The image of a man of rebirth in the fine arts. The image of a man in the fine arts of the Italian Renaissance

Fine art and drawing teacher

Semyashkina Ludmila Semyonovna

MBOU secondary school No. 10

3 quarter

Looking at a person. portrait in fine arts.

Lesson 16

The image of a man main topic art.

Goals: acquaint with the image of a person in art different eras, with the history of the appearance of the portrait; develop an understanding that a portrait image should express the character of a person, his inner world; to form the ability to find beauty, harmony, beauty in the inner and outer appearance of a person; activate cognitive interest to the world around and interest in the learning process.

Methods and techniques:

Written techniques, partial search method, information-receptive, use of ICT technology.

Forms of work:

individual, pair, frontal.

Lesson equipment:

For the teacher: computer, projector, screen.

For students: creative notebooks, paints, pencils, albums.

During the classes

Hello guys!

Open your diaries and write down your homework for the next lesson you will need: colored paper, glue pencil, scissors, felt-tip pens, and paper (beige, soft pink.) Guys, who will listen to me carefully and answer questions, then at the end of the lesson you can easily cope with the task that I will give you.

And I will start the lesson with a poem by Nikolai Zabolotsky.

Love painting, poets!

Only she, the only one, is given

Souls of changeable signs

Transfer to canvas.

Do you remember how from the darkness of the past,

Barely wrapped in satin

From the portrait of Rokotov again

Did Struyskaya look at us?

Her eyes are like two clouds

Half smile, half cry

Her eyes are like two lies

Covered in mist of failures.

Combination of two mysteries

Half delight, half fright

A fit of insane tenderness,

The anticipation of death torments.

When darkness comes

And the storm is coming

From the bottom of my soul flicker

Her beautiful eyes.

Teacher: what is this poem about? What name can be given to it?

Children: Portrait.

Teacher: Correctly! So, you probably already guessed it.

The topic of today's lesson? - portrait.

Teacher: And who knows what a portrait is?

Children: …

A portrait is an image or description of a person or group of people that exists or has existed in reality.

Teacher: Guys, what can be shown or conveyed with the help of a portrait?

Children: …

Teacher: with the help of a portrait, you can show the character, the inner world, life values person, and also at what time this person lived.

Teacher: Guys, let's write down the definition. On the left side of the album.

Today in the lesson you will learn the history of the emergence of the portrait genre.

The portrait appeared in our world several millennia ago. Already in ancient Egypt, sculptors created a fairly accurate likeness of the external appearance of a person.

Teacher: Guys, does anyone know why sculptors created statues an exact copy human?

Children: …

Teacher: the statue was given a portrait resemblance so that after the death of a person, his soul could move into it, easily find its owner. One of famous portraits of that time is a portrait of Nefertiti (about 1360 BC.) -slide 1

Teacher: Guys, look at her facial features, what a long beautiful neck, look at how proudly she holds her head. Guys, since this is a sculpture, let's turn it around and look at it from the other side.-Slide 2.

Teacher: Guys, pay attention to the eyes of Queen Nefertiti, there is no one eye. Why do you think?

Children: At the moment when the bust was created, the queen was still alive.

Teacher: That's right, well done!

Guys, these images were created not for admiring, but for funeral cults. The Egyptians believed in life after death.

PicturesqueFayum portraits made in the techniqueencaustics . (Wax painting). -slide 3

Fayum portraits - Funeral portraits created using the encaustic technique were found in Roman Egypt in the town of Fayum. They are an element of the local culture modified under the Greco-Roman influence. funerary tradition: portrait replaces traditional funeral mask on mummy.

Truthfulness and Accurate psychological characteristic ancient Roman portrait busts distinguished themselves. They reflected the character and personality of a particular person. The image of a person's face in sculpture or painting has attracted artists at all times. The portrait genre flourished especially in the Renaissance, when the humanistic, active, human personality was accepted as the main value. (Leonardo da Vinci, Raphael, Titian)slide 4,5,6

Leonardo da Vinci "Monna Lisa" - Madonna Lisa was very beautiful, then while painting the portrait of Leonardo da Vinci, he kept people who played the lyre or sang, and there were always jesters who kept her cheerful and removed the melancholy that painting usually communicates with the portrait.

Teacher: Guys, but this is just an assumption, but there are a lot of them.

Humanism affirms the value of a person as a person, his right to freedom, happiness, development, manifestation of his abilities.

Masters of the Renaissance deepens the content portrait images, endow them with intelligence, spiritual harmony, and sometimes inner drama. In Russia, the portrait genre actively began to develop from the beginning of the 18th century. (F. Rokotov, D. Levitsky, V. Borovikovsky) created a series of magnificent portraits of noble people. -Slide 7. Especially lovely and charming, imbued with lyricism and spirituality were female images painted by these artists.

