Images of animals in art. Exhibition Animals. Birds. Fish. The image of an animal in fine art Famous paintings and artists of the animal genre. Creators of the East
And minimalism is a genre in fine art dedicated to our smaller brothers. The heroes of the works of animal artists are animals and birds (animal - from Latin “animal”). Love for life and nature, perception of oneself as a part of the living world - this is what drives the brush of creators, bowing their heads before the creatures to which man is greatly indebted.
History of animalism in painting
Animal painters in their works try to maintain the accuracy of the image of the animal and at the same time add artistic expressiveness to the image. Often the beast is endowed with human traits, actions and emotions. The origins of this type of art lie in the primitive world, when in cave paintings ancient people tried to convey the anatomy of the animal, its beauty and danger to humans.
From the origins of antiquity
Sculptural monuments of animals and animalistic ceramics are an integral part of the history of Ancient Africa, America and the East. In Egypt, gods were often depicted with the heads of birds and animals. Ancient Greek vases also contain decorative images of animals. Animal art was equally developed in all countries.
Middle Ages
The Middle Ages added an allegorical and fabulous quality to images of animals. The favorite characters of the masters of that time were dogs. True friends surrounded a person in everyday life, on a walk, or while hunting. The famous Venetian painter of the 16th century, Veronese, introduces the image of a dog into religious subjects - animals follow the Savior’s foot.
Renaissance
Renaissance masters tried to paint animals from life, which was quite difficult. You can’t force any animal to freeze and pose. In the 17th-18th centuries, animal painting developed rapidly in the Netherlands, France and Russia. Images of animals can be found in paintings Rembrandt, Rubens And Leonardo da Vinci. In Russian creativity, Serov gave special meaning to images of animals - his illustrations to Krylov’s fables convey the ideas of instructive texts with inimitable liveliness and satire.
On the threshold of the millennium
The 19th-20th centuries moved animal painters a little away from romanticism and sublimity in creating images of animals. Realism becomes a characteristic feature of the era. Painters try to accurately convey the anatomy of the animal. Color, pose, habits - everything is so photographic in the paintings that it is sometimes difficult to see the trace of the artist’s brush. Later, hyperrealism became widespread in animal painting, when small details are brought to the fore at the will of the master who wants to emphasize one of the qualities of the animal.
Famous paintings and artists of the animal genre. Creators of the East
One of the first representatives of animal painting in painting was the Chinese artist Yi Yuanji, who worked at the beginning of the 11th century. He became famous for his unique images of monkeys in scenes imbued with the style of the East. Emperor Xuande of the Ming Dynasty continued his ideas. Drawing monkeys and dogs was his favorite pastime.
Painters from Europe and the world
Famous German Albrecht Durer, who worked during the Renaissance, left numerous watercolors and lithographs that quite realistically convey images of animals ( "Lion", "Rabbit", "Stork" and others).
The Fleming Frans Snyders (XVI-XVII centuries) is considered a truly outstanding animal painter. His still lifes with hunting trophies are real masterpieces that adorn numerous galleries and exhibition halls in Europe. Some of the artist’s most popular paintings are “Deer Hunting” and “Fox and Cat”.
Animal painting was not a popular genre of painting at that time, but the bourgeoisie loved to commission paintings of horses and other domestic animals. Portraits of people in the Baroque style often included images of birds and animals.
It is also impossible not to remember one of the strongest animal artists of the 20th century - Canadian Robert Bateman. His bison, elephants, lions, deer and leopards look at the viewer from the window of wildlife, slightly open on the master’s canvas.
Russian artists
Russia has revealed many great animal painters to the world. Vasily Vatagin devoted his life to studying the habits and plasticity of animals. His works in graphics, watercolor and pencil are so piercing that you feel the breath and gaze of the animal on you. Excellent examples of works in the animalistic genre of Serov - "Horse Bathing" And "Oxen".
Another unsurpassed master of Russian animal painting is Konstantin Savitsky. It was his famous bears that ended up in Shishkin’s painting “Morning in a Pine Forest.” Evgeny Charushin, Konstantin Flerov, Andrey Marts are representatives of the Soviet period in the development of the direction.
Animal painting in the modern world is very close to the art of photography. Fine craftsmanship and great love for living beings are required to create such masterpieces. Artists seem to be knocking on the human heart with a request: “Take care of this natural world, it is leaving us.”
Russian State Pedagogical University named after. A.I. Herzen
Faculty of Fine Arts
Department of Art Education and Museum Pedagogy
COURSE WORK
IN ART HISTORY
"The image of animals in folk art"
Completed by a student
III year OZO group No. 4
Ivanova L.G.
