inevitably appear in the picture, as well as the super-juvenile stem. Colder, the mystics are dead. It is impossible to imituvati feel, robiti viglyad, who is worried. Need to love and love.

Imagining the beauty of objects of navkolishnyaya nature, or speeches, created by the pracea of ​​people, still life can hvilyuvat us no less than genre paintings.

Course robot gave me the ability to revise my creative health, Increase the stock of theoretical and practical knowledge, learn about the methods and techniques of provincial painters of everyday life.

List of vikoristanoi literature.

1. Wipper B.R. Articles about mystery - M .; 1972.

2. Zagalna history myststv - M.; 1 972.

3. Vibornova G. The role of illumination in still life. - Painter; 6.184.

4. Gerchuk Yu.Ya. Live speeches - Radiansky artist; - M.; +1977.

5. Gusareva AP, Kostyantin Korovin - Radianskiy artist;

6. Kantor A.M. Subject and Seredovishche in painting - Radianskiy artist.

7. Kuznetsov Y. Zakhidnoevropeyskiy still life - Radianskiy artist.

8. Neklyudova M.G. Traditions and innovations in the Russian art of culture

XIX - on the cob XX century - Art.; - M.; 1991. Yu. Rakova M.M. Russian still life of the XIX - XX century - Art.;

10.Puchkov A.S., Triselev A.V. Robotic technique over still life -Education, 1982.

11. Shitov L.A., Larionov V.N. Painting - M.; - Education.

Still life still life

(Franz. Nature morte, ital. Natura morta, literally - nature is dead; Dutch. Stilleven, new. Stilleben, English Still life, literally - quiet or unruly life), the genre of figurative mystery (the head rank of easel painting), like an assignment to the image to feel the people of speeches, which are different, as a rule, in a real by-end middle and compositionally organized into one group. Special organization of the motive (this is the name of the production) is one of the main components of the figurative system and the genre of still life. A lot of inanimate objects (for example, objects of household life), in still life, they depict the objects of living nature, isolated from natural ties and by the animals themselves in rich, - riba on the table, add P. to the bouquet, etc. still life may include images of people, creatures, ptahiv, coma. The image of speeches in a still life is not self-sufficient artistic meaning, in order to characterize the development of a symbolic witch in the process of developing it, the appearance of decorative plants and the natural and educational exactness of the development of the subject matter in this way social country, change and way of life of the ruler, breed of numerical associations and social analogies.

Still life motives such as details of compositions are created in the same painting of the Old-time Descent and Antiquity, in the still life it is possible to reproduce the deeds of the phenomenon in the middle mystery of the Distant Descent (for example, such are the titles of the genre of birds) if in the creativity of the Italian and especially the Dutch mayors of the Renaissance develop respect to material light, Before yogo concrete-sensitive image. The history of still life is like the genre of easel painting, and the springtime of the type "trompe l" oeil "(this is the name of the trompe l'oeil), illusionistically accurately reproduced the objects" Still life "by Jacopo de Barbara from the 17th genre to a friend of the XVI genre (1504). Art., for which they took the characteristic of the era of natural science schlichnosti, the interest in the art of the private life of the people, as well as the development of the methods of artistic development of the world (robots from the Netherlands P. Artsen, Flemish J. Breuil)

Epoch to rozkvitu still life - XVII century. Riznomanittya yogo types and forms in the whole hour tied with the development of national realistic schools of painting. In the Italian and Spanish societies, the still life is rich in what the creativity of Caravaggio and his last ( cm. Karavagism). Favorite themes for still life boules quit, vegetables and fruits, give the sea, kitchen stuffing, etc. (P. P. Bontsi, M. Campidoglio, J. Recco, J. B. Ruoppolo, E. Baskenis and I.). The Spanish still life of the authorities has been given the severity and especially the significance of the image of speeches (X. Sanchez cat, F. Zurbaran, A. Peredu and іn.). Interest up to the point-by-point nature of the speeches, the intimacy, the uneasy democratism of the images manifested itself in the Dutch still life. For a new characteristic, there is a special respect for the transfer of the light middle, the versatile texture of materials, the subtlety of tonal indications and the numerical scale - in the form of the modest color of "monochrome images" by V. Khedi and P. "). The Dutch still life is a great number of young types of genre: "ribi" (A. Beyeren), "quit and fruit" (J. D. de Hem), "bit of the game" (J. Vinik, M. Hondekuter), alegoric still life " vanitas "(" suєta suєt ") ta in. The Flemish still life (the main rank of "rinka", "shops", "kits and fruits") is seen as a swing and decorative compositions at once: the hymns of prosperity and prosperity (F. Snyders, J. Faith), in the 17th century. There is also a German (G. Flegel, K. Paudis) and French (L. Bozhenov) still life. From the end of the 17th century. The French still lifes have outweighed the decorative tendencies of the court painting ("quites" by J. B. Monnoyer and the second school, Mislivsky still life by A. F. Deport and J. B. Udri). On a whole lot of fair people and democracy, one sees the creation of one of the most significant maystras of French still life - J.B.S. In the middle of the XVIII century. in the period of the residual formation of the academic genre of the genre, Vinik term "nature morte", which is reminiscent of the zealous introduction to this genre of cadre in academism, as they introduced genres, the field of life, such as "living genres"

