Presentation on the topic: "Russian portrait of the XVIII century. Portrait in painting of the XVIII century. An important place is a portrait.
The XVII century - from Parsuna - to the portrait. -The first parswesons are still closely related to the traditions of icon painting images, they are fascinated, idealization and abstract images of the sights with the person depicted - a prerequisite. "... Yakovo-Bo what sees or ... hears taco and in the images of the river in the faces is drawn"
Ivan Nikitich Nikitin () -Od from the "chicks of the nest of Petrova" -Owned in the family of the priest - in Venice and Florence - John Anna Ioannovna sentenced to an indefinite link to Tobolsk -OVOVOV
Alexey Petrovich Antropov (1716 - 1795), it is possible to call the prose: on my own models, he looks at a sober view of an incentive artist - especially the images of the noble old-competition, with the painting of Dopurerovskaya Rusi-Creative, objective images, the fact that the model wants to open the viewer
Ivan Petrovich Argunov GG. -Rehtricated graphs of Sheremetevoy - one of the first began to portray the model simply, almost everyday-figures of models are freely deployed in space - Figures more voluminous and independent
Rockies Fedor Stepanovich GG. Poetry spirituality inexpensive intimacy
Dmitry Grigorievich Levitsky GG. "In the transfer of an intimate, elusive charm of a person who does not shrink the beauty that does not stand out by originality, in the image of a simple, medium, inconspicuous person - he did not know the rivals" I.E. Rubar
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Signatures for slides:
Portrait in Russian painting XVIII century Shadrina E.S., teacher MHK, NPOSH "Commonwealth" D. Dolgoprudny, 2010
List of the XVII-XVIII centuries. This period has become a turning point for Russian painting. Space painting comes to the change of icon painting. From the beginning of the XVIII century, all types of painting are developed. The image is becoming increasingly realistic. Instead of Parsuna gets widespread portrait. Parsuna M.V.Skopin-Shuisky. XVII century Nikitin I.N. Portrait of Peter I. 1717
Portraits may vary in size and image character. Portrait Types Parent Normal Separate Chamber Intimate
Before you are different types of portrait. Both are written by Ivan Nikitin (1680-1742), a talented Russian painter. Determine the view of each portrait. Portrait of Chancellor G.I. Golovkin.1720. Portrait of outdoor hetman. 1720
Alexey Petrovich Antropov (1716-1795) - an outstanding Russian painter-portraitist, author of monumental paintings, academician of the Imperial Academy of Arts. Portrait of Stats-Lady A.M.Ismailo Portrait of Peter I
Rockot Fedor Stepanovich (1756-1806), Russian painter. He became an attorney of an intimate psychological portrait in Russian painting. Deprived of a person not posing, outside the front environment. Created spiritualized images of its contemporaries. Before you, the portrait of A.P. Strousskaya (1772) Do you remember how from the darkness of the past, barely fell into the atlas, with rokotov portraits looked again a just on us? Her eyes are both two fog, semi-coulting, half-fake. Her eyes are both two deceptions covered with a mix of failure. The connection of two mysteries, half-vehicles, half-visual, the insane tenderness of the seizure, anticipating mortal flour. N. Zabolotsky
Determine what type of these portraits of Dmitry Grigorievich Levitsky brush (1735-1822). Do there have a hidden meaning of interior items? Portrait of Catherine II. 1783 Portrait of P.A. Demidov. 1773
D.G. Levitsky is the largest painter II floor. XVIII century His skill allowed him to freely transfer the finest experiences of a person, the innermost features of his character. The artist equally masterfully owned by all kinds of portrait from the front door to the chamber. By order of Catherine II in 1773-1776. He creates a famous series of portraits of Smolyanok. The artist depicted each of them in the most characteristic posture, for his favorite activity.
Portrait E.N. Khrushcheva and E.N. Kovanskaya. 1773
Portrait E.I.Nelidova.1773g.