INTRODUCTION
Chapter I. Animals as a symbol in folk art.
1 Folk art: specificity and symbolism.
2 Zoomorphic pendants.
Chapter II. The image of a bird in folk art.
1 Bird symbol.
2 Whistling birds.
3 Image of a bird in Russian folk embroidery.
4 Bird's egg in folk art.
CONCLUSION
References.
INTRODUCTION
folk art folklore bird
The course work is devoted to the image of animals in folk art.
We live among symbols without even realizing it.
In everyday life and works of art, people often replace various phenomena and concepts with a sign symbolizing the elements, gods, and animals. These signs may vary. From geometrically simple ones (cross, triangle, disk) to images of humans and other living beings, and their combinations.
A symbol is a sign that has a systemic and functional meaning. It is created and used in public life for a specific purpose - storing and transmitting information, sometimes intended for certain circles or groups. The symbol defines convention, information content, and ambiguity.
Symbolism is a system of signs or figurative structures, rich in various shades of meaning. And the symbols themselves are closely connected with ideology, everyday life, and are considered, a kind of “instruction” for human behavior in society.
At the same time, an allegory is a simple encrypted thought with the only possible content.
And the third concept, widely used in art, is an attribute - an object, an animal, a sign - which is depicted with a certain character and by which he can be identified.
In primitive times, when a system of symbols was taking shape, people tried to determine the nature and phenomena surrounding them with the help of signs, totems, gods, and also to influence them in the desired direction.
Cult symbolism, which underwent minor changes, retained its meaning for centuries and even millennia. The clear symbol system of Ancient Egypt, of course, was not a discovery of that time. It was created over centuries and not by one person, but by society as a whole.
Antique symbolism borrowed a lot from Ancient Egypt and became widespread in Western Europe after the Crusade to Constantinople in the 13th century.
The symbols have multiple meanings. Each sign can have a large number of meanings and, what is especially important, they can not only complement, but also contradict each other.
There are two ways to create symbolic systems. One develops, is filled with new meanings in a certain region, the other is inherited or migrates from other regions. This probably explains the fact that in various epics of the world and folk ideas there is a significant similarity in the use of symbols and their meanings. This is especially noticeable in the works of ancient Egyptian and ancient authors, in Irish sagas, German epics, Slavic epics and in general among the peoples of Indo-European culture.
At the same time, some symbols belong to a certain region, have developed and are used in the life of a given society.
Much has now been forgotten. However, the preservation of old symbols - according to D.S. Likhachev - is one of the tasks of modern society and is considered by him as the concept of “ecology of culture”.
One of the embodiments of symbolism in world culture is folk art.
Russian folk art is a kind of Troy, hidden from us by layers of cultural eras. First of all, it is a fusion of customs, styles, rituals of many peoples inhabiting our land, where geography has always dominated over religion and blood.
Some crafts have a centuries-old history and traditions dating back to ancient times, others arose before our eyes, literally in the last decade. They are very diverse.
Even before the advent of writing, people began to write their books, using ornamental signs, images of birds, animals, people, and plants. In these books, he talked about his life, about his beliefs, customs, his idea of the world - in a word, about everything that surrounded a person, what he carried within himself, and what Georgy Gachev calls the national cosmos.
And many centuries after the invention of writing, and even to this day, people continue this work, reproducing features and cuts, and signs of people's memory, perhaps even forgetting their meaning.
The purpose of this course work is to consider the image of animals in folk art.
Job objectives:
identify the specifics of folk art;
consider the image of a bird in folk art.
Chapter I. Animals as a symbol in folk art
1 Folk art: specificity and symbolism
In its pre-princely period, being free, the Russian land gave shelter to many tribes and peoples fleeing from conquerors, famine, conflicts - from the south, west and east. And only by the end of the first millennium they tried to unite into a kind of superethnos, within the boundaries of both a single supra-tribal Russian language and a single supra-tribal God, not forgetting the gods of the faiths and customs of their tribes that they brought with them. That is why, speaking about the main subjects of Russian folk art, we have to turn to the experience of cultures both in our north and in the west, south and east, and see in folk art a kind of supertext of the common book of people's memory.
Few people now remember that clay and wooden figurines, images on fabric in the distant past participated in magical rites, were the visible, real embodiment of totems - the mythical ancestors of a given clan (tribe), idols, spirits, gods, people and animals sacrificed powerful forces of nature. But today we can make an attempt to understand, to read what was written down in the people's book. The materials on which it was written were different. The genres are also different - toys, embroidery, household utensils, housing and clothing.
The folk toy - in its original form, a cult and ritual sculpture, an instrument of magic - was at the same time a phenomenon of folk art, in which the aesthetic and sacred principles were fused together.
The images of toys preserve echoes of ancient paganism and contain the “memory” of the distant past: the beliefs and superstitious ideas of the people. As this issue was developed, it turned out that it is significant, very serious, and the images of folk toys often have in their life and origin not only centuries, but also thousands of years ago, sometimes even more ancient. The toy combined two amazing features: on the one hand, it often turned out to be very ancient in shape, comparable to examples, say, even of early antiquity (such are the similarities of many female clay figurines with the famous and now famous figurines of maiden-priestesses - goddesses from snakes - from the Palace of Knossos on Crete, discovered by the famous archaeologist Evans); on the other hand, the toys turned out to be filled with an amazing vitality that made them native to every era, despite their so long existence and the minor changes that occurred in their forms. Clay and wooden horse-whistles are always extremely generalized in form and expressive; the master does not convey any details, but focuses our attention on the horse’s head, its muzzle and flexible neck; the body is given in an extremely generalized, simple manner, and in the further form we seem to “guess” the appearance of the skate. His image echoes, for example, images of bronze pendant horses among the ancient Slavic tribes of the Vyatichi, Radimichi, Krivichi and others of the 11th-13th centuries. The similarity is striking. We see the same images, but in wood and clay, on toys of the Russian North, in a number of toys from Gorodets, in numerous and unusually varied toys made from clay, by Abashev, Filimonov, Vyatka (Dymkov) and many others. And everywhere they express an ancient, full of great content and sometimes quite complex mythological image. It, of course, has long been forgotten, lost, but through the efforts of scientists the veil is lifted over the mystery, and we begin to see what is no longer visible at first glance. Their ornamentation is also often ancient: it is a primitive geometric pattern, the same as many archaeological products, not only on ancient sculpture, but in general on products of various types and purposes. This antiquity of the ornament of toys has been noted by many, and it, as a rule, accompanies the most ancient toys in form and image. Northern wooden and clay skates are so simple and extremely laconic in their strong and strong colors; in the Gorky region, the most primitive wooden skates were made in Lyskovo and Yakovlevo; their painting is simple geometric in nature; Many ancient images were preserved by the Filimonovskaya and Abashevskaya clay toys. Now many other centers of the simplest clay toys have been discovered and are being directly investigated. It is very typical for the northern and especially central regions of our country, where clay toys are very widespread, where craftsmen sculpt figurines of horses and riders, animals and birds, some of them serve as whistles (this is, as a rule, the most ancient type of product
The subjects of Paleolithic drawings and sculptures clearly demonstrate their direct connection with the basis of the existence of people of the Ice Age: with the hunt for bulls, horses, goats, mammoths and rhinoceros. The Ice Age cave dweller had to deal with such predators as the lion, leopard, wolf, and hyena.
It is not surprising that the image of the beast, the hunt and its results are presented in many cases completely clearly, with all the expressiveness of which Paleolithic man was capable. The primitive artist depicted hunting not only out of internal need, but also for a very specific practical purpose.
As ethnographic data testify, the depiction of hunting, killed and wounded animals, or even just animal figures always has the goal of bewitching and bewitching the animal, mastering it, and ensuring the success of the hunt.
This naive belief has a logical basis - a principle that can be expressed by the formula: like causes like. The painted beast is “involved” with the real beast, therefore a wound inflicted on the image of the beast means a wound inflicted on a living beast. The cave paintings show wounded, dying animals, wounds, as well as the weapons used to inflict them.
The famous dying bear from the Three Brothers Cave, engraved on the rock, is also presented in this form. The beast, huge and ponderous, is shown in a pitiful and helpless state, as a target for numerous blows. Dozens of ovals and circles - wounds - are inscribed in the contour of his body. Blood, depicted in whole bunches of strokes, gushes from the open mouth, and life goes with it.
The drawings of wounded animals specifically show the cause of their death. On the body of the Montespan bear, oblique lines are scratched, converging in the form of a triangle. These are undoubtedly darts or arrows with long teeth, like a harpoon. In addition to hunting animals with spears, darts or arrows, Paleolithic paintings should have reflected other methods of hunting, especially mammoth and rhinoceros, using traps and wolf pits, as well as various structures in the form of fences or even nets.
It is very likely that precisely such tectiforms - trapping pits with stakes at the bottom - are depicted on the mammoth figures in the Font de Gaume cave, where they have an appearance reminiscent of the hut shown in section. It has a gable roof. Inside, oblique stripes show beams or rafters. In the middle rises a central pillar, the end of which protrudes outward. In Bernifal Cave, a mammoth is engraved inside a tectiform. He must be caught and trapped.