At the XIX century. Doles of still life were the beginning of the mainstream painting, but they practiced in bagatio genres and involved still life in the struggle of natural glances and artistic ideas (F. Goya in Spain, E. Delacroix, G. Courbet, E. Manet in France). In the middle of the 19th century, they were specializing in a whole genre, as well as A. Fantin-Latour (France) and W. Harnett (USA). A new still life of dressing up with a mighty post-impressionism, for some speeches there is one of the main themes (P. Cezanne, V. van Gogh). On the ear of the XX century. still life is a kind of creative laboratory painting. In France the Maister fovizmu (A. Matiss and іn.) Walk along the path of the illuminated manifestation of emotional and decorative and expressive possibilities of color and texture, and representatives of cubism (J. Schlub, P. Pіkasso, X. Grіs. the specificity of still life of artistic and analytical possibilities, to stop hardening new ways of transferring space and form. Still life of the back and forth of the last flows (A. Kanoldt in Nimechchin, J. Morandi in Italy, Sh. Luk'yan in Rumunia, B. Kubisht and E. Filla in Czech and in.). Social tendencies in the still life of the XX century, represented by the creativity of D. River and D. Sikeiros in Mexico, R. Guttuso in Italy.

The Russian mystery still life appeared in the 18th century. at once from the hardened painting of the light, conveying the cognitive pathos of the era and the pragmatic truthfully and accurately conveying the subject light ("trickery" by G.N. Teplov, P.G. Bogomolov, T. Ulyanov, etc.). The development of the Russian still life, which lasted a significant hour, was epizodic in nature. Yogo deyakiy pidyom at the first half of the XIX cent. (F.P. Tolstoy, A.G. Venetsianov's school, I. T. Khrutsky) In the other half of the XIX century. before the still life of the etude character, the eyes were deprived of the eyes І. N. Kramskoy, І. Є. Rupin, V. I. Surikov, V. D. Polunov, I. І. Levitan; the meaning of still life in the artistic system of the Wanderers has gone on about the important role of the thematic picture. Self-meaning still life-etude of growth at the turn of the XIX and XX centuries. (M. A. Vrubel, V. E. Borisov-Musatov). Rozkvit of the Russian still life of an attack on the ear of the XX century. Impressive robots KA Korovina, І. E. Grabar; subtly play on the historical and buzzy character of the speeches created by the artists in the "Light of the Mistress" (A. Ya. Golovin et al.); state-of-the-art decorative images of P. V. Kuznotsov, N. N. Sapunov, S. Yu. Sudeikin, M. S. Sar'yan and the other painters of the "Black Troyand" stake; yaskravі, permeated with the same buttya still life of the majestrіv "Jack of Diamonds" (P. P. Konchalovsky, I. I. Mashkov, A. V. Kuprin, V. V. Rozhdestvensky, A. V. Lentulov, R. R. Falk, M. S. Goncharova). Radiansky still life, developing in line with the mystery of socialist realism, becoming a new zmist. In the 20-30's rr. vin inclusive i philosophical understanding participation in creative works (KS Petrov-Vodkin), in thematic "revolutionary" still lifes (F.S. і invoices (D.P. Shterenberg, N. I. Altman), і on the other hand, the creation of barvy wealth and development of subject matter (A.M. Gerasimov, Konchalovsky, Mashkov, Kuprin. Lentulov, Saryan, A.O. ), as well as the humor of subtle coloristic harmony, poeticization of the light of speeches (V.V. Lebedev, N.A. Tirsa and I.). In the 40-50's rr. P.V. Kuznetsov, Yu.I. Pimenov і ін. In the 60s and 70s, in still life actively working P. P. Konchalovsky, V. B. Elkonik, V. F. Stozharov, A. Yu. Nikich. The middle of still life in the union republics is seen by A. Hakobyan in Ukraine, T. F. Narimanbekov in Azerbaijan, L. Svemp and L. Endzelina in Latvia, N. I. Kormashov in Estonia. The tediousness to the advancement of the "objectivity" of the image, the esthetization of the modern people in the light of speeches zoomed into the interest to the still life of young artists of the 70s - the ear of the 80s. (Y. G. Anmanis, A. I. Akhaltsev, O. V. Bulgakova, M. V. Leis i іn.).