Vladimir Lukich Borovikovsky (1757-1825), the famous painter of his time, is considered to be one of the great portraits of the XVIII century, whose works are talking about the high achievements of Russian art. His creativity completes the history of the portrait genre that has reached the end of the XVIII century. Of extraordinary success in truthful and poetic disclosure of a person's image. The most famous portrait of his brush is a portrait of M.I. Halfukhina (1797) to which type it refers? She has long passed, and no already those eyes and that smile there is no that silence expressed the sufferment - the shadow of love, and thoughts - the shadow of sadness, but her beauty Borovikovsky saved. So part of her soul did not fly away from us, and there will be a look at her and this charm of the body to her indifferent offspring to attract, teach him to love him, suffer, forgive, silence. Ya. Polonsky
Determine the type of these portraits of Borovikovsky's brush. Portrait of Prince A.B. Kurakina. 1871-1802 Portrait of A.I. Bezborodko with daughters. 1803
Preview:
Shadrina Elena Sergeevna, teacher from, MHC, Nposh "Commonwealth",
dvolgoprudny, 2010.
Portrait in Russian painting XVIII century.
(Explanation of the presentation)
Goals and objectives: To form knowledge of portrait types, develop the ability to determine the view of a portrait on a particular product, develop an artistic taste, reveal the features of the development of a portrait in Russian painting.
Slide 2. As for all Russian art, the turn of the 17-18 centuries for painting became a turning point. The secular art comes to replace the church art. The image from the symbolic becomes realistic. Parsuna is replaced by a portrait.
The question is students. What is Parsuna?
The first steps in the formation of the portrait are associated with the activities of the "Tsarist Israight" of the Armory Chamber. The first portraits of Parsuna appeared here in the second half of the XVII century. Were like an image conventional icon.
Slide 3. There are several types of portrait: the main, dating, ordinary, chamber, intimate. (Story about the differences between these species).
Slide 4. Short story about Nikitina I.N. Definition with students of portraits.
Slide 5. Short story about Anthropov A.P. Determining the type of portraits.
Slide 6. Short story about Rocky F.S. Characteristic of his painting style. Determination of portrait type. Poem N. Zabolotsky.
Slide 7. Brief description of the painting of the Catherine era. New in portrait art.
Slide 8. Story about Levitsky D.G. His portraits. Briefly about the series of portraits of "Smolenok".
Slide 9-10. Analysis of portraits.
Slide 11. Story about Borovikovsky V.L. The fate of the loop and her image created by the artist. Poems Ya. Polonsky.
Slide 12. Determining the type of portraits and their brief analysis.
Summarizing: What types of portrait did we recognize?
What artists of the XVIII century got acquainted?
What portrait (whose image) remember most?
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Signatures for slides:
Features of the female portrait of XVIII in ESA completed: Domasnova T. checked: Naimushina OD
In the 18th century, new genres appeared: household, historical, landscape. But however, the most significant works were created in the portrait genre. Therefore, the 18th century is often called a portrait age. Indeed, at this time, interest in the human person is especially intensified.
Andrey's Matverev (Matveyevich?) -Adnamed Russian portrait artist, one of the founders of Russian secular painting, master of monumental-decorative art, the first Russian foreign pensioner who received a full academic education, the first head of the picturesque team in the St. Petersburg Office from the buildings (1731-1739 .). Only thirty-seven years of life, Andrei Matveyev was released - the artist, whose picturesque skill "determined the bright distinctive face of the Russian art of the XVIII century" and became a significant milestone in its development. Andrei Matveyev
Portrait of A.P. Golitsyna. 1728 Princess image placed in oval, inscribed in a canvas rectangle. On A.P. Golitsyna luxury red dress with large ruby \u200b\u200bclasps on the sleeves, and on the chest - a precious pledged portrait of Peter I, the sign of the dignity of the State Lady. But the parade portrait of the brush A. Matveyev is not as simple and unequivocal, as it may seem at first sight
Russian painter, Baroque style representative, one of the first artists in the country, who began to write secular portraits. Anthropov Alexey Petrovich
Portrait of stats-ladies A.M.Ismailova. GTG. Portrait of Stattz-ladies Anastasia Mikhailovna Izmailovoy, nee, the nearer, the nearest girlfriend and the far relative of Empress Elizabeth Petrovna, is one of the most famous works of Anthropova. The face of the heroine with major expressive features gives a strong, powerful, volitional nature. The artist does not seek deeply into the inner world of his heroine, he records only static, constant qualities of her nature. At the same time, as a true representative of his era of Anthropov does not forget about the social status of the model. Izmail's dress decorates the portrait of Elizabeth Petrovna in diamonds - the sign of the personal arrangement of the Empress to its court lady.
