- •Answer the following questions. Be explicit:
- •Think over the following questions, looking at a painting: Reading a painting: general questions
- •Study the following text:
- •How to Read a Painting - 1
- •How to Read a Painting - 2
- •Study the following information: some styles of painting:
- •Find additional information about different painting styles: a list of the styles of painting:
- •Study the information on painting types. Look at some of the reproductions: Types (Genres) of Painting
- •Examples of Famous Paintings In All Genres
- •Portraiture Genre
- •Genre-Paintings
- •Landscape Genre
- •Still Life
- •Analyzing portraits:
- •Leonardo da Vinci. Mona Lisa (Gioconda)
- •"The Morning Walk" by Th. Gainsborough
- •Analyzing landscapes:
- •«Тайная вечеря»
- •In front of the painting ‘Boyarina Morozova’
Analyzing landscapes:
To start with close your eyes and think about an outdoor space that means something to you. It can be a place you have visited, your homeland, or a place they have lived in. Think of all the details you can remember about a typical day at this place, such as the weather, what was nearby, who you were with, what you were doing, etc. Describe their meaningful place focusing on the following questions:
What does it look like? What is in the foreground? Middle ground? Background? From what point of view are you seeing the landscape?
Study the following descriptions:
Bruegel's use of landscape defies easy interpretation, and demonstrates perhaps the artist's greatest innovation. Working in the aftermath of the Reformation, Bruegel was able to separate his landscapes from long-standing iconographic tradition, and achieve a contemporary and palpable vision of the natural world. For the Antwerp home of the wealthy merchant Niclaes Jongelinck, who owned no less than sixteen of the artist's works, Bruegel executed a series of paintings representing the Seasons, of which five survive: Gloomy Day, Return of the Herd, Hunters in the Snow (all Vienna, Kunsthistoriches Museum), Haymaking (Prague, Národní Galerie), and The Harvesters (19.164). Though rooted in the legacy of calendar scenes, Bruegel's emphasis is not on the labors that mark each season but on the atmosphere and transformation of the landscape itself. These panoramic compositions suggest an insightful and universal vision of the world—a vision that distinguishes all the work of their remarkable creator, Pieter Bruegel the Elder.
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Landscape with the Fall of Icarus |
Winter Landscape with a Bird Trap |
The Hunters in the Snow |
Теперь Шишкин с наслаждением пишет “русское раздолье с золотой рожью, реками, рощами и
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A Rye Field |
На Вторую выставку передвижников Шишкин представил картину “В лесной глуши”, за которую в 1873 году получает звание профессора. При помощи затененного переднего плана и пространственного построения композиции (где-то в глубине, среди чахлых деревьев виден слабый солнечный просвет) художник дает возможность ощутить сырость воздуха, влажность мхов и валежника, проникнуться этой атмосферой, словно оставляя зрителя наедине с гнетущей глухоманью. И как настоящий лес, этот пейзаж открывается зрителю не сразу. Полный деталей, он рассчитан на долгое рассматривание: вдруг неожиданно замечаешь лисицу и улетающую от нее утку. И, напротив, полна приволья, солнца, света, воздуха его известная картина “Рожь” (1878). Картина эпична: она словно синтезирует черты национального характера русской природы, то родное, значительное, что видел в ней Шишкин: “Раздолье. Простор. Угодье, рожь. Божия благодать. Русское богатство...”
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Morning in a Pine Forest |
Поэтическим чувством проникнуто полотно “Среди долины ровныя” (1883), в нем сочетаются величие и задушевная лирика. Названием картины стали строки из стихотворения А. Ф. Мерзлякова, известные как народная песня. Но картина не является иллюстрацией стихов. Ощущение русского раздолья рождает образный строй самого полотна. Что-то радостное и вместе с тем задумчивое есть в широко распахнувшейся степи (именно такое ощущение вызывает свободная, незамкнутая композиция картины), в чередовании освещенных и затемненных пространств, в засохших стеблях, словно стелющихся под ноги путнику, в величественном дубе, возвышающемся среди равнин.
Look at the landscape painting. Try to answer these questions:
If you were in this picture, what would you?
… hear?
… smell?
… feel?
What would you have with you?
Who would you take with you to this place?
Were would you like to be in the picture?
If you were standing in that spot, what is the first thing you would notice about this place?
Do you think this place is real or imaginary? Why or why not?
Analyzing narrative paintings (genre painting):
Begin with the following questions:
Why do we tell stories?
How do we learn about stories?
Are they always truthful?
Study the following descriptions: