Genre painting, where she disappeared?

[mikhael]

Carole Spandau. Canadian artist , born in 1948. It likes to portray street hockey (follow the traditions of any Dutch " ice skating "). I liked the game of billiards , and two men in hats from the back, outside the synagogue ( well, straight Hopper !) . The painting of the head with a pool table tilts two players in the center of the image reminded the icons (right of them - especially as the angel on the right Rublev " Trinity "). And another funny picture with my grandmother , going past the synagogue ( brick building ) , recalled the famous vermeerovskoy " Street" . The thing with the old lady in glasses is called «Proverbs 31 Woman», ie as I understand it , this " virtuous woman " of the 31st chapter of Proverbs Bible (" Who can find a virtuous woman? For her price is far above rubies ") - her eyes were some sad ...

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[mikhael]

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[artcol]

...........................

[artcol]

Here Shibanov new-old work has come ...

[Peter]

artcol, you have a nice gallery there in the dark, probably much more interesting ...
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[mikhael]

Sergey Ledkov (b. 1961), an artist from Nizhny Novgorod.
"Old New Year" (the Matisse "Icarus") - a class that I really liked.
Honestly, that kind of thing and I would be at home on the wall hung.
Very interesting and diverse artist.

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[mikhael]

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[mikhael]

Catriona Campbell (born 1940), English artist (Scottish).
Attention is drawn to the picture with the three old women and a young girl - "Susanna and the old ladies."
Well, is not a genre? ..
Feature.
Hence, the patient is more alive than dead?
More alive <! - ~ 1 ~ ->

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[mikhael]

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Сообщение от mikhael; 2588691"

Well, is not a genre? .. Feature. Hence, the patient is more alive than dead? More alive <! - ~ 1 ~ ->

What's the point? <! - ~ 1 ~ ->

mikhael, you forgive, but I, for example, illustrated the works you somehow did not show up. Things like that are stuffed with all the shops along the well-trodden tourist trails European Union.

If you find the time, I would strongly advise you to read this article by the French artist - neoimpressionista Paul Signac.
I think she can respond to your (our)) question:

PLOT IN PAINTING

Paul Signac


The plot and story art

In any work written, painted, engraved, ornamented, there are two stories, combined in different proportions. Literature, history, geography, sense - all of that is not plastic - are subject of the picture.

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artistic design, hardware, eternal, but the ever-changing modes of expression - all of that is plastic - are subject of painting. The plot has no more aesthetic value than the title of the painting, it is important only as a subject of the picture is transmitted. In a picturesque plot includes all the aesthetic and plastic strength: location, harmony, material that can realize - of ghostly realities or imagined feelings prompted by the subject of the picture - a wonderful drama of artistic design. The artist is only important to the story of painting: it he expresses his creative will.

The plot is applied only to those who are not able to perceive the emotional painting. The smaller the audience is sensitive to aesthetic expression or a painting technique, so it is more sensitive to the subject. For most visitors to museums Sunday story - that's all. Our society, denying the masses in education, forcing them is submission to the plot. Those who trembles with excitement before the Mona Lisa smile who hears the bell at the sight of "Angelus" or the sound of the sea and the wind in the marinas of Claude Monet, they form a special category of people hopelessly insensitive to the harmony of lines and colors. Other victims of ignorance - those who want to see a bunch of things in the painting, which the artist did not think: humanity, sensuality, tenderness, etc. into this trap caught the most cultured people. When, in 1886 Georges Seurat showed his picture-manifesto "Sunday on La Grande Jatte", then both dominated literary schools, naturalists, and Symbolists, judged the picture from the point of view of his literary position. F-K. Huysmans, Paul Alexis, Robert Kaz saw it as the Sunday outdoor party vendors, improvised butchers, women seeking ravlecheniya, Paul Adan admired stiffness of the characters, finding in it the echoes of processions time of the pharaohs, and the Greek Moreas recalled Panathenaic procession.

But Seurat wanted to give only a fun and clear with the equilibrium composition of horizontals and verticals, dominant warm colors and light tones with a luminous white spot in the center. Only infallible Feneon thoroughly studied the technical novelty of the painter. Sulfur attached so little importance to the plot, which told friends: "I could write, but in a different harmony, the battle with the Horatii Kuriatsiyami." He chose a naturalistic story just to tease the Impressionists, and intended to write in their own way all their pictures. A good story can be a writer, but for the artist does not have good stories. The story should be imperceptible, as the style of the novel. The plot is out of date, picturesque story never gets old.

Arts masters justify their plot patterns; bowler at Degas never looks ridiculous - he acquired through painting style. Bowlers in pictures Danyang-Bouveret cause laughter. Trendy outfits from Courbet, Manet, natural branch block, while Shapley, Clair-on or Rola seem grotesque. We needed a whole scenic talent Delacroix to make us take the empty romantic stories "Ivanhoe" or "Giaour." Delacroix excites us arabesque lines, flame red, green opposed to - talked about this yet Baudelaire - and not their outdated plots. The scenic splendor of the casket "Heliodorus" or sandals in the foreground in the "Sardanapale" touch us more than the Jewish or Assyrian stories - just an excuse for linear and chromatic compositions.

If art does not define the story does not specify the picture, if it does not dominate it, then this independence and duality will create controversy, spoiling the product. How sad would neither was selected scene, as if sad nor were its members, the picture will never cause a feeling of sadness, if the dominant lines, colors and tones are not in accordance with the feelings that the artist wanted to express. If the mast is in the "poor fisherman" Puvis de Chavannes would not be inclined to the left, this picture does not inspire a sense of sadness. Puvis, a pupil Poussin, was able to use the elements of the composition. If a "Kankan" and "Circus" Sulphur not yet been arranged dinamogenicheskie line, color and tone, they would not, in spite of their name, motion pictures, and joy. These eternal rules that are able to apply Poussin, Puvis and sulfur attached picture picturesque and reinforce its fragile plot.

The further the artist progresses in their practice, the better he has the skill and the more he realizes that he must give up of plot, to sacrifice it in favor of painting. The artist did not come across in the enchanting nature of the trap, it is wary eye candy greeting cards, he understands the danger of unwanted and unnecessary and controversial parts of nature. He pays attention only to the essential, is committed to simplicity, to synthesis, removes everything that is not a drama. He understands the greatness of the victims, which demanded a cold mind Delacroix; suppressing fervor of his imagination. Delacroix, a passionate romantic master with a clear mind, always without any hesitation sacrificed a piece of the picture, as if successful it may be, if it was unnecessary for the final effect. This ratio of cold reason and passion, fervor and logic, joyous intoxication and painful work inherent to all masters, is a force of talent. The genius simplifies chooses sacrifices. He knows that he will never be the picture is not simple enough that there is no fine art without fine material and that the material is more important than the plot, objects and literature.

The best example of what you can bring - are two paintings of Turner, written over a long period of time, but built from elements taken from the same motive: NOREM Castle on the River Tweed. The first picture painted in 1815, it belongs to the artist's mature years. The second - in 1835, Turner was 66 years old. The same motif: a river in the foreground - the water, the right and the left - the coast, away - a hill with the ruins of the castle. Where the similarity ends.

In the earlier picture Turner perfectly situated copious amounts of beautiful elements, such a lovely view would cause admiration and enthusiastic exclamations of tourists. On the right bank in the foreground drinking water eight cows behind - beached boat and two fishermen, boatmen on, houses and trees. On the left bank in the foreground - a large barge and the person who its moors, further fishing hut with all the classic accessories: paddles, sails, nets, floating jetty with boats and people. On the river - sailing boat. In the back - lock, written in detail, with dozens of windows, part of the light, mostly in the shade. Behind - the most gorgeous sky, stormy clouds most rare colors, the most complex shapes. You can not create a picture in which there would be more elements of beauty.

In a more recent picture is almost none of that. A large yellow spot in the middle of the sky gradual gradation comes to purple shores. Misty blue spot in the middle - it's castle and its reflection in the river. No details of the architecture. Left purple color becomes orange, without defining any object, a little darker on the purple represents topu roof. Right - gradation of two colors, orange and lilac. And in the midst of water reflecting the sky - red spot, vaguely reminiscent of a cow. In this simplified picture of all that the artist wanted to glorify, - the castle, the banks, the herd-devoid of all unnecessary, but revealed much more clearly than in the composition, where all the elements of conflict, prevent, kill each other. Red Spot provides greater understanding of the herd than eight cows of the first scene, where the artist is like unto a jeweler and joined too many beauties together.

In the second picture is only visible painter, old artist, who was able to donate a plot in favor of painting.

We see the same struggle for freedom, the same understanding of the need of victims in Claude Monet, "fighter with a strong heart and strong muscles" to which all artists worthy of the name must lesson of art or life. He gradually abandoned the paintings with figures - and in them he did wonderful things, such as "Breakfast" and "The Lady in White", putting it close to Courbet - and to have more freedom and more extensive repertoire, he devotes landscapes themselves and marinas. Then little by little he refuses on the scene, locked in series with the same motive: haystacks, poplars, cathedrals, caring only about how to decorate these pretexts for painting all his sensitivity and skill over the colorist. And finally, the pinnacle of his work - a series of "Nenyufar" where everything is sacrificed game of colors, tones and shades. In this grand symphony he sums up and realizes all he was looking for in a lifetime.


discredit the story

I must say, as if the artists are now a little concerned about the plot and pay more attention to technique, craft material. They know that the painting can be beautiful, even not having a plot, and that is good, but poorly served by the plot does not make sense. If they sometimes think about the plot, it is because the lover gives him some more value, "Snow" is on sale, but if there is a cross in the landscape, a landscape that does not buy any Marchand-Jew nor superstitious collector. Some artists specialize in some plot: there are, for example specialists dull lakes by ghostly villages on the circus, the old roofs, as well as by the cardinals and artillery batteries. But all this has to do with painting. On subjects have fashion. Around 1880 were successful pictures on such subjects as "The bride and groom at the photographer" Danya-Bouveret or "We'll give you 25 francs to start a business," JF Raffaelli, and now these stories would have seemed ridiculous, as wonderful as was the painting.

Number of scenes and dramatic situations is limited, and the potential solutions are endless picturesque enough rhythm or change the contrast to completely change the picture. How many repetitions of the same story for the ages, while the paintings with the same spectacular solution does not exist. The plot has so little value that, if necessary, it can be tampered with. On some sketches Poussin, we see that the rock becomes a bull, twisted trunk of the tree is transformed into the body of the nymph solely for reasons of harmony lines. Two famous marina Turner "Ulysses mocks Polyphemus" and "The last flight of the ship," Brave "is almost identical in composition. In the first picture in the middle galley Odyssey, the second - the old war ship in tow. If we rearrange the items that will need to rearrange the names and plots, but this does not change the chronology fantastic pictorial solution. Turner himself brought in a fantasy selection signatures for his paintings, calling "Rain, Steam and Speed" train, which runs away from the frantic with fear hare, and calling "Rock Limpet" (a kind of conical shells forms known to us under the name of the sea saucer) painting of Napoleon on the island of St. Helena, where to justify the title, written in a corner a little shell. Cezanne and treated the story and the title is not more respectful, indicating their serious compositions: "Wife flusher "," New Olympia "," Afternoon in Naples, or punch with rum. "

Do not it be better, instead of imposing itself and the name of the story, called his paintings as well as musicians of his works: opus № ... Thus, the repertoire of the painter would be unlimited and it would not be linked plot. Whistler dared to call some of his works, "Harmony ...". But his courage angered Ruskin, who saw in this shamelessness "cockney".


The value of the picture. Picturesque emotion

The artist should not touch the viewer plot, and the harmony of line and color, which he has in the necessary order. He expresses himself best, guided not by reasoning and feelings. "All art should speak to our senses, so that through them to penetrate into the very source of emotion," - said Conrad. In the plastic arts thoughts lose their value if the material is poor and mediocre form. The artist should act on feelings through his eyes, and not literature subjects and titles. "Nothing dampens the imagination, as a call to memory and reasoning," - says one axiom of Stendhal. Anecdotes, memories, caused the names and stories, stifling sensation. I must say, some artists are not sensitive to the subject of paintings, which they most admire. In their submissions any painting by Perugino - is a pyramidal composition and the harmony of the three colors. Pinturicchio name reminds them of the orange-red and orange-green harmony mural premises Borgia, and not the history of the Piccolomini. They are surprised that scholars can write tomes about these colorists, and the magnificent words: blue, red, yellow - even once they do not meet. For the delicate feelings of people in the direction of staves "Arcadian Shepherds" Poussin, dominant "Algerian Women" Delacroix, Bonnard acute harmony are more important than all the stories of these paintings. For such people, humanity, sensitivity - the words that describe the picture Carriere, do not excuse his failure on the color. A real artist would replace all those noble philosophical search for emotional and sensual red blue.

Best of all you can understand the picture, to understand what and how it touches us to know and understand how and why the picture was conceived and implemented by what means. Understand the significance of the picture - it means to share the excitement and the work of the artist in front of the motif. This is the excitement and the work we are now and we'll talk.


The observation of nature

The artist to express himself, he will draw the necessary elements of nature. Only she would provide him updated and variety, because you can not invent anything new. The most insane songs depict more or less altered nature. But the well-known definition of Delacroix, nature only dictionary, look for the words in it, there are elements of the proposals or the story, but no one ever saw it as a poetic work.

Its insidious nature of the abundance of the artist arranges thousands of traps, it offers thousands of combinations of them are very good and very bad. If she is in some of its elements always harmonious to the smallest particulars, it is not always harmonious in the clash and combination of different elements. Nature is not responsible for the investigation of accidents or human intervention. Sometimes there is nothing more inharmonious than any green against the blue sky than some corners, overlap or chaos of some mountains. An artist has to defend itself against this, choosing and must not deceive ourselves, even the most perfect of what nature has to offer him. He has to choose from a huge number of tasks set by nature, one, consistent with its objectives. He must resist the seduction of such a seductive, red and green, these bottom-line, if he wants to implement a poem of calm and peace that he is in the shower. The city, like Le Puy, a holiday in Benares, these stories may be beyond the power of the artist to some, and he fails, then he could succeed, depicting a willow on the banks of the Seine or the proverbial kompotnitsu. Openwork bell tower, crenellated towers should not involve the artist, it has already completed the work. But to see the splendor of simple walls, grass and worthless beam through the execution of shades and contrasts of color to convey this beauty in the picture - this is a noble picturesque task in which the patient wins, Cezanne and Seurat. Where not all unsaid, the artist can let myself go.


Song

Once the choice is made, the artist finds the best guide and the most fruitful help in the rules of composition. In these rules, the rules of harmony, since the golden ratio of antiquity, ending with the laws Shevreylya and Charles Henry, nothing is secret. All the masters knew or intuitively them. There is not a single picture of Turner, which we could not find the application of nine major laws that are described later Ruskin called laws of dominance, repetition, continuation of curvature (curvature), radiation, contrast, rotation, stability (consistance), harmony. The artist sees these rules in nature, and they help him. If the artist is sensitive to harmony, he will notice that some landscape, which is dominated by yellow color, is well complemented by the unexpected appearance of the color of the bus that the symphony with blue sails of the ships will be complemented by the crew in orange robes. Nature artist will also double the law of analogies, similarities and opposite analogies. Bending the mountains, echoing the curve of the first plan, it will show the impact and possibilities of the game lines. He will realize that there is no isolated objects, he would find in the nature of color and form, which will allow him to sing a song he is in the shower.

Cezanne comes to motive in search volumes, knowing CBOT he wants to do. He will take on the motive just what he needs. He consults with nature as Degas advised to use the model: "The artist is in his studio on the sixth floor. Model downstairs in the courtyard. Artist working at the top and comes down only to the extent necessary to consult with the model." In the trunk of the tree Cezanne opens the elements of beauty that others do not see. All of these intertwined, covering each other's lines, overlapping, into each other and opposing colorful elements it takes and has its own way. And this tree, from which the artist made some flippant least one random brush stroke or stroke spatula drainpipe, Cezanne recreates, surpassing even the beauty of genuine wood. Georges Seurat, before you put a smear on his plate, looking, comparing, narrows his eyes to the play of light and shadow, sees the contrast distinction between reflex long does the sample on the cover of his sketch pad, which serves him palette, struggling with the material, as he struggles with nature, and his brush is aimed at small piles of colors, arranged in a chromatic scale, and takes a variety of colorful elements of which are colors, designed to express openly their secret. From Observation to doing a Pap smear from the study is filled with ... masterpiece created.

Matisse, standing in front of motif encircles the contours of your feet on the ground, as it makes the model in the studio to find its exact location. In Matisse plummet in the hand, he finds them the slightest change in rhythm verticals. He stares at the green and flowering eucalyptus tree with many branches. Then he patiently looking at its color palette, which he found to fill the contours of forms. And from this shaggy tree, killing branches and leaves, it makes a bare cylinder, does not like the fact that he offered to nature. But later, when you see the job away from the fragile reality, discover its greatness, which had no idea.

Bonnard, in contrast, captures all that nature has to offer its picturesque talent. In a small notebook - it is always with him - or, better yet, in his memory, he puts everything he shows life. He understands, loves and expresses everything he sees: sweet breakfast cake, the eye of the dog, a ray of sun through the blinds, the sponge in a bucket. Then he gives his instinct and not even trying to give the appearance of reality subjects - sometimes they are completely incomprehensible - he expresses his love of life in gorgeous, always new paintings that have the taste and aroma of unfamiliar fruits. These last two examples - one in which logic outweighs the feeling, the other where the love outweighs the arguments - are characteristic of man's relationship with nature.

Fighting Cross with nature was terrible: in each smear his will was struggling with the first schooling, he emitted a mournful cries, as if lifted his back-breaking weight. Often he was exhausted in this fight, but when he was alone in front of an easel and create freely, he won, as is proved by his recent work, unsurpassed in its freedom and grandeur, works of joy and intoxication, while his work made a painful struggle with nature, were often clogged with unnecessary details. Some artists, on the contrary, capable of performing sketch from nature, fail in the studio: simple copyists, they have not achieved a balance between passion and logic of building up a talent.

After a rich flowering of art, in which the plot does not play any role in which he is only a pretext, and the objects have no independent value greater than syllables and words in the poem, it seems that now the interest in the story has dried up. The campaign in favor of a return to the story was a reactionary movement neoakademizma created by those who are always trying to stop the evolution of the human spirit ...


Portrait

As well as the plot, died and portrait painting. The similarity of modern imaging is achieved by other means. Without a doubt, the best portraits of the past fifty years, excellent examples of painting, not only meet the definition of a portrait. In the portrait, as well as in other works of art, everything is now being sacrificed picturesque. Cezanne, starting a portrait of Gustave Geffroy, after more than forty sessions as soon as sketched face. All his efforts, he has dedicated image library criticism - the background of the picture. "What a beautiful painting by Renoir, but what a shame that it Vollard" - said Monnet gorgeous but little similar portrait of Marchand.

A new world will create a new culture, and when the hard work of people will be relieved, almost everyone will be able to experience the excitement and joy of painting itself. Now in all countries working interest in the music and there are many choral societies. Only because of the lack of education the masses are insensitive to painting and they like a plot. The new society will put forward new stories, but they are playing a role of propaganda and the commemoration of the victory, will be absorbed by this picturesque. New materials, new ways of expression reveal new values, freed from the compulsion of slavery and the external appearance of nature.