Portrait of Empress Elizabeth Petrovna. Between 1744 and 1751. Sergiev-Posad Museum-Reserve Published Portrait of Elizabeth Petrovna is a copy of the work of the court painter Louis Caravaca, teachers A.P. Anthropova.
Portrait of Empress Ekaterina II. 1766. timing.
Argunov Ivan Petrovich
Portrait of Tolstoy 1768 in 1768, Argunov creates one of his best works - "Portrait of Tolstoy". An unclear woman with a smart calm face is depicted with knitting in his hands, which brings an unexpectedly intimate note in the top-like portrait.
Portrait of an unknown peasant in a Russian costume of 1784 in 1770 - 80s RR. He writes a little, but it is at this time that his almost the most famous work appears, "the portrait of an unknown peasant in Russian costume" (1784) is the first such kind of Russian art. Probably depicts a really woman from the simpleness, possibly a cormalist, in an ethnographically accurate dress of the peasantry of the Moscow province (and not an actress in the theater "parade" costume, as some researchers believed).
Rockot Fedor Stepanovich
Portrait of A. P. Strujskaya. 1572 Rockots showed the elevation of the image of a young woman. Her figure in the portrait seems unusually light and air. This work is distinguished by a special pictorial peculiarity. It is no coincidence that this work is called "Russian Dzokonda". The poetic spirituality of the gentle face, the look of young and sad eyes, a kind of mystery - all this is causing attention, makes thinking about fate. Alexandra Zhidskaya lived a long fatal life. Mother 18 children, she survived many of them.
Portrait of an unknown in a pink dress. 1770g Next female portrait "Unknown in a pink dress." It is considered one of the masterpieces of rokotov. The finest gradations of pink - from rich in the shadows, it is warm, light, create a flicker effect, fluttering the thinnest light-air medium, as if consonant with internal mental motion movements, hidden inequate in portraits of 18 V. A kind smile, translucent in the depths of view. This image is executed by special lyrical charm.
"Portrait of an unknown in a blue dress with yellow finish." (1760s.)
Levitsky Dmitry Grigorievich
Portrait of E.N. Khrushcheva and E.N. Khovanskaya. 1773. GDM D.G. Levitsky reproduces the scene from the parade performance with the participation of Smoleanok. Bonolic shepherd and shepherd resemble a pastoral duet from the "peak lady" P.I. Tchaikovsky. Thin figures actresses are especially plastic on the background of a conditional backdrop with a flat-written bathing of trees. In the exquisite color chord, the radiance of silk of a light dress and a saturated tone of a gray surpe was merged. The perky liveliness of Khrushchev emphasizes the gentle shyness of Khovanskaya.
Portrait of N.Ya. Levitskaya. 1780s. The timing portrait of the artist's wife dates back to the shape of the dress and shape hairstyles.
Portrait of Ursula Mnishek. 1782. GTG in the portrait depicts a Great Welcome Beauty, who knows the power of his irresistible charm. The artist created an image on the verge of salon beautifulness: the model frankly suggests his admiration, and here is hidden barely guessing irony.
Portrait of Catherine II. 1782. GDM D.G. Levitsky, obviously, never wrote to the empress from nature. When working on this web, he used "Portrait of Catherine II in front of the mirror" (between 1762 and 1764 GE) Vigilius Eriksen. It should be noted that the original was fulfilled more interesting and thinner. However, the royal customer was satisfied: it is known that in 1782 for this portrait Levitsky received from the Cabinet of Empress 500 rubles - money for those times is considerable.
Borovikovsky Vladimir Lukich
Portrait of M.I. Lopukhina. 1797 GTG in the portrait of the Countess of Lopukhina Attributes and the entourage are designed to play a new one, Dotole is not a role inherent to them: to identify the public position of the depicted person, but his personal qualities. The surroundings of the portrayable is the landscape, and the fusion of a person with nature becomes the leymplative composition.
Portrait of the Countess A.I. Bezborodko with daughters love and Cleopter. 1803 The group portrait of the Bezborodko family is largely the canons of the sentimentalist direction in the Russian art of the turn of the XVIII and XIX centuries.
Catherine II for a walk in the Tsarsko Selo Park (with Chesme Column on the background). 1794. GTG in the second half of the XVIII century in Russian painting appear portraits, preserving the parade only as a form in which artists invest new content. This also applies to the portrait of Ekaterina II of the work of Borovikovsky. He portrayed the Empress with the old man - a landowner: she walks with his beloved dog in his Tsarskoyelsky Park without any official and solemnity.
Portrait of E.G. Temkin. 1798. GTG Elizaveta Temkin - the daughter of Empress Catherine II and the Llesty Prince G.A. Potemkin-Tauride. In portrait she is 23 years old. Contemporaries found that she looks like a father.
The painting of the last decades of the XVIII century is distinguished by significant variety and completeness. First of all, this is due to the foundation of the Academy of Arts. The Russian school is now being mastered by those genres of painting, which were previously represented only by the works of old and modern Western European masters. The largest achievements of Russian painting of the last decades of the XVIII century are associated with the art of portraits. In the second half of the 18th century, portrait art reaches its heyday.
Slide 2.
Pretty age portrait
In painting of the XVIII century, a portrait occupies an important place. It is on the portrait that can be judged about this century. In this area, Russian artists rightly occupied their place among the largest portraits of Europe. It is important to note the internally unity and integrity of the Russian portrait of the XVIII century as the art of the humanistic, truthful.
The best artists proceeded from the concept of the XVIII century concept: the value of the human personality is determined by its intellectual and mental qualities, and not the place in the social hierarchy. Hence that sober and unilent restraint in many works, even in the portraits of the Augusts. Of course, the artists were not completely independent of their customers, who, according to G. Kedzhavin, expressed "Truth with a smile."
Slide 3.
At the origins of portrait painting, I.N.N.Nikitin (1680 - 1742). He brightly embodies the power of human opportunities opened by the Petrovsk epoch.
The Russian artist implements its own ideas about the world, beauty and individual characteristics of the model. So the portrait-conventional and quite unique one occurs. The artist transfers the majestity and peace of the royal person. One of the most educated women of his time: wrote the play, was engaged in directed, contributed to the creation of the theater. Unhealthy completeness, noticed by the artist, issues physical indisposition.
Portrait of Tsarevna Natalia Alekseevna
Slide 4.
I. Nikitin "Portrait of an outdoor hetman"
In portraits written by I.Nikitin, his skill is interesting, but also the moral position that appears in them. The artist does not flatter models, at whatever step of the social hierarchy they did not stand, does not humiliate their art.
In the guise of the old hetman, there is nothing the parade, showing, the artist brings the viewer closely to this interesting, a lot of having experienced and who had seen in his century, mans, gives to feel his volitional, hardened by the vicinity of fate. At the same time, the artist does not hide the powerful and somewhat gloomy character of the hetman, covered in his eyes alertness and distrust. Bright characterity is achieved and color based on combinations of warm golden yellow, red, pink tones.
Slide 5.
I. Nikitin "Portrait of Chancellor Golovkin".
Gabriel Ivanovich Golovkin is easy, elegant, quite confident in herself. The portrait does not say that we have a long-range relative of Peter, a person with a very bad character. But we see, as it seeks to strengthen, assess the situation and decide to adapt or counteract. The seal of cold frivocity lies on the mouth. An extended smoothed face framed by a long French wig, full of wopsy attention. In the portrait, a sixty-year-old high-ranking official, akchyat and pedant, Chancellor, diplomat.
Slide 6.
A. Matsev "Self-portrait with his wife"
Matveyev literally enters his wife in a new world. He makes it with the appropriate and his youth, and the youth of the country they represent the dignity. The youth of the characters in this case is a metaphor of the youth of the new Russia .. The light of young people of happy spouses seems to not notice the smashing for them to darkness. The unusual dress and gestures are somewhat constrained by the characters of the autoportist, but do not be knocked down with a firmly chosen path, as evidenced by the entire dynamics of the diagonal movement compensation.
Slide 7.
The middle of the XVIII century in Russia is associated with the names of such major and significant artists as I. Argunov, I. Vishnyakov, A. Antropov.
Slide 8.
I.Vishnyakov "Portrait of Sarah Farmore"
I. Veshenakov - the artist is previously and largely mysterious. His portrait images attract fragile sophistication. Punching through the conventions of the parade portrait, Vishnyakov gives its own models, warmly covered feelings, some touching insecurity connected to a somewhat naive solemnity of the composition. A complex gamma of feelings finds an embodiment in beautiful shades like vibrating colors. Sarah Farmor conquers touching fragility, cleanliness and spirituality. Seriously and slightly strained the face of the girl.
Slide 9.
Portrait of Sarah Fermor
This portrait reflected the characteristic draws of the middle of the XVIII century. This is a purely Russian understanding of the image, where in the foreground - attention to the spiritual world of man. This is the features of the style: the alloy of the European art of Rococo and the traditions of ancient Russian painting. Frontal formulation of the figure, a plane solution of space is from a traditional old letter, and from Rococo - the scenery of the landscape, an exquisite combination of blue and pearly gray colors.
Slide 10.
A. Antropov. Portrait of A.I. Izmailovaya
The viewer appears the wayward and intelligent old lady with a sharp, powerful and clever face covered with a dense layer of Rumyan and Belil. This is no longer just the state-lady of the courtyard Elizabeth Petrovn, one-piece and bright character, typical of the Russian society of that era.
Slide 11.
Especially significant, the power of the class status was manifested in the "Portrait of A.I. Izmailovaya ", on which the model of Giddely demonstrates the portrait of Elizabeth I - the highest award of the court lady. The point is not even in the award, but in how it is written. The portrait of the empress "placed very frontally contrary to a three-hard turn of the Stat-Lady Corps: the artist does not want an angle to disturb the holistic idea of \u200b\u200bthe portrait of the queen", to which the model and the anthrops are treated as a sacred symbol.
Slide 12.
The family of artists Argunov
The Argunov family, the former property of the princes of Cherkasy, and since 1743 the counts of Sheremetev, the phenomenon is unusual even in Russia, where so many wonderful artists, architects, musicians, actors came out of the fortress medium. One brother I. Argunova was an architect, another painter, the son of Nikolai became a major portrait of a different painter, the third architect, but this outstanding giftedness could not save them to death from the humiliating fortress dependence. Throughout his hard life of the serf artist I. Argunov, the faith was carried in a person and his capabilities and in its models was looking for and found a bright positive start. In Portraights I. Argunova, there is a living interest in the human person as such, regardless of its estate affiliation and social position.
Slide 13.
I. Argunov "Portrait of an unknown peasant in Russian costume"
This portrait was written in 1784 and belongs to the number of the most advanced artist. Seen and recreated very simple and modestly, without any manners, the young Russian peasant, filled with self-esteem and like radiating kindness, in the image of a serf painter personifies the physical and moral beauty of the people.
Slide 14.
N. Argunov "Portrait of Countess Sheremeteva"
Talented from birth, three sons I.P. Argunov learned to art under the leadership of her father. But it was about Nikolai Argunov that could be said in the words of the famous proverb about an apple and an apple tree. "The fortress son" (Nikolai) in his talent was not inferior to the "Fastener Father". Indeed, the portraits of Nicholas are equal to the skill of execution by most works of this genre of the late XVIII century. His portraits of Countess Sheremeva, the former serf actress Count N.P. Sheremetyeva Parash Kovaleva (in the pearls theater) was called in Russia universal interest not only because of the extraordinary love of the richest Russian veelmazbi and his fortress, but also the talent of the artist, imprint the survival and charm of the gifted Russian woman.
Slide 15.
F. Rokotov
In the middle of 1760, he wonders the fame of the painter, stringly unlike any of his contemporaries. F. Crotov family has become one of the most exquisite and subtle painters in the European arts of the XVIII century. Creativity F.S. Crocotova is one of the most charming and difficult-scale pages of our culture. The mystery of the expression of the eyes and smiles of lips, reflecting the life and movement of the soul, for the first time in full measurement of Leonardo. In domestic art, the role of Leonardo played F.S. Rockots. The riddle and Leonardo and Rockotov lies in the fact that they were embodied in their portraits not specific, but some general principles of the thrill of spiritual life, spiritual impulses and variability of mental life, which are difficult to catch and the more resistant to the verbal description. It was F. Rokotov who became the hence of the "time psychological" time in the Russian portrait.
Slide 16.
F. Crotov. Portrait V.I. Maikova
In the 60s, rokotov writes a number of intimate portraits, most often male. They feel great interest in the originality of the appearance of a person, individuality of character. The portrait of V. I. Maikova is especially allocated (approx. 1765), in the appearance of which insight, the ironic mind of a talented poet is guessed for languidly. This product is one of the most significant in the art of the XVIII century.
Slide 17.
Fedor Roccota
At the time of his creative heyday, the painter creates the gallery of beautiful female images: A. P. Strujskaya (1772), V. E. Novosilseva (1780), V. N. Srovztseva (1780), E. V. Santi (1785).
In women's images, there is something in common - it is the wealth and beauty of the inner world, an exalted system of human feelings. Opening the innermost in the human soul, the artist always leaves something underwent. This gives Rokolovsky to portrait the charm of mystery, special poetry.
Slide 18.
- Portrait V. Srovteva
- Portrait of V.Novosilseva
Slide 19.
Portrait of Alexandra Struj
Love painting, poets!
Only to her, the only thing, given
Souls changeable signs
To transfer to the canvas.
You remember how to have been from the darkness,
Barely wrapped in atlas
With rokotov portrait again
Watched a just on us?
Her eyes - like two fogs,
Semi-cough, semi-foam,
Her eyes - like two deceptions
Millet covered failures.
The connection of two riddles
Half-vestor, half-visual,
Crazy tenderness of the seizure
Anticipating mortal flour.
When dotteches are coming
And the thunderstorm is approaching
From the bottom of my soul flicker
Her beautiful eyes.
Slide 20.
Portrait of Alexandra Struj
On the canvas charming young woman, full of captivating grace. Elegant facial oval, thin flying eyebrows, light blush and thoughtfully missing glance. In the eyes of her - pride and spiritual purity. The spell is written by overflows of flowers, light and shadow. Shadows are unpatched to light, the ash-gray tones flow into blue, and pinkish - in pale-gold
Slide 21.
Like a charming vision occurs, arises from the haze of pearl-pink tones the face of a jet with huge sad thoughtful eyes. Her image is filled with glowing purity, the incredit beauty of youth. Fucking the game of oval - Persons, gentle, feminine lines Decolt and high powdered hairstyles with a free-sided strand ... But the most attractive in Alexander is her eyes, such deep and dark, that the pupil is almost merged with the cornea .. Her whole image is lost some kind of rhin , mystery ..
Slide 22.
D. Levitsky
D. Levitsky is the largest portrait of the second half of the XVIII century. Levitsky - the artist firmly standing on real soil and at the same time sensitive to true poetry capable of sublime absorbers. He is close to interest in the inner world, to a portrait of psychological. In the work of Levitsky, it strikes not only the coverage of reality, but also the power of the talent, with which the artist expressed the style of era, the wealth of aesthetic aspirations, the way of thinking of the feelings of their contemporaries.
Slide 23.
D. Levitsky. "Portrait of Catherine II in the form of legislation in the temple of the Goddess of Justice"
An important place in the work of Levitsky is occupied by the work on the portrait of Catherine II, which was reflected in the "Vision of Murza" G. Pedzavina. The sublime, mythologized interpretation could not not like the Empress, which more than carefully referred to their images.
Slide 24.
D. Levitsky. Portraits "Smolnyanok"
The system of educating noble girls as mandatory entered classes with literature, music, dancing, painting. Portraits of pupils of the Smolny Institute of Noble Maiden Brushes D.G. Levitsky seems to reflect this pedagogy. The artist depicts girls in theatrical ravenness. According to these portraits, you can simultaneously study the educational system, and the character of each depicted, and the costume of the era.
Slide 25.