D. Levitsky. Portrait of Maria Alekseevna , imbued with the deep sympathy of the author for his model. The charm and attractiveness of a young woman made many her friends, poets dedicated poems to her.

In the first half of the 19th century, a dreamy and at the same time prone to heroic impulse romantic personality becomes the main character of portrait art (in the paintings of O. Kiprensky, K. Bryullov.) -slide 8.9 . In the 20th century, the portrait combines the most controversial trends - vivid realistic individual characteristics and abstract expressive demonstrations of models (P. Picasso, A. Bourdel, M. Vrubel.)slide 10, 11.

Teacher: Guys, what types of portrait do you know?slide 12.

Children: …

Teacher:

parade

Chamber.

Teacher: Guys, what does front mean?

Children: Such a portrait is put on display, and a chamber or (intimate) one is intended for a close circle of people.

Ceremonial (representative) portrait - as a rule, involves showing a person in full height(on a horse, standing or sitting). In a formal portrait, the figure is usually given against an architectural or landscape background;

chamber portrait - waist, chest, shoulder image is used. The figure is often given on a neutral background.

Also, the portrait can be double or group.

Group - called portraits painted on different canvases, if they are consistent with each other in composition, format and color. Most often these are portraits of spouses.

Quite often portraits form the whole ensembles - portrait galleries. They usually depict representatives of the same genus, including living family members and their ancestors.slide 13

If in a portrait a person is presented in the form of some historical, theatrical or literary character this portrait is calledCostume. The names of such portraits include the words"as" or"in the image" for example (Catherine 2 as Minerva.)Slide 14

Minerva is the lightning goddess of mountains and useful discoveries and inventions.

So, you learned that Portraits convey to us not only images of people from different eras, reflect part of history, but also talk about how the artist saw the world, how he treated the person being portrayed.

Teacher: And now I will check who listened to me attentively.

So, now we will solve a crossword puzzle on the subject of a portrait. I will read the questions and you will answer.

A portrait that is intended for a close circle of people.

(Chamber)

If a person is represented in a portrait as what kind of historical, theatrical or literary character is such a portrait called? (Costume)

The main task this portrait glorification of royal persons and their entourage, noble and high-ranking persons. Is this portrait on display? (front door)

What was the name of the ancient Egyptian queen? (Nefertiti)

Where were the first pictorial portraits painted with wax paints found? (in Fayoum)

What is the name of the breast image of a person in sculpture?

(Bust)

If you see what's in the picture

One of us is watching

Or a prince old raincoat,

Or a climber in a robe,

Pilot or ballerina

Or Kolka, your neighbor, -

Be sure to picture

It's called a portrait.

Teacher: Guys, look, it turned out the word portrait.

Lesson summary:

SELF-ASSESSMENT SHEET OF STUDENTS IN THE LESSON:

Complete the sentences:

2. It was difficult for me at the lesson _____________________________________________

_______________________________________________________________

3. Now I can _________________________________________________

__________________________________________________________________

4. At the lesson, I succeeded in _____________________________________

______________________________________________________________

Homework: Write a brief history about one portrait.

Teacher: You were active today, listened carefully, well done! Thank you for your attention, the lesson is over. Goodbye.

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goal

Introduce students to the portrait genre.

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Tasks

Consolidation of knowledge about the genres of fine arts. Acquaintance with the history of the portrait. Acquaintance with the types of portraits. Development of skills to analyze works of fine art. Raising a sense of beauty.

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The task of creating a portrait makes us see a person in a new way, discover him for ourselves. It's amazing how people don't look alike! It seems that everything is arranged in the same way - eyes, nose, lips, and peering into faces, you are amazed human individuality! The special way of life of each person leaves a trace in his appearance.

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A portrait is an image of a certain real person. The meaning of the portrait is in the interest in his personality, endowed with individual qualities.

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For us, there is always the joy of recognition. But what does “like” or “not like” mean? According to the shape and proportions, the details of the face are reproduced - is this enough? It is equally important to convey the peculiarities of his behavior, demeanor, temperament. P.-P. Rubens. PORTRAIT OF THE MAINTENANCE OF THE INFANTA ISABELLA. Fragment. Butter. Flanders. 17th century

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Art brought to us the faces of different eras and peoples. We see them as they imagined themselves, but each image for us is something more than a resemblance to one person. In each image you can see the ideals of the era, the understanding of the surrounding world, the nature of life. And this is exactly what we especially appreciate in portraits. An artist's understanding of life enriches our understanding of ourselves. F. Lippi. Fragment of the temple painting. Fresco. Italy. 15th century

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During excavations in Fayoum, near Cairo, tablets with portraits made in wax were found. Stunning realistic images of people who lived two thousand years ago appeared before the amazed researchers. Their eyes are turned to us, in their images the predominance of spirituality over the body.