V. Kheda. "Snidanok with a pie with a cake". 1631. Picture gallery. Dresden.

P. Cezanne. "Peaches and pears". Kinets 1880s Museum of creative arts of the name of A.S. Pushkin. Moscow.

K. S. Petrov-Vodkin. " rankovy still life". 1918. Russian Museum. Leningrad.

І. І. Mashkov. "Uzha Moskovska: hlibi". 1924. Tretyakov Gallery. Moscow.
literature: BR Viper, Problem and development of still life. (Life of speeches), Kazan, 1922; Yu. I. Kuznetsov, Western European still life, L.-M., 1966; M. M. Rakova, Russian still life of the XIX century - the ear of the XX century, M., 1970; І. N. Pruzhan, V. A. Pushkarov, Still life in Russian and Russian painting. L., (1971); Yu. Ya. Gerchuk, Live speeches, M., 1977; Still life in European painting XVI - ear of XX century. Catalog, M., 1984; Sterling Ch., La nature morte de l "antiquity and nos jours, P., 1952; Dorf B., Introduction to still-life and flower painting, L., 1976; Ryan A., Still-life painting techniques, L. , 1978.

Dzherelo: "The encyclopedia of art is popular." Pid ed. V.M. Polovoy; M.: Vidavnistvo " Radianska encyclopedia", 1986.)

still life

(Franz. Nature morte - nature is dead), one of the genres of painting. In still lifes, the gifts of nature (fruit, kvit, riba, game) are imagined, as well as speeches, broken by the hands of people (tableware, vases, year, etc.). Some non-living objects sit with living creatures - lumps, birds, creatures and people.
Still-life, included in the plot compositions, is also included in the painting of the Old-Time Light (these drawings in Pompeii). There was a change about those who, the old Greek artist Apelles, had painted grapes in a maistern manner, but the birds took him for a reference and became beaks. Yak self-styled genre still life was created in the 17th century. and even having survived his own development in the creativity of the Dutch, Flemish and Spanish maystras.
Holland felt a bit of still life. "Dreams" and "desserts" were painted by the artists in such a way that when they were well, neither people were instructed to turn around at once. On the table there is a steam pipe, a wintry servetka, you haven’t finished drinking the wine in your cell, a lemon is sprinkled, a hlib overdrive (P. Klas, V. Kheda, V. Kalf). Popular boules are also images of kitchen appliances, vases with quotes and nareshty "Vanitas" ("sunta suut"), still life on the theme of the perishableness of life and of short-lived joys, as they called out to the memory of the soul of souls. Favorite attributes of "Vanitas" - a skull and a year (J. van Streck. "Sueta suut"). For Dutch still lifes, like and for a still life of the 17th century, the presence of a sympathetic philosophical text is characteristic, a foldable Christianity is a love symbolism (lemon is a symbol of peace, a dog is a vividness of love). in still lifes of a riznomanittya svitu (pour shots and oxamites, important kilims of tablecloths, merekhtinnya sibla, juices of berries and noble wine). The composition of still lifes is simple and stylized, ordered diagonally or in the form of pyramid. They have a visionary head "hero", for example, a cell, a glechik. Maystri subtly vibrate against each other with objects, protistavlyuchi abo, navpaki, unstable colors, shape, texture of the surface. Retrievely scribbled found details. Small for the format, the pictures are rocked on the saw, they are looked at and the senses are very much overlooked.

Flemings, navpaki, painted great, majestic canvases for an hour, intended for embellishment of palaces. There is a great number of objects, the folding of the composition. Such still lifes were called "shops" (J. Faith, F. Snyders). They pictured tables filled with game, seafood, bread, and the order was given to the gentlemen to smell their goods. Ryasna їzha, they didn’t fit on the tables, sang, snapped right at the gazes.
The Spanish artists volunteered to be surrounded by a small set of objects and worked in streaming colors. Dishes, fruits or shells in the paintings of F. Zurbaran A. In front of the statically placed on the table. Їх form is simple and noble; the stink of retro vivid lightness, the more visible, the composition is strictly leveled (F. Zurbaran. "Still life with oranges and lemons", one thousand six hundred and thirty three; A. Peredu. "Still life with a year").
At 18 st. to the genre of still life, the French maister J.-B. WITH. Chardin... Yogo pictures, how to imagine a simple, solid stuffing (bowls, a small tank), vegetables, simple grubs, reminiscent of life, travel houses and save the beauty of the popped butty. Chardin also painted allegorical still life ("Still life with the attributes of mysticism", 1766).
In Russia, pershi still lifes appeared in the 18th century. in the decorative drawings on the walls of the palaces and in the paintings - "trompe l'oeil", in which objects were painted on the floor exactly, as a reference (G.N. Teplov, P.G. Bogomolov, T. Ulyanov). At the 19 st. tradition of blende bouli reappraisal. Still life is going through the first floor. 19th century in the works of F.P. Tolstoy, Rethinking the tradition of "trickery" ("Berries of chervonoi and biloi currants", 1818), artists Venetian school, I. T. Khrutsky. In the most primitive objects, the artists did not want to polish the beauty and perfection.
New development of the genre is infused in the book. 19 - hon. 20th century, if the still life becomes a laboratory of creative experiments, as the twisting of the artist's individuality. Still life is a meaningful place in the creativity of post-impressions - V. Van gogh, NS. Gauguin and persh for all P. Cezanne... Monumental composition, avaricious lines, elements, zhorstki forms in Cezanne's paintings poklikanі viyaviti construction, the basis of speech and nagadati about the imperishable laws of svitoustroy. The artist sticks the form with color, adorable material. At the same hour, the imperceptible overflow of colonic views, especially the cold blakite, seemingly open space. The line of the Sezannist still life was continued in Russia as the maister " Jack of Diamonds»(І. І. Mashkov, P. P. Konchalovskyі ін.), based on the traditions of the Russian folk art... artists "Black Troyandi"(N.N. Sapunov, S. Yu. Sudeikin) They created nostalgic, stylized old-fashioned compositions. Philosophical private still lifes K. S. Petrova-Vodkina... At 20 st. in the genre of still life, the artistes P. Picasso, A. Matiss, D. Morandi. In Russia, the greatest masters of the boule genre are M.S. Saryan, P.V. Kuznetsov, A.M. Gerasimov, V.F.

In the imaginative mystery, the term "still life" means a specific genre of painting, which includes haunted life on tables:

• healthy kits, especially, trojand,
• kitchen stuffing,
• household items,
• fruits, vegetables, fruits,
• products_v kharchuvannya,
• ribby,
• cooked їzhі.

Termin is a direct translation of the Dutch word "Stilleven", which is used to describe the genre of paintings since 1656. Previously, such canvases were called simply - "Fruit", "Quitka", "Troyandi", "Snidanok", "Benket" or Pronk (ostentatiously).

In the era of the baroque, allegorical images with relіgіynim pіdtext took the meaning of vanitas ("Marnoslavstvo"). Obov'yazkovym attribute and head accent on the paintings with a skull.

It is cleverly still life to be divided into chotiri main groups, including:

• quotations;
• snidanks or banquets;
• emotsіynі;
• symbolic.

Deyakі robots vikonuyutsya for the demonstration of the technical virtuosity of painting and building of the artist or to demonstrate the emotion.

• emotsіynі;
• retail;
• canvases-illusions.

V in home still lifes there was a folding symbolic appearance, turning in a type of objects. When vivchennі warehouse still life leather is represented by an element bov symbol and introducing a singular meaning into the picture. As a result, the genre of still life, like a landscape, as a rule, does not take revenge on human forms, but rather to convey it politically, morally and spiritually. If I want the quirks of the academic imaginative artistry, I use a still life that is most simple in the middle of the five main genres.