D. Levitsky. "Portrait of E.N. Khovanskaya and E.N. Khrushcheva "
The game element, inherited Rococo from Baroque, releases the energy of the young charms of Smoleanok. In these theatrical and gaming portraits, the model consciously play the role of pastoral shepherds and shepherds. The awareness of the distance between the mask and the personality of a person marks a huge leap in self-consciousness compared to the state of the undivided mask rule in the portrait of Izmailov.
Slide 26.
The poet A. Sumarokov captured "Smolnyanok" with his verses. Portrait of nelidova
Isn't the nymphs of the goddesses before us appeared here?
Il yourself angels from the sky left
To the dwellings between mortals on the earth,
That gifts and hearts of all viewers fed.
As the sunny rays, so the eyes shine them.
With the Red Heavenly Beauty of the Sorphy
With the kind of hearts innocence of their isne
Of course, the deity they are in themselves
Slide 27.
D. Levitsky. Portrait of P. A. Demidova
The artist approves the values \u200b\u200bof privacy, which demonstrates the fabulous rich and famous in the 19th century Chudak, clever and Samodor, passionate gardener P.A. Demidov. In the form of a parade portrait of Demidov, frankly and ironically demonstrates its private hugging gardening. Homemade cap, watering can, flower bulbs, pots with bushes instead of altars, royal regalia, philosophers busts or rulers of this world.
Slide 28.
"Portrait of Kokorinov"
D. Lytitsky feels confidently in the parade portrait, relaxed. In his kokorinov - power, pressure, energy, real enthusiasm and inspiration. And it is also a magnificent portrait of a figure, or rather the portrait of a magnificent dress. With which stunning shine and virtuoso shchegolsky wrote a famous suit, sewn to the day of the inauguration of the Academy.
Slide 29.
V. Borovikovsky
The glory of the Russian pictorial portrait of V. Korovikovsky. The main merit of Borovikovsky became the fact that he brought the spiritual experiences of a person from the dark baroque to the semitis in a smooth midday light of a classic picture. Creativity V.Borovikovsky related to an important stage in the way of becoming realistic painting
Slide 30.
V. Borovikovsky. "Portrait. E. Naryshkina "
Classicism prescribed under the image of women's magnificently modest clothing of Greek goddesses. The fabric naturally faced the mill, so it was easy to give the grace of the pose. The underlined simplicity of clothing gave artists the opportunity to pay special attention to the plastic perfection of the hands and neck. At portraits of the artist V. Borovikovsky woman no longer carry lush and seductive outfits, dressed in simple apparels of ancient goddesses. The appearance of E. Naryshina quite corresponds to the ideal of his time.
Slide 31.
V. Borovikovsky "Portrait of M.I. Lopukhina
She has long passed - and no already those eyes,
And there is no smile that silently expressed
Suffering - Shadow of Love and Thoughts - Shadow Sobble ...
But the beauty of her Borovikovsky saved
That part of the soul did not flew away from us.
And this look will be the charm of the body
To her indifferent offspring attract,
Listen to him - suffer - forgive - silent ...
(Ya.Polonsky)
The alternation of the most controversial and subtle feelings of a loop reflected in gentle painting, its soft and bright gamut. This creates a special poetry of the image.
Slide 32.
V. Borovikovsky's value in the history of painting and in the fact that he created the gallery of beautiful female images.
- Portrait E.Arsenyeva
- Portrait of gagary sisters
Slide 33.
V.Borovikovsky "Portrait of Catherine II"
V. Borovikovsky depicted Catherine in a warm salope with a dog on a walk in the Tsarskoye Park. The idea of \u200b\u200bthe portrait suggested G.R. Derzhavin, - At one time he was secretary of the Empress. The portrait turned out to be a chamber, Catherine here is no more than an elderly lady of pleasant outforthiness. I didn't like the portrait very carefully to your portrait of the Empress. But it is believed to be the description of the meeting in the Heroine Park by A.S. Pushkin "Captain's daughter" with Catherine II.
Slide 34.
Output:
Russian artists of the XVIII century managed to embody in the colors the appearance, the characters, the spiritual world of their contemporaries. It was in the portrait that created the art of this time their best works.
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In the history of Russian painting, a period of origin and development of a portrait genre has an important meaning. This is the second half of the XVIII century. It was at that time that the painters saw the individual identity of the person and wanted to convey a person on the canvas with his unique inner world.