Slide 9

AT Ancient Rome the attention of artists focused on the features of the face - each fold, wrinkle or scar, revealed life path man, his nature. Here they did not care about external beauty, but in each portrait they emphasized strength of mind, stern confidence and the will to act. Portrait of Emperor Philip Marble. Ancient Rome. 1st century

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The Byzantine Empress Theodora is revealed in the shimmering mosaic of multi-colored glass cubes - smalt. She is depicted on the wall of the temple at the head of the procession. This woman had a conflicting, bright character and an eventful fate, but her personal qualities cannot be seen in the detached expression of a regal face, a frozen pose.

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The word "portrait" itself comes from Latin word. It can be translated as "extraction of the essence", that is, the identification internal content. This is the main task of creating an artistic image, only the meaning of this inner content is changeable, and therefore there is always a search for new artistic means, a new pictorial language.

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In the work of the artist Jean Clouet, a detailed costume does not interfere with seeing the face of King Francis I. Noble restraint and dispassionate majesty are combined with grace and an unkind, stubborn gaze. J. Clouet. Francis I. Oil. France. 16th century

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The assertion that through appearance you can convey the spiritual essence, it became especially important in the Middle Ages. With the Renaissance comes a new interest in real person, to the originality of his personality. The artists of the north of Europe have learned to depict specific people with special attention to the originality of their individuality.

Slide 14

In Russian art, artists first turned to the creation of portraits in the 17th century. And at first they wrote them in exactly the same way as icons - on the board with tempera paints. Such portraits were called parsuns, from the word "person". Since the time of Peter I, portrait art in Russia began to develop rapidly.

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Family portraits often adorned offices and living rooms in noble estates

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To late XVIII in. Russian painters have achieved perfect mastery. Portraits were usually divided into front and chamber.

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The main portrait was usually intended to show the social position of the hero. Such paintings are upbeat, solemn in nature. O. A. Kiprensky. Portrait of E. V. Davydov. Butter. Russia. 19th century

Slide 20

No less important was the chamber portrait, in which great attention paid individual characteristics person. His face is usually close to the viewer, confidentially revealing the inner world of the hero. At that time, a very complex and subtle ability to convey subtle quivering shades of experiences was especially appreciated. Portrait of Maria Lopukhina - the most famous of the portraits - images of youth, thoughtful and at the same time a little naughty girl in a white dress in a landscape

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A. G. Venetsianov. Self-portrait. Butter. Russia. 19th century

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Outstanding portrait works were also created in sculpture. At first, sculpture developed more slowly, because in Russia there was no tradition to put sculptural monuments(in honor of significant events laid temples), but gradually their masters appeared. The brightest was F. I. Shubin.

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Questions

Why not every image of a person can be called a portrait? How can one explain that artistic portrait shows through author's position artist? How does it relate to the task of portrait likeness? How do you explain how they differ from each other formal portrait and lyrical chamber portrait?

Slide 25

P.-P. Rubens Portrait of the chambermaid Infanta Isabella Empress Elizaveta Petrovna. Portrait by K. G. Prenner. 1754 State Tretyakov Gallery

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Goals: to acquaint with the image of a person in the art of different eras, with the history of the appearance of the portrait; to develop an understanding that the character of a person, his inner world should be expressed in a portrait image; to form the ability to find beauty, harmony, beauty in the inner and outer appearance of a person; to activate cognitive interest in the world around and interest in the learning process.

Equipment: reproductions of paintings depicting portraits of different eras; reproductions of Leonardo da Vinci's painting "La Gioconda"; Rembrandt Harmenszoon van Rijn; Ilya Efimovich Repin "The ceremonial meeting of the State Council".

Dictionary: portrait.

During the classes

1. Organizational moment.

Greetings.

I see myself in a mirror
But this mirror flatters me... -

wrote Alexander Sergeevich Pushkin after seeing his portrait painted by Orest Adamovich Kiprensky. The poet, no doubt, looked like himself: the same long face, the same curly hair and lively eyes, sideburns framing clear and delicate features. But where did his inherent mischief and irony go? A majestic sage appeared before Pushkin, a little tired and sad. This is how the artist saw the poet. This is how, one hundred and seventy years later, we imagine Pushkin.

2. Learning new material.

The topic of our lesson is “Portrait”.

The genre devoted to the image of a person or a group of people is called a portrait. The very word "portrait" comes from the Latin word. It can be translated as “essence extraction”, i.e. revealing the inner content. To draw it looks like it is not the only and far from the main task of a portrait painter. He is also required to convey the inner world, the state of mind of a person, his position in society. And, most importantly, the portrait painter must express his personal attitude to the model (as the person being portrayed is called). The artist has the right to his own opinion, even if the person being portrayed presents himself differently.

“From the history of the portrait”

The art of portraiture was born several thousand years ago. The earliest surviving works of this genre are giant sculptural images of the ancient Egyptian pharaohs, carved from stone. Thousands of slaves worked to make them. These huge statues were supposed to elevate the pharaohs to an unattainable height, liken them to gods.

There were smaller sculptures in ancient Egypt. For example, the portraits of Pharaoh Akhenaten, Queen Nefertiti and their six daughters made in the workshop of the sculptor Thutmes. Before us are ordinary human faces, but executed so skillfully that it is hard to believe in their current “age” - three and a half thousand years!

The genre of sculptural portrait reached perfection in ancient Greece, where the human personality was so highly valued. Models for the sculptors were philosophers, poets, politicians who had services to the country. Therefore, the artist, depicting a specific person, at the same time created the image of an ideal citizen.

In the history of art, the portrait genre has not only never died out, but, on the contrary, has flourished at all times - primarily because there have always been customers.

In ancient Rome, they were noble citizens and members of their families. Now we can learn a lot about how they dressed in those distant times, what hairstyles and jewelry they wore - how accurately and truthfully the Roman sculptors worked.

Along with the usual, an allegorical (allegorical) portrait also developed. In ancient Egypt, the pharaohs were depicted in the form of the god Osiris, the queen - the goddess Isis. In ancient Greece, Tsar Alexander the Great was represented as the fairy-tale hero Hercules, dressed in a lion's skin and holding a club. And in ancient Rome, the emperor was given the appearance of the supreme deity of Jupiter.

The genre of the pictorial portrait developed later, in the Renaissance. Then the portrait began to be divided into front and chamber.

The ceremonial portrait depicts a man at the moment of his triumph. His whole appearance speaks eloquently about this: magnificent clothes with insignia and decorations, an elaborate proud pose. It seems that the model is frankly posing for the artist.

The complete opposite of the front door is a chamber portrait. The name itself suggests that it is intended not for ceremonial halls, but for small rooms (the word “chamber” means “room” in Latin). A chamber portrait introduces us to the inner world of a person, often unknown. The pose of the model is relaxed. It gives the impression that the person being portrayed does not even suspect that he is being painted.

Portrait painting reached its greatest flowering in the 17th century. From this era, images of gentlemen and peasants, children and old people, kings and jesters have come down to us ... Incredibly, all this human diversity was embodied in his work by the Spanish artist Diego Velasquez.

For many years he was a painter at the court of the Spanish kings. His ceremonial portraits are very solemn and magnificent. They represent the royal family and court nobility in all their external splendor: exquisite costumes made of velvet and brocade, studded with jewels and embroidered with gold and lace, are able to amaze the richest imagination.

But the poses of the models are too reminiscent of the poses of mannequins, and for ostentatious luxury no human soul is visible.

The artist painted these paintings to order, and for himself he painted royal jesters. The freaks, who were constantly mocked by those around them, evoked deep compassion and sympathy from Velasquez, which is clearly seen in numerous portraits.

The artist revealed to us that the inner beauty and nobility of these people were hidden behind modest clothes and physical defects.

A brilliant master of the chamber portrait was Dutch painter Rembrandt Harmens van Rhine. The images he created are permeated with a variety of feelings: joy, sadness, deep thought, fatigue, dignity, curiosity. Rembrandt's models seem to speak to us. We clearly hear each of their stories, “told” by eye movements, eloquent hand gestures, expressive posture… The great Rembrandt painted self-portraits throughout his life. There are about a hundred of them, and today we can trace his difficult fate through them.

The portrait genre came to Russia only in the 18th century, together with European artists invited by Peter the Great. At first, the portraits, then called "parsuns" or "persons", depicted the king himself and his entourage.

Later, in the first half of the 19th century, the hero, a romantic person, becomes the main model. Patriotic War 1812 brought to the fore active, decisive people. This is exactly how the hussar colonel E.V., painted by Kiprensky, appears before us. Davydov: a bright red dress uniform, a firm look, a confident pose.

In the second half of the 19th century, romanticism gave way to realism, and the ceremonial portrait to chamber.

Big role the Wanderers played in this. This is how the members of the Association of Traveling Exhibitions called themselves. His inspiration was the brilliant portrait painter Ivan Nikolaevich Kramskoy.

“The Ceremonial Meeting of the State Council” contains eighty-one models, and all are written with a portrait resemblance.

Conversation on the painting by Leonardo da Vinci "La Gioconda".

Teacher. Of all the huge number of portraits in the world, there is one that almost every person on earth knows about, but which keeps its own mystery even after many years. What do you think this portrait is?

Gioconda!

Why does this portrait of Leonardo da Vinci still amaze people? Why does everyone who looks at the portrait try to unravel the riddle of this picture, but it remains unsolved?

(Student's message).

3. Tasks facing the artist.

The artist must be able to depict a person in various positions, in motion. In a person, the most important, the most expressive is his appearance and face. Therefore, the artist begins to study a person by drawing a head.