In the caves of Spain, in Altamira, as well as in Castillo, mysterious signs in the form of “stairs” and “ribbons” are painted on the walls, which can conditionally convey the construction of hunting fences for catching animals. There is one scene in Montespan that shows a horse shaded with vertical lines, as if caught in a trapping fence - a palisade.
Paleolithic cave paintings were intended to magically ensure fishing success. The idea of mastering a beast, of defeating it, of striving to ensure the success of the hunt through witchcraft is the main idea of Paleolithic art. However, it would be wrong to limit magical rituals and related ideas about the role and meaning of cave images only to the magic of killing.
At the other pole of primitive magic were the rituals of the resurrection and reproduction of animals - the magic of fertility. Paleolithic man, like us, thought not only about today, but also about tomorrow, and sought to look into the future. The hunter knew that by mercilessly exterminating animals he was undermining the basis of his own well-being and developed a whole system of magical rituals that were supposed to ensure the resurrection of killed animals and the reproduction of the animal population.
The idea of fertility is expressed in clay images of two bison from the Tuc d'Auduber cave. The animals seem to be running in the same direction, with the one behind pursuing the one in front. The front beast is female. It shows an open vulva. Posterior, with a tense phallus, male. The idea of the reproduction of animals, expressed so persistently, in such a naive form, obviously lay at the basis of all the witchcraft rituals that took place under the arches of this cave.
The idea of reproduction also determined the features of the depiction of a number of animal figures. Their saggy, heavy bellies clearly indicate that the artist had a specific goal - to depict a pregnant female.
Rituals of reproduction and resurrection of animals were preserved until recently among some northern peoples. Perhaps their long-standing prototype was reflected in the colorful composition from Nio. On the left there is a figure of a bison in an unusual position. A heavy and massive animal stands on its hind legs. His front legs are bent and lowered down. In Nio, the bison is combined with conventional signs: red spots are neatly written in front of it, from which regular ovals are formed. A little further on, typical “claviforms” are visible, similar to batons or stylized female figures.
The peculiar pose of the bison in Nio and its unusual surrounding with symbolic signs indicate that this entire unique composition has some deep meaning, most likely associated with hunting rituals. Max Raphael wrote that the bison from Nio is shown not alive, but dead, during the ceremony of its “propitiation” and “reconciliation” with the hunters, and the symbols indicate the weapons and victims laid in front of it. By depicting weapons, clubs - claviforms, the clan performing the ritual sought to “shift” the blame onto the weapon, just as the hunters of Siberia did, who told the beast that it was not they who killed it, but a gun, an axe, a knife or a bow.
A new exhibition at the Sergei Andriyaka School of Watercolor presents paintings, graphics (including books), sculptures, examples of decorative and applied art with subjects on the theme of living nature
Watercolor school of Sergei Andriyaka, November 30, 2012 - February 2, 2013
Moscow, Gorokhovsky lane, 17
Today, the exhibition “Animals in Fine Arts” opens at the Museum and Exhibition Complex of the Sergei Andriyaka School of Watercolor. The exhibition includes paintings, graphics, sculpture, examples of decorative and applied art with scenes on the theme of wildlife; book illustration, where the main characters of the works are animals, birds, insects and underwater inhabitants, created by artists of the 18th - 21st centuries.
The fauna of our planet is so large and diverse that it is simply impossible to tell about all the masters of this genre from its origins to the present day in one exhibition. And since it is deployed within the walls of an educational institution - the Sergei Andriyaka School of Watercolors, the authors of the project reveal this topic in the form of answers to the questions: “Why today, in the age of digital technology and the Internet, should you be able to draw animals? Where did the masters of the past find inspiration, who were their teachers? In what area of creative activity can modern artists who paint animals and birds apply their knowledge and skills?”
Thanks to this educational and methodological approach, visitors have a unique opportunity to see animals through the eyes of animal painters of different eras and “specialties”: painters - masters of the genre, leading teaching activities; graphic artists - designers of children's books and masters of scientific illustration and animated films; sculptors whose works are in the collections of the Museum of Ceramics; artists who paint wild animals and birds in their natural environment. While viewing the exhibition, an attentive visitor will highlight several themes in the exhibition: “portraits of animals”, “master and student”, “mother and child”, “children not in cages”, “an excursion into the history of animal art”, etc. The only thing that was deliberately abandoned authors, this is from scenes of hunting, violence and death.