The origins of Russian portrait
Fertile soil for this prepared even gradually icons became more realistic, collapsed, and in painting a secular direction developed.
Dionysius. "Metropolitan Peter with Life"
So, in 1553-1554. The church cathedral was allowed on icons to depict also the plots of parable, which gave the impetus to introduction to the iconograph of household motifs. And some individual traits in the image of saints were noticeable on the icons of Dionysia (Icon Metropolitan Peter). In the chronicle crops, several images of the king were transferred, and a whole gallery with images of historical figures was created in the Golden Chamber of the Moscow Kremlin.
Even since the XVII century, Persons were known to the ports of the kings and nobility in the style of icons. . At the same time (the end of the XVII century) is the eating portrait of a secular character .
Parsuna "Ivan Grozny"
At first, he was performed in icon painting technique, then with oil colors. The primary emphasis was put exclusively in the image of the face, and over time the face of the portrait is moving out: the portrait is already drawn and in the belt, and full growth, pay attention and clothing, and the back plan.
- traditions of medieval parswear - portrait image close to icon
Louis Tokke "Portrait of Empress Elizabeth Petrovna", 1756
- painting of foreigners in Russia - Rossi
(L. Tokke, L.-zh.-F. Lagrena, L.-zh. Lorren, I.-G. Tannaauer, L. Karavakk).
The main mainstream was the activities of the Russian School of Portrait Painting. Artists of that time actively adopted European traditions, mastered the artistic principles, formed their handwriting and their views on creativity.
The phenomenon of the new time was a secular portrait, the development began to keep up with the main styles dominant in one or another era (baroque, rococo, sentimentalism and predominant).
Parsuna - Rhodonarchale of a secular portrait
At the beginning of the XVIII century, and for the province - and throughout the century, Persons remained relevant - the genre of portrait, which appeared in the Middle Ages, the similarity of images on which with real people was only conditional. After all, artists adhered to church canons and used a plane patterned letter. Parsunas were often large, wrote on certain compositional schemes and depicted exclusively "the great world of this". They passed the social position of man, its importance and impressiveness. With the development of the genre of Parsuna began to occupy honorary places in the secular interiors of Russian palaces and estates.
And it is Parsuna that is considered the pilophist of a secular portrait.
Russian as a portrait direction
Third direction in the development of the portrait genre in Russian painting of the 18th century - rossika - related to the painting of foreigners who came to Russia. Some of them even caused (Louis Tokque) specifically in order to write a portrait of the empress. Rossian artists are trying by their methods and through their understanding to portray the Russian life and Russian person. In parallel, they transmit their techniques and the language of new art to local artists.
Types of portraits in the Russian School of 18th century
I.P.Argunov. "Ekaterina Alekseevna"
If from the middle of the XVIII century, the most common portrait species were chamber and duty, From the second half of the XVIII century, these types of images become popular as:
Parade
(attention is paid to the transfer of the wealth of life, clothing, and transfer to the canvas individual characteristics of a person, portrayed portrayed in full growth);
A.P.ntropov "Portrait M.A. Rumyantseva"
Separate
(a person was depicted not in full growth, but in the belt or knee);
Chamber
(image on the shoulders, on the chest, maximum - on the belt, often - on a neutral background);
Intimate (ignoring the background, the focus is the inner world of man).
National specificity of portrait painting - the features of the Russian portrait
V.L. Korovikovsky "Portrait of M.I. Hallophina", 1797
Russian masters learned correctly
- build picture plane
- anatomically correctly pass the human body,
- mastered the art of perspective
- the basics of oil technology and the laws of color.
Perceiving the innovations of Western European painting, Russian artists not only mastered aliens traditions and revised the meaningful part of the portrait image, but also
- developed their composite schemes,
- tonality and style installations.
The portrait in Russia in the XVIII century became a genre, embodied and specific Russian features:
- Portrates depicted people who are full and holistically perceive the world.
- Special attention was paid to clothes, accessories, jewels - as a kind of frame rim.
- The color gamut of Russian portraits was brighter and rich.
- Lack of group (family) portrait.
It took quite a bit of time, and the domestic masters of the portrait school created such works that became one row with the best examples of Western European portrait painting.
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