It is necessary to study the anatomy, which is

A portrait is an artistic image of a person. It should feel a specific personality with its inherent, and only her, features of appearance, psychology, moral character. The main thing is to convey the essence of the person being portrayed.

4. Practical work.

Task: Draw on a free topic.

5. Summing up the lesson.

Bibliography.

1. encyclopedic Dictionary young artist. Compiled by N.I. Platonova, V.D. Sinyukov. - M .: Pedagogy, 1983. - 416 p., ill.

2. Dickins R. McCafferty Ya. How to learn to draw faces. Translation from English by N. Vedeneeva. - M.: LLC "Publishing house ROSMEN-PRESS", 2002. - 64, 64 p.

3. I.G. Mosin. Painting. Types and genres. LLC - "U - Factory", 1999

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I see myself as in a mirror, But this mirror flatters me ... A. S. Pushkin

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Man has an instinctive desire to know himself through the image. For this primitive looked into the water surface at his image, we are drawn to the mirror. But a person wanted not only to see himself, but also to perpetuate his image with the help of some material.

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Whatever art speaks about, it speaks about a person, about his life, about the environment in which it passes, about joy and sadness, about his faith and hope, about his pride and desire to be understood, loved. The task of creating a portrait makes us see a person in a new way, discover him for ourselves and for him too. It's amazing how people don't look alike. It seems that everyone is arranged in the same way, but looking at the faces, you are amazed at the human individuality. The special way of life of each person leaves a trace in his appearance. ______________________________________________

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A portrait is an image of a certain real person.

In a portrait, it is important to convey the characteristics of a person's behavior, demeanor, temperament. In an effort to reveal the image of the person being portrayed, the artist also speaks about himself. historical time also intrudes into the portrait. The artist conveys the image of a person through the prism of time. In the portrait you can see the ideal of the era, the nature of life, the world. ____________________________________________

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Scenic Sculptural Graphic So, you can select a portrait:

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A. Durer. Self-portrait. Picture. Germany. 15th century P. Rubens. Portrait of the maid Infanta Isabella. Flanders. 17th century

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Portrait of a young man. Fayum portrait. Ancient Rome. 1st century Portrait of Emperor Philip. Ancient Rome. 1st century

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The portrait has been around for a very long time. For the people of antiquity, the preservation of their appearance seemed to be a means of getting into the world eternal life, and they found ways to mimic faces. A plaster or wax mask was made from the face. The word "portrait" comes from the Latin word, it can be translated as "extracting the essence." This is the main task of creating an artistic image. ___________________________________________

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From the history of the portrait.

The art of portraiture was born several thousand years ago. The earliest surviving works of this genre are giant sculptural images of the ancient Egyptian pharaohs, carved from stone.

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The genre of sculptural portrait reached its perfection in ancient Greece. Models for the sculptors were philosophers, poets, politicians who had services to the country.

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In ancient Rome, noble citizens and members of their families were customers.

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The picturesque Fayum portraits served the same purpose.

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Empress Theodora. Byzantium. 6th century S. Botticelli Italy. 15th century

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The assertion that the spirit of a person can be conveyed through appearance became especially important in the Middle Ages. With the Renaissance comes an interest in the real person. Artists have learned to depict specific people with special attention to their unique individuality. ____________________________________________

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The genre of the pictorial portrait developed later, in the Renaissance. Then the portrait began to be divided into front chamber

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Ceremonial portrait - shows the social status of the hero, is of a solemn nature. Chamber - much attention is paid to the individual characteristics of a person, the face is close to the viewer, the experience and inner world of a person are transmitted. ___________________________________________

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In the Renaissance, artists endowed portraits with intelligence and spiritual harmony.

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Jean Cloue. Francis 1. France. 16th century R. van der Weyden. Portrait of a young woman. Netherlands. 15th century

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Of its greatest bloom portrait painting reached in the 17th century. From this era, images of gentlemen and peasants, children and old people, kings and jesters have come down to us ... Incredibly, all this human diversity was embodied in his work by the Spanish artist Diego Velasquez.

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With a dreamy enigmatic smile she poses... Thoughtful and great He reproduces with his flexible brush her luxurious figure and incomparable face... But suddenly he puts down the brush. Solemnly and importantly, he says: “Let the centuries pass! I finished this work, I went to the goal bravely; I trembled with my heart, but my hand did not tremble! You, forever fair-haired, with heavenly eyes, with a smile of happiness on pink lips, how will you now rule over hearts when we both turn to dust ...

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A brilliant master of the chamber portrait was the Dutch artist Rembrandt Harmensvan Rein.

