Two studies. The deadline for each sketch is painting lessons- two or three sessions. The first short-term sketches of landscapes gave you the opportunity to observe the nature of lighting and color features in a large open space. For example, your sketchbook, clothes, dress seem slightly different in color in the air than in the room. In the air, the color of objects seems purer, more transparent, richer shades. But at the same time, in the air we do not see sharp shades. On the contrary, all colors seem to soften in diffused light, as if they come closer to each other due to the presence of diverse reflections.
As the lighting changes, the color of the landscape changes noticeably. The reason for this, as you know, is that light has a color: at dawn - pink, on a sunny day - golden, and on a gloomy day - silvery, cold. Observing objects in the open air, you did not notice such dense, heavy objects on them. , opaque shadows, such as are found in a room where there is one source of light, where the space is relatively small and filled with things that do not allow light to pass through.
Picturesque landscape and sketch
In a landscape, on the contrary, the deepest shadow seems to be permeated with light - it is transparent, light, see-through, shimmering in various shades. After all, even the ground in the open air reflects light, casting color reflexes on surrounding objects. The dome of the sky also sends reflexes, which are especially noticeable on the convexities of the ground and objects facing upward. The foliage of the trees shines through and casts greenish reflexes on the person located below, on the path trodden nearby - on everything that happens to be under the tree.
The influence of the air atmosphere is extremely noticeable on objects located deep in space. A green oak grove appears in the distance, on the horizon, as a bluish or purple stripe, and light objects turn yellow and pink. This happens because there is a huge mass of air between our eyes and the distance.
The influence of the air atmosphere not only on the color of objects, but also on their volumetric form the stronger the further the object is from the observer. Therefore, it is necessary to distinguish between spatial plans - the first, second, third, the farthest - and by comparing objects of close and distant plans by color and clarity of outline, identify an aerial perspective. Without this, it is impossible to convey the depth of vast space. For of this assignment We advise you to choose a simple motive and work it carefully over two or three sessions. Make two sketches, write one on a cloudy (not very gloomy) day, and the other in the sun.
A sketch in cloudy weather can be written for about two to three hours, but on a sunny day you cannot work on the same sketch for more than an hour, since the lighting changes very noticeably and, at the same time, the direction and aperture of your own and falling shadows. Therefore, do not finish your sketches in one appointment at a time painting lesson, and in two or three sessions in several lessons. In this case, of course, you need to work at the same time, under the same lighting. You can paint the same house with a tree that served as a model for your task of drawing a landscape. You can choose another one simple motive: part of a collective farm yard, a corner of a city square, a porch with a front garden, etc. Start with a sketch on a cloudy day.
Choose a time when the landscape seems most interesting and expressive, but do not write at dusk, as it will quickly get dark, the colors will change and you will not be able to finish the sketch. Before starting work, carefully observe the nature, completely covering it with your gaze. Pay attention to the lighting - it is more diffuse and weaker than on a sunny day. Observe the aerial perspective - in the humid air of a cloudy day, the distances are hidden even more. Note that on a cloudy day, even very bright colors are softened. But at the same time, not a single color loses its expressiveness, but only seems darker than on a sunny day.
For example, you won't see white on a cloudy day as bright, and darker colors won't contrast as much as they would in sunny conditions. On a cloudy day, there are no such chiaroscuro contrasts as in the sun. It is necessary to recall that the color of landscape elements in cloudy lighting is perceived even richer, in all the diversity of its warm and cold shades and halftones, very subtle and closely related to each other. This is explained by the fact that bright sunlight seems to “whiten” and “generalize” the color of the illuminated parts of objects. The overall coloring of the landscape on a cloudy day is calmer and colder than the golden coloring of a clear day.
When starting to write, as always, first find the composition of the sketch. Decide how much space the sky will take, how much land and buildings will take up, and how to place them on the canvas. Mark the location and dimensions of the main objects, build their three-dimensional shape.
Paint fairly large areas of the canvas at once, starting with two or three basic color relationships. Do not pay attention to the details at the beginning of work. Take the relation of the sky to the earth and terrestrial objects in lightness and shade of color. Find the relationship of spatial plans by color, starting with the foreground and comparing it first of all with the most distant plan. Write with deep attention to the characteristics of each color. Observe the relationship between shades of colors, being aware of the location in space of that part of the form whose color you are observing. For example, planes close to the ground will appear warm, earthy in color, as the reflection from the soil falls on them. On the contrary, shapes facing the sky will carry reflections of the color of the sky (observe the tops of trees, roofs of houses, hillocks and elevations on the surface of the earth, bulges of stones, top boards of a bench, etc.).
Maintain color relationships carefully. Mix paints with each other, persistently achieving the desired shade. Specify the lightness of each color and its shade in relation to other colors in the landscape. Having described the landscape in general, carefully trace the color of the shadows and their boundaries. But don’t make the boundaries sharp, convey gradual color transitions, follow what you see in nature. Do not mechanically draw contours with a brush, but try to sculpt the shape with color, conveying subtle differences in halftones. When writing down the details, take into account the overall impression, comparing each part on the canvas with others by color. Compare the sketch with life more often, moving away from it at a considerable distance. Paint the same landscapes in bright sunlight. Different lighting conditions will give you the opportunity to observe all the changes in the color scheme you are already familiar with.
When working on a sunny day, first of all pay attention to the contrast of light and shade. Observe and embrace the contrasts between brightly lit landscapes and deep, highly reflective shadows. Shadows on a sunny day, as you already know, are the most saturated with color. They are deep, strong reflexes of certain shades are clearly visible in them. The cold reflections of the sky are strong in the shadows falling on horizontal surfaces. However, students coming to painting courses They often exaggerate the blueness of the reflexes, and the falling shadows turn out to be sharply blue and cold, as a result of which the sketches lose their warm, sunny flavor. This is a mistake: no matter how strong the reflexes, the own color of the shadows always takes precedence over them. Keeping this in mind, you need to more accurately find the color of the shadows. Be able to write shadows transparently (after all, they are permeated sunlight), otherwise the sketch will not be able to convey the radiance of the overall clear tone of the day. Despite all the definition and depth, the shadows do not have sharp outlines. Observe, for example, the shadow of a roof overhang on a white wall of a house. It is lush and transparent and contrasts strongly with the illuminated wall surface. In the depths of the shadow there is a strong color reflex from the bottom of the canopy. Its edges are blurry.
Please also note that the illuminated part of the wall is not pure white at all. Various reflections from translucent foliage, from the ground and other surrounding objects play on its surface. Whitewash cannot convey the power of light, although it is the lightest paint. The impression of sunlight is created only by correct identification light and shade and color contrasts.
Painting lessons In general, it is difficult to combine a constant explanation of certain subtleties of drawing a landscape or sketch. No one will constantly stand over you or, at best, they will draw for you, so we write such articles for those who have not yet decided to take drawing and painting courses with us, and just want to try themselves at home. Our advice is to compare the color of the sky in the sky and its color at the zenith, find the difference in shades between one and the other place in the sky (where it is warmer, where it is brighter). Don't paint the sky with the same color. It is also necessary to distinguish the color of that part of the sky that is closer to the sun from the color of its part more distant from the sun.
Clouds located opposite and to the side of the sun are warm and bright in color. But it would be a mistake to paint them in the same strong tones as the objects in the foreground. Observe the color of white fabric in the sun, compare with it the color of white clouds. Of course, the clouds will be darker, since they are significantly removed into space. Grass has many shades, you cannot paint it with the same color, you cannot overuse green paints. Look for the color of each plan in comparison with the shade of a similar, but brighter and more specific color place in the landscape. When finishing your sketches, check whether the features of cloudy and sunny lighting are correctly conveyed, and whether the color scheme of the sketch matches the color scheme of nature. See if you are too carried away by the details, if you have made a mistake in determining their tone and if they therefore do not violate the integrity of the sketch. In this case, summarize the sketch.
In any case, be confident in yourself, and if you find it difficult, call us for drawing courses and we will always help you 223 7490
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Lesson developments (lesson notes)
Basics general education
UMK line S. P. Lomova. art (5-9)
Attention! The site administration is not responsible for the content methodological developments, as well as for compliance with the development of the Federal State Educational Standard.
The purpose of the lesson
Learn to convey space in the landscape at different times of the year.
Lesson Objectives
- To update knowledge about landscape as a genre of painting. To study types of landscape. To become familiar with the techniques of conveying the color scheme and color scheme of different seasons in landscapes. To learn how to carry out sketches of landscapes at different times of the year and to convey space in them.
Activities
- Perception of phenomena and objects of art. Analysis of works of art. Summarizing the concepts of “landscape”, “types of landscape (landscape, rural, urban, sea, industrial, space)”; “color and color scheme of the landscape”, “space in the landscape”, “aerial and linear perspective”. Visual activities(painting), drawing from imagination.