You will see a cautious tiger hiding in the reeds; a young foal touchingly clinging to his mother’s neck; looking straight into your soul with the huge eyes of a long-eared dog... One of the “pearls” of the exhibition was the canvas “Parrots”, painted in 1766 by the German painter I. F. Groot, whom art historians consider one of the founders of animal painting in Russia. The work came to the exhibition from the funds of the State Tretyakov Gallery. And you will also see sheets from the album “The Image of an Animal in Art” by the famous animal sculptor V. A. Vatagin, ancient atlases with portraits of mysterious creatures created by the imagination of medieval artists; admire the chess pieces, where one of the kings is made in the form of a lion, the king of animals, the other - a polar bear, the master of the Arctic; learn how and what to draw underwater; You will see a magnificent ornament where images of fish, crabs, shells and aquatic plants are intricately intertwined. And illustrations for children's books about animals and working materials for cartoons will lift your spirits and help you explain to your child the difference between an animal artist and an animator.
A significant part of the exhibits that came to the exhibition from the collections of both art and natural science museums in Moscow are presented to the general public for the first time. During the exhibition, it is planned to conduct trial lessons in watercolor painting, round tables, excursions and meetings with artists.
Source: press release from the School of Watercolor by Sergei Andriyaka
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Ministry of Culture of the Omsk Region
Omsk Regional Museum of Fine Arts named after M.A. Vrubel
October 11 at 17.00 in the Vrubel building of the museum the opening of the exhibition “Beasts. Birds. Fish. The image of an animal in fine art."
The project takes place as part of the Year of Ecology in Russia. In the age of technological discoveries and the dominance of multimedia aesthetics, the exhibition draws attention to the beauty of living nature and the significance of animals for humans.
The exhibition presents works from the museum's collection - painting, graphics, sculpture, decorative and applied and folk art. Some works will be shown to viewers for the first time.
The exhibition tells how man's attitude towards the animal world changed in different periods of history, and how this was reflected in works of art. From a protective totem to cute pets - this is how this path can be briefly described. This topic is revealed through examples of primitive creativity and folk crafts, in the works of European and Russian artists of the 17th-21st centuries.
The exhibition includes four thematic blocks - “Animal Trail”, “Fairy Tale and True Story”, “Animal Art of the Master”, “Notes about Animals”.
The “Animal Trail” section is dedicated to primitive creativity and presents works by both ancient artists and modern masters who are trying to get closer to the interpretation of the image of the beast by our ancestors. Shown here are archaeological monuments of the Omsk Irtysh region made of clay, bone, metal, drawings of petroglyphs discovered on the territory of Khakassia on mica, as well as works of modern Omsk painters who turned to the aesthetics of the ancient world.
Echoes of legends and beliefs, the amazing imagination of masters of folk crafts are reflected in the section “Fairy tales and true stories”. Visitors will be able to see Dymkovo, Filimonov, Abashev toys, embroidered towels, as well as carved animals by the original 20th-century Omsk master Dmitry Herzen.
The section “Animal Art of the Master” talks about the birth of the animalistic genre in the 17th century and the peculiarities of the depiction of animals and birds by Russian and European artists of the 18th-19th centuries. In the exhibition you can see a painting by one of the first Dutch animal painters Melchior Hondekoeter “Bird Court”, magnificent naturalistic engravings by European masters, a rare “land” landscape by Ivan Aivazovsky “Sheep”. Particularly highlighted are the works of the ippic genre, glorifying the beauty, strength and grace of horses. Images of these amazing animals at the exhibition are displayed in engravings and paintings, as well as in the sculpture “Mare with Foal” by Pyotr Klodt, whose youth was spent in Omsk.
The largest section - “Notes on Animals” - introduces the graphic and sculptural heritage of masters of the 20th-21st centuries. Here are presented animals and birds “for every taste” - swift, predatory, free, humanized, fabulous, graceful, wild, domestic, funny, touching. Among the authors are famous names - Valentin Serov, Vasily Vatagin, Nikita Charushin, Yuri Vasnetsov, Evgeny Rachev, Andrey Marts - and Omsk artists Nikolai Tretyakov, Ivan Zheliostov, Igor Levchenko. The small sculptures - porcelain figurines of animals created by Soviet and modern masters - will not leave viewers indifferent.
Interactive objects will be created in the exhibition space for children and their parents. In order for the children to understand what relief is, a “deer stone” will appear in the “Animal Trace” section, imitating Altai petroglyphs with images of animals. You can study it and even touch it with your hands.
Anyone, adult or child, will be able to climb into a huge cozy bird's nest made of soft materials and fabric. Here you can relax and read a book about animals.
For active people there will be a creative zone - tables with coloring of animal figures.
Curator - Olga Sergeevna Gaiduk
The exhibition is open at the address: st. Lenina, 3, Vrubelevsky building