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In the 17th century, artists turned to the image of simple, nothing famous people and discovered in them the greatest wealth of the soul and humanity of Rembrandt. mother portrait

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In Russian art, portraits were first painted in the 17th century, like icons - on a board and with tempera paints. And they were called "parsuna", from the word "person". Since the time of Peter 1, art in Russia began to develop very rapidly. Russian artists not only adopted other people's techniques, but also invented their own. Family portraits adorned offices and living rooms, even special portrait rooms appeared. __________________________________________

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18 age of prosperity portrait in Russia Borovikovsky. Portrait of Lopukhina Bryulov. Portrait of a girl

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G.Ostrovsky.Portrait of E.P.Cherevina. Russia. 18 century. Prince M.V. Skopin-Shuisky. Parsuna. Russia. 17th century

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The Patriotic War of 1812 brought active, decisive people to the fore. This is exactly how the hussar colonel E.V., painted by Kiprensky, appears before us. Davydov: a bright red dress uniform, a firm look, a confident pose.

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In the 19th century, artists convey individuality with the help of characteristic facial expressions, postures, gestures, and the role of a person in society is assessed. Tropinin. Lacemaker

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In the second half of the 19th century, romanticism gave way to realism, and the ceremonial portrait to chamber. Wanderers played a big role in this. This is how the members of the Association of Traveling Exhibitions called themselves. His inspiration was the brilliant portrait painter Ivan Nikolaevich Kramskoy.

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I. N. Kramskoy "Mina Moiseev"

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I. N. Kramskoy "Stranger"

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The controversial 20th century mixed reality in art with abstractness and deformation of models. The main thing in the portrait is not the image, but the character.

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"The Ceremonial Meeting of the State Council" contains eighty-one models, and all are written with a portrait resemblance.

The difference in the interpretation of the religious image, which for early Italian art remains the focus of both artists and sculptors, will become clear when comparing some monuments of Ducento and Trecento painting among themselves, among which the works of the outstanding master of the Sienese school Duccio di Buoninsegna and, especially, his younger and great contemporary, Giotto, that "Giotto, the Florentine" who "after a long study" of nature "surpassed not only the masters of his age, but all over many past centuries," as Leonardo da Vinci said of him.

Giotto was ahead of his time, and long after him Florentine artists imitated his art. Giotto is the first among the titans of the great era of Italian art. Vasari wrote about him: “And truly the greatest miracle was that that age, both rude and inept, had the power to express itself through Giotto so wisely that the drawing, about which the people of that time had little or no idea, thanks to him completely returned to life. ".

Petrarch, although he preferred the Sienese because of his literary inclinations, noted that the beauty of Giotto's art affects the mind more than the eye. Boccaccio, Sacchetti, Villani join the same praise: Giotto revived painting, which had been in decline for centuries, giving it naturalness and attractiveness.

Giotto di Bondone (1266/76 - 1337) was born in Florence and moved to Rome at the end of the 13th century, in addition to these cities, he worked in Naples, Bologna and Milan.

Giotto's most remarkable work is the murals in the Arena Chapel in Padua, built on the site of an ancient circus.

Like illustrations or slowly changing frames of a film, these frescoes seem to lead a calm story, linking scenes that are heterogeneous in plot into one harmonious whole. He brings new details to old medieval stories. He humanizes them so much and gives them such vital visibility that by this alone he already anticipates the ideas of the Renaissance. The main merit of Giotto lies in the new interpretation of the image of a person, which becomes vital and real for him, endowed with a more subtle psyche than in the art of antiquity.

Giotto's art is truly classical art rather than imitation of classical forms. Evidence of this is a generalizing view of reality (although understood as the relation of the human to the divine), expressed in the balance of closed masses, the universality of the display of history, in the completeness of the transmission in the visible form of a diverse content without any hints.

The image of a man courageously enduring his trials and calmly looking at the world around him runs like a leitmotif through Giotto's Padua cycle. Giotto's man resists the blows of fate like an ancient Stoic. He is ready to humbly endure his hardships without losing heart, without becoming hardened against people. Such an understanding raised a person, affirmed his independent existence, gave him courage.

The basis of the heroism of man in Giotto was his active attitude to life. Giotto's man finds the application of his active forces in relations with other people, in his inseparable connection with the world of his own kind.

The range of human experiences in the work of Giotto is rather limited. Man is just beginning to acquire his dignity. He does not yet know the proud self-consciousness, the ideal of the personality of the humanists. Inseparably connected with other people, in this connection he also reveals his dependence. Hence the main gamut of his experiences: hope, humility, love, sadness. Only curiosity, clarity of thought allow a person to rise above his destiny. This thirst for knowledge was also familiar to Dante, who even in Paradise, contemplating the fiery sky, feels in his chest an unbearable desire to know the root cause of things.

One of the most touching images man created by Giotto is Christ in the Kiss of Judas scene. The majestic figure of Christ occupies a central place among the crowd of warriors and disciples. On the left, Judas comes up to Christ to kiss him. The face of Christ is marked with the seal of the greatness of the Almighty, a formidable judge, but not a suffering God.