The symbolic canvases are of a wide category, be it a type of still life with a clear religin character. With a specific butt of such symbolism є vanitas painting, which progressed in 1620 and 1650 rock and the style of symbolic images of skulls, a candle, a trojand, a year of the year, grating cards, snowstorms and other objects, which are responsible for the earth’s mind Symbolic images in the paintings showcrito religinim - bread, wine, water and інші.

Basic characteristics of canvases

The magic of still lifes in the field is in the ability to show you the power of small objects around us. Especially the rosetting and images of objects beyond the extra farbi, black, pastels, or whatever material is needed, about an absolutely new zmist.

Ob'єkti, vibrani for canvases, may be especially significant on a special, cultural, social, religious or philosophical level. Those who feel like creating an imaginative mystery provoke introspection and visualization to the mood. To that, the images of the object are subject to a wide range of images, in the form of deposits, vibrating colors, illumination.

The subject in still lifes begins with representations of objects. The preselection of symbolism is allowed to penetrate into the sense of the picture.

There are a number of emoticons and pods, which are based on material colors and textures. Those vitonished are intertwined with the image of beautiful objects, ale to touch the senses within the framework of one creation, not to be inserted into the skin.

History

The image of the girl was practiced in old-time, Ale was born in the history of the art as an independent genre in the 16th century. Regardless of the formulation of the name of the genre, still life is actively developing in the winter of Europe - in Holland and Flanders among the artists of the winter of the Great Renaissance. There are still life schools in Naples, Spain and France.

Historically, it was like the still-life of the boules will slip into a religious and mythological zmist.
Until the 16th century, the suspension changes. science i natural light began to take a picture of religion.
Until the middle of the 19th century, the natural light and troyandi went from the modi. The robots of the painters showed a taste for our vivchenna internal light, Set up and emoji.

At 20 stolіttі still lifes have razchinilis in geometrії. Until the end of a thousand years, objects in the paintings became pop art and photo realism. Pictures of the season include a wide range of everyday objects - from pisuars to empty beer cans.

Still life of Pivnichnaya Revival and Dutch realism in 1517 rock

The rich bourgeois suspension of the Netherlands is characterized by a materialistic representation of ostentatious living. Aleme in Western European painting was rejected by its own ear of esoteric Christian symbolism and folded mova for hours Serednovichchya and Renaissance.

Still life began to be called “nature is dead, but nature is dead,” and the paintings took advantage of the inanimate symbolic connotations. Symbolism developed in the abstract and metaphysical mannerism of Italy and Spain in the 17th century:

At 18 stolіttі

In the French painting of JB Chardin (1699-1779), the mayor of the bagatioh saw still life, from modest kitchen items to unique alegories and poetry transmissions, we will forgive the growing of fruits and trojands. Yogo robots are developing realism for a green color show and artistic transmission of illumination.

Anna Koster (1744-1818) was the epistle of Chardin. Її robots often wander with the maister. Ale composites Bonfire is more delicate and create even more wondrous objects.
Extravagant collections of corals and turtles on cam'yan_police are even more photographic accurate.

At 19 stolіttі

Until the middle of the nineteenth century, still life has entered the lower genre with the potential for turning those. Philosophy of realism and pure painting Courbet (1819-1877) rose to form, color and farbi. Artists іnoruvali slyly stooped to the genre.

The revolution in painting on choli s Manet, Renoir (1841-1919), Cézanne (1839-1906), C. Monet (1840-1926) and Van Gogh (1853-1890) always started the theme of the discussion. Shanuvalniki have known that still life is a red, poetic, "noble" genre of imaginative painting.

In 20 stolіttі

Inanimate objects in the new still life are in the back of the mind behind the additional variety of forms and spaciousness.

All were lamenting with Manet's tartar oysters, Cezanne's skulls and years, or a vase of Van Gogh's irises, like a wonderful interpretation of a new light.

Cézanne is a tiny apple in the view of a woman, or burn, and J. Braque (1882-1963) depicts an apple as a set of overlapping geometric faces.

Transformation of form and change in the best elements of geometry, color, as well as symbolism can be seen in the compositions of J. Kiriko (1888-1976) and S. Dali (1904-1989) - a chain of cobs of the 20th century.

The enigmatic J. Morandi (1890-1964) brought his own style to painting - plasticity with an interlaced palette, which is like a Roman painting.

Maximally exploiting the genre of Pablo Picasso (1881-1973), opposing innumerable forms and a wide range of stylistic permutations.

Celebrities pop art by Endi Warhol, a potent object, will re-create a colossal image.
Artists in the 20th century vikoristov created a still life as a laboratory to show new methods and tried new conceptual ideas. The stinks were rocking in the representational and abstract formats, widespread in the genre, the zest of paintings with sculpture, collage, photography, video and holograms, in creations, which can be seen before still lifes. The canvases of the current year can have a backyard of the following:

• The coloration is from cold to warm;
• In coloirny gamma from contrasts to nuanced tones;
• Right at the illumination on the canvas;
• In the background roztashuvannі ob'єktіv;
• The staging has gone from decorative function to a realistic image.

The freedom of style for the transmission of images with additional cubism, cubo-futurism, pop-art, photorealism, neo-pop allows to present still life in a new view, for which the genre is promoted by lovers.

Still life in painting is an image of static inanimate objects, united into one ensemble. Still life can be represented as an independent canvas, ale inode becomes a part of the composition of a genre scene or a whole picture.

Is it still life?

Such a painting turns into a sub'active set of people until the light of day. It will show the power of the mayor the intelligence of beauty, as it will become in the presence of suspicious values ​​and an aesthetic ideal for an hour. Still life in painting is stepwise transformed into a significant genre. The whole process has taken over more than one hundred years, but a new generation of artists has taken up the design of the canvas and color from the history of the era.

The role of a still life in the composition of a painting by a nikoli cannot be taken into account by simple information, but by adding to the main material. Falsely from the historical minds and suspicious feeding of the objects and can take a bigger active part in the modern composition or the hotel image, playing that chi me. Still life in painting is an independent genre of pokliklikovy to faithfully convey the beauty of speeches, as a day to feel the love of a man.

Inodі okrema detail or element of raptom swells more meaningful, we will take away its strong sense and sounding.

History

Yak old and shavanny genre still life in painting, knowing evil and messy deeds. Suvoriy, ascetic and minimalistic, helping to create immortal monumental, heroic images. The sculptors with a superstitious viraznіstu nasolodzhuvalis to the images of the surroundings. See still life in painting and all the classifications originated in the period of the formation of art, if the canvases were painted back to the first hand.

Iconography of tradition and still life

The ancient Russian iconography has a great role to play in the act of speech, as the artist intended to add to the strict laconicism of canonical creations. Smell I will show everything without a middle ground and demonstrate the rotation of the senses in robots, attributed to an abstract or mythological plot.

See a still life in painting to see something like an iconographic creation, if you want a strict canon and not to fence images of deyaky objects that are attached to the genre.

renaissance still life

Protest, the great role of creating the XV-XVI capital in the era of the Renaissance is great. Painting for the first time brightened the light on himself, having pushed the significance of the skin element to the services of the people.

A curious painting, still life as a popular and love genre originated in the period of Trichento. Some items added singing nobility and significance of the master, who served the stench. On the great canvases, still life, as a rule, looks like a velma modestly and uncomfortably - a jar of water, a glass of vitreous vase, or lower lilies on thin stems, often tulle in the dark crumpled picture, as if they were relatives and forgotten.

In addition, in the form of beautiful and close speeches, the style of love in a resolute form, as well as a wonderful painting, still life and its role in it, were still timidly peeped through the woods of landscapes and important portraits of genre scenes.

The turning point

Sub'єkti rejected the real element in the paintings and new meaning in the 17th century - in the era, if they overwhelmed and dominated the still life with squares. Painting of this kind gave the number of shanuvalniks among the nobility and clergy. In folding compositions with a twisted literary plot line, the stage has lost its order with the main characters. Create epochs with analysis, it is easy to remember, the role of still life is important in an analogous rank and manifested itself in literature, theater and sculpture. The speeches began to "live" and "life" in the cich robots - they showed how the main heroes, demonstrating the most beautiful and vivid sides of objects.

About'єkti mystetstva, shattered by smart and talented majstras, carry on themselves a special vidbitok of thought, bazhan, sipping a particular people. painting is more beautiful than all psychological tests, additional help in living the psycho-social camp and reaching internal harmony and integrity.

Speech is given to serve the people, taking over their drowning with objects, beaten and nodding vlasniks on the dressing up of new beautiful, vitrified children.

Flemish Renaissance

Gouache painting, still life yak genre people did not accept all at once. The history has appeared, the development of the widespread use of new ideas and principles to serve as a guide to the development of the Carpathians dumka. Still life became vidomy and became fashionable in the middle of the 17th century. genre revered in the Netherlands, Yaskrava and Svyatkova Flanders, de the very nature of the beauty and merriment.