Key Concepts
- Landscape, types of landscape (landscape, rural, urban, sea, industrial, space), color and color scheme of the landscape, space in the landscape, aerial and linear perspective, sketch.
| № | Stage name | Methodical comment |
|---|---|---|
| 1 | 1. Motivation to educational activities | Students are invited to consider the work of I. I. Levitan " Golden autumn", think about the artist’s statement and explain the essence of what was said using the example of this painting. The task helps lead to the basic concepts of the lesson - “landscape”, “study”. |
| 2 | 2. Updating basic knowledge | Students are invited to review the work famous artists and choose landscape paintings from them. The teacher asks you to remember the definition of the landscape genre. Read the definition on p. 73 textbooks. The task helps to update existing knowledge about the landscape genre. |
| 3 | 3. Staging educational problem | The teacher introduces students to the types of landscape. Students compare types of landscapes with reproductions of landscapes by Russian artists. The task is aimed at developing the ability to distinguish between types of landscape. |
| 4 | 4. Goal setting | Students remember the meaning of the concept “color”. They look at the paintings of the Russian landscape artist I. E. Grabar. From the proposed characteristics, a color scheme is selected that corresponds to each picture. The tasks help to gain experience in determining the color of the landscape. |
| 5 | 5.1. Discovery of new knowledge | Students get acquainted with the landscapes of A. I. Kuindzhi. Determine the color scheme of landscapes depicting different seasons. They characterize colors using the concepts of “warm, cold and contrasting colors”, “related and contrasting colors”. Formulate the conclusion: “In winter and spring, color relationships based on related colors predominate. Summer and autumn have contrasting color relationships.” The task helps to gain experience in selecting colors and colors for landscapes at different times of the year. |
| 6 | 5.2. Discovery of new knowledge | Using the example of paintings by Russian landscape painters, students reveal the essence of the concepts of “space in a picture”, “aerial and linear perspective”. The task contributes to the acquisition of knowledge about the main categories of painting necessary for working in the landscape genre. |
| 7 | 6.1. Primary consolidation | The teacher demonstrates two color schemes. Students determine what time of year they are selected for. |
| 8 | 6.2. Primary consolidation | Students associate colors with elements of nature. They check whether their opinion coincides with the opinion of the artist who compiled the palettes. |
| 9 | 7. Independent work with self-test | Students perform, from their imagination, several small sketches of landscapes at different times of the year. The task is aimed at mastering and applying in practice the rules for arranging an image on a sheet, mastering ways to convey the season through color, color scheme and color relationships in a landscape, developing skills in conveying color changes of the main elements of the landscape (earth, sky, trees, etc.) , associated with removal into the depth of space. Students in pairs analyze the results of the work: analyze the work done by their neighbor, using key concepts: color, color scheme and color relationships; space, aerial and linear perspective in landscape. |
| 10 | 8. Lesson summary | Students perform a comparative analysis of summer landscapes by I. E. Repin and A. K. Savrasov. |
Art talks about the beauty of the Earth.
Landscape in music, literature, painting.
A. Pushkin called art a “magic crystal”, through the boundaries
which the people, objects and phenomena around us are seen in a new way
usual life.
At all times, painters, composers and writers have embodied in their works various natural phenomena that excited them. Through the feelings and experiences that arise in them when perceiving the majestic sea or mysterious stars, endless plains or a smooth bend of a river, they convey their vision of the world.
Thanks to works of art - literary, musical, picturesque - nature always appears before readers, listeners, and spectators in different ways: majestic, sad, tender, jubilant, mourning, touching. These images continue to attract a person, touching the finest strings of his soul, helping him to touch the unique beauty native nature, to see the unusual in what is familiar and everyday, give everyone the opportunity to develop a sense of belonging to native land, to my father's house.
Landscape (French paysage - view, image of some area) is a genre dedicated to the depiction of nature. In European art, landscape emerged as an independent genre in the 17th century.
Landscape - poetic and musical painting
History of the development of landscape in Russian painting
Venetsianov and his students were the first to turn to the Russian landscape in their work.
Under blue skies
Magnificent carpets,
The snow lies shining in the sun.
The transparent forest alone turns black,
And the spruce turns green through the frost,
And the river glitters under the ice.
A.S. Pushkin. ("Winter morning")
Slide 1 “Winter” Nikifor Krylov. (1802-1831)
Nikifor Krylov painted his painting “Winter” in 1827. This was the first Russian winter landscape.
Krylov painted the landscape seen from the studio window within a month. The outskirts of the village appear, the residents are busy with everyday affairs: in the foreground a woman with a yoke carries full buckets of water, a man leads a horse towards her by the bridle, behind the woman with a yoke are two other women who have stopped to talk. In the distance you can see a forest, and beyond it an endless plain. There is white snow all around, bare trees. The author masterfully captured the atmosphere of the Russian winter. Such a surprisingly sincere and simple winter landscape is a rare phenomenon in Russian painting of the first half of the 19th century century. The painting was first presented at an exhibition at the Academy of Arts, where it was well received by contemporaries, who noted “the charmingly captured winter lighting, the nebulosity of the distance and all the differences of the cold well preserved in memory.”
Tretyakov Gallery.
The landscapes of Grigory Soroka, Venetsianov’s favorite student, are captivating and sad. And I'm afraid to break this silence. As if waking up, nature will lose its irrevocable kindness and tenderness and peace. Grigory Sorokin