Giotto made the same revolution in his interpretation of this scene, as Leonardo did much later in his "Last Supper". The "iconic scheme" gives way to tense drama in all deeply moving humanity. Christ remains exceptionally calm, although he apparently knows about the betrayal of the disciple. This calmness, combined with a clear consciousness of his fate, gives him the character of sublime heroism.

The face of Christ in The Kiss of Judas is remarkable for its exceptionally regular features. The profile of Christ is distinguished by proportional proportions antique sculpture. Giotto rose here to the heights classic beauty. Giotto goes beyond the ancient ideal of the human person. The perfect man is conceived by him not in a happy and serene being, but in active relationships with other people. Giotto was able to combine the ideal of classical beauty with the deepest fullness of human spiritual life. The new pictorial system and the understanding of the picture as a scenic unity gave him the opportunity to embody the image of a perfect personality in its effective relation to the world around and, first of all, to other people. Lamentation of Christ is one of Giotto's most mature compositional decisions. Giotto perceives the event of death epic, with a sense of the inevitability of what has happened. "Mourning for Christ" is a scene of farewell to the dead people grieving for him. Christ lies like a lifeless corpse, but retains all the nobility and grandeur of a hero who has finally found peace. The whole scene is conceived as a single whole. The artist with a clear look covers the action and builds dramatic scene comparing different shades of emotional experiences. The node of the composition is the farewell of the Mother of God, crouching to the corpse of her beloved son. This is despair, finding no words, no tears, no gestures. Giotto clearly sees physical movements in their inseparable unity with the spiritual life of a person. The spiritual life of man is objectified by Giotto. This overflows with high cognitive pathos of his work and gives such inner calm and vivacity to his most tragic scenes. This position also determines the compositional decisions of Giotto, his desire to construct a picture in such a way that the arrangement of the figures in the perception of the viewer is imprinted in the form of a visual, clear spectacle.

The value of Giotto's work cannot be overestimated. Giotto's works are distinguished by emotionality and expressiveness unusual for previous painting. Historical meaning Giotto's innovations for the development of fine arts were already comprehended by his contemporaries.

Giotto, one of the first artists, put man at the head of his work.

Giotto was ahead of his time, and only a hundred years later another Florentine - Masaccio - raised art to an even higher level. Together with the brilliant sculptor Donatello and the great architect Brunelleschi Masaccio(1401 - 1428/29) is the defining figure of the first stage of the Renaissance - the first half of the 15th century. For everything in his compositions acquired stability and, as Vasari says, he was the first to put people on their feet in them. And in this he, after Giotto, marks a new giant leap in the history of European painting.

The main monumental work of Masaccio was his frescoes in the Brancancci Chapel of the Church of Santa Maria del Carmine in Florence, which became, as it were, a model and a school for several generations. Italian masters. In the Brancancci Chapel, Masaccio depicted Adam and Eve in Paradise, their exile, as well as a number of scenes from the life of the Apostle Peter. Masaccio took the next decisive step after Giotto in creating collective image a person who is now freed from the religious and ethical background and imbued with a new, truly secular worldview. He used the possibilities of chiaroscuro in a new way, simulating a plastic form. The composition "The Miracle with the Satyr" is magnificent. Three different moments of the gospel legend are combined in one scene. The group of those expelled from paradise is also remarkable: Adam walking wide, covering his eyes with his hands, crying Eve with a face distorted with grief. The artist is fascinated by the structure of the body, the architecture of its masses.

Masaccio's discovery in the field of ethics is as striking as Brunelleschi's discovery in the field of knowledge: it infinitely expands the worldview of man. Just as nature makes no distinction between the beautiful and the ugly, so in the realm of morality there is no a priori given good and evil. Masaccio intuitively feels that only the presence of a person in the world gives him the greatest responsibility, that his duty is to somehow express his attitude to reality. The types of people he created are saturated with such a deep sense of material existence that we fully feel their strength, courage and spiritual expressiveness, which gave the gospel scenes depicted the greatest moral sense. Masaccio lifts us up high level his realistic worldview by the fact that the image of a person in his interpretation acquires a new value.

In painting of a later time, we can find a greater perfection of detail, but I think that we will not find in it the former realism, strength and persuasiveness. And what power lies in the youths of Masaccio's brush. What seriousness and imperiousness in his old people! By comparison, the figures painted by Masolino look helpless, and the images of his successor Filippo Lippi are unconvincing and insignificant, because they do not have the necessary value. Even Michelangelo is inferior to Masaccio in realistic expressiveness of images. Compare, for example, "Expulsion from Paradise" on the ceiling Sistine Chapel with the story of the same name painted by Masaccio on the wall of the Brancancci Chapel. Michelangelo's figures are more correct, but less tactile and powerful. His Adam only diverts the blow of the punishing sword from himself, and Eve clings to him, pitiful in her servile fear, while Adam and Eve Masaccio are people who leave paradise with a broken heart of shame and grief, not seeing, but feeling over with the head of an angel that guides their steps into exile.