Gouache painting, still life, we write the color of the rose for hours of great changes, the whole cycle of political, huge and religious institutes.

flanders broach

The bourgeois direct development of Flanders has become a novelty and progress for all of Europe. Changes in political life have led to similar innovations in culture - they have appeared in front of the heroes of the mystery of the horizon, now they are not surrounded by the relative fences and are not adopted by the old traditions.

Still life yak has become the flagship of a new painting, which has experienced everything that is natural, beautiful and beautiful. Suvor canons to Catholicism did not stream more the policy of fantasy and addiction of painters, and science and technology began to develop in order to order with mystery.

Exceptional speeches and objects that were previously respected by the lowland and non-common riddles, immediately came to the objectivs of the sawing. Decorative painting, still life and landscapes have become a reference mirror of life - the haphazard order, race, culture, a statement about beauty.

the power of the genre

Itself zvidsy, from the familiar, ruined vivchennya navkolishnyy svitu, has developed around the genre of bespoke painting, landscape, still life.

The artistry that made the canon in the 17th century became the main reason for the genre. The picture is assigned to the light of speeches, describing the main power, tampering with the objects, how to feel the people, showing the mayor and his hypothetical participant before it is shown that the character and the knowledge about the action are shown. The artist communicated materially the material of speeches, obsyag, vaga, invoice, color, functional recognition of objects in the background and life of the people.

Zapdannya and problems of still life

Decorative painting, still life and by-stage scenes took in the new tendencies of the era - from the canons and overnight protection of the conservative naturalism of the image.

Still life of the revolutionary era, often overcoming the bourgeoisie, depicting the artist's development to the new forms of the national life of the spirits, the development of the most simple remixers, to the beautiful images of beauty.

Formulated in the 17th century, the problems and the development of the genre in general were not discussed in European schools right up to the middle of the 19th century. Timing by the hour, the artists gradually set before themselves new and new designs, and did not prod them mechanically to create them. compositional solutions and color schemes.

modern canvases

Photos of still lifes for painting, prepared in modern studios, demonstrating the difference between children and fellows and middle-aged people. The dynamism of this year will overturn all misleading lines, and the statics of objects was the norm for that hour. The coloristic combinations of the 17th century are characterized by a bright and clean color. Nasicheski vіdtіnki harmoniously fit into the composition and reflect the idea and idea of ​​the artist. The visibility of any canons not being reduced by rank infiltrated the still-life of the 20th-21st century, in which they oppose with their unattractive or numinous line.

The method of resolving problems to a still life is rapidly changing the skin of ten years, the methods and technology do not rise beyond the imagination of the known ones, and are no worse than the mighty ones.

The value of the present-day canvases of the field is at the visibility of the reality of the vision of contemporary artists; at the sight of the sight on the canvases there are new weights, which can tell a lot about their creators to the people of the future.

injecting impressionism

The advancing spirit of the history of still lifes has become an impressionism. The whole evolution was directly reflected on the compositions through color, technology and space. The rest of the romantics of a thousand years were transferred to the canvas of life, like there є - shvidki, bright strokes and varied details became the exterior stones of style.

Painting, still life modern artists It is not uncommon to carry in the video bitoks the characteristics of the impressions for the additional color, the methods and the technology of the image.

View from the standard canons of classicalism - three plans, central composition and historical heroes - by allowing artists to develop the power of color and light, and also to purposely demonstrate the great ideas of the artist.

The main institute of impressions is a change of picturesque technique and psychological change of painting. First of all, to know the situation of this era, it is important to know the correct way of thinking about food about those who are impressed by the landscapes, such as the radio and the simple ones, like the harsh ones, who responded to the criticism about the rude ones.

Impressive painting did not fit into the framework of the dream-like, that still life and landscapes were taken off as vulgar, there is no way of knowing the order with the leaves of a high art.

Artistic show, which has become a kind of creative work for vіdomykh artistsіv At that hour, she could reach hearts and demonstrate the beauty and vitality of the image of objects and objects in all accessible ways, they became a priestly right to navigate in the walls of sinister pledges, as to promote the only principle of classical mystery. The triumphal movement of still lifes does not come from the end of the 19th century, but the versatility of genres and technology of the season allows you not to be afraid of any experiments with colors, textures and materials.