Thus, in the ability to distribute light and shadows, in creating a clear spatial composition, in the power with which he conveys volume, Masaccio is far superior to Giotto. In addition, he is the first in painting to depict a naked body and gives a person heroic features, glorifying human dignity, exalting man in his power and beauty. Masaccio was a great master who understood the essence of painting, he was highly enlightened by the ability to convey tactile value in artistic images. He showed Florentine painting the path that it followed until its decline.

Simultaneously with Masaccio, he also worked great sculptor Donatello(1386 - 1466), which is simply impossible not to mention in his work. In his realistic work, Tuscan sculpture rose to great heights. We know of this man that he was an indefatigable worker who devoted himself to hard work in search of artistic perfection. Donatello represents the dramatic and realistic trend.

Equalizing plasticity with architecture, he was the first to create statues, following the example of the ancients, free-standing, visible from all sides, full-fledged in themselves, which, however, did not exclude their harmonious combination with architecture. Having returned to sculpture the independent meaning that it had in ancient art, he, with even greater consistency than his Romanesque and Gothic predecessors, endows his images with a bright individuality, deep humanity, so that his saints and heroes seem to us quite real personalities.

According to Vasari, while working on one of his marble figures, Donatello shouted at her: "Speak! Speak!" The figure of David, created by him in 1409, is the first completely naked figure in the then Gothic scheme: the tension of the leg stretched forward, the axis of rotation is the other leg, an unexpected rush of movement in the lines of both hands, a live turn to the right of the head tilted to the left. But this scheme is emasculated, reduced to purely lines of force, accentuated and opposed to each other in a restless harmony, very far from the Gothic rhythm. It is believed that Donatello used the motif of the ancient statue of Hermes in this sculpture, but in the closed silhouette of David - although he is depicted in a state of rest - there is a feeling of such sharpness and tension that the profound difference of this work from its more harmonious ancient prototypes is quite obvious.

Statues sculpted by the sculptor in several stages between 141 - 1436. show how his idea of ​​a "historical character" is changing. Even before he depicts a simple peasant in the image of the crucified Christ, he dresses the Florentine citizens in the robes of evangelists and prophets, and dresses a young man from the people in the armor of St. George. But he does all this not out of a vain desire for similarity, but because he really finds in the appearance and in the moral leaven of the Tuscans greatness, strength and life realism, glorifying Coluccio Salutati and Leonardo Bruni as the first "civil" virtue. Before us are images that undoubtedly have come down to us through the centuries, but at the same time bearing the undeniable stamp of modernity. These are not "shadows of the past", but living people revealed to us by the will of the sculptor. The bronze "David" (c. 1430) is no longer the determined young man and self-confident hero from Orsanmichele. Before us is a thoughtful young man, almost amazed that he had the honor to accomplish such a glorious feat. His body is slightly deviated from the central axis: the half-bent leg is set aside, due to which the center of gravity of the body is transferred to the other leg. This statue indicates a departure from historical concreteness and a preference for the melancholic imagery of a religious legend.

Donatello achieved great power in the equestrian bronze statue of the condottiere Gattamelata in Padua. On a powerful warhorse Gattamelata, thin, slightly stooped, looks small. But in the gesture of the hand with the rod, a restrained, imperious force, reasonable and strong-willed, is visible. "The Entombment" is one of Donatello's most tragic reliefs, where the tragic is only a means, not an end in itself. Astonishment, like grief in "The Entombment", is experienced not by individuals, but by a whole crowd. History for an artist is an endless cycle, each event is just a link in a common chain. Donatello destroys with his own hands that humanistic ideal of personality, for the establishment of which he did so much. Here begins the crisis of humanism, which will soon culminate in the art of Leonardo. Being a person extremely sensitive to changes in the historical situation, Donatello in last period of his work, he feels the growing crisis of the great ideals of the dawn of humanism, starting from the ideal of the individual and ending with the ideal of history. "Judith" with his helpless gesture and lost look, fixed on emptiness, as if speaks of the futility of heroic efforts.

This is how it ends creative way Donatello, an amazingly versatile artist in his art.

Finishing writing about the art of trecento and quartocento, we note the main stages on the way to perfection, that is, to art. High Renaissance. A lot of schools, a lot of masters were not even mentioned by me. Among them: Sandro Botticelli, who is difficult to rank among the typical masters of the Renaissance. The soul of Botticelli, torn by contradictions, who felt the beauty of the world discovered by the Renaissance, but was afraid of its sinfulness, does not stand the test. I also note the Florentine painter Filippino Lippi (son of Filippo Lippi), a student of Botticelli and Pietro di Cosimo, Benozzo Guzzoli, Francesco del Cossa, Ercole Roberti and Lorenzo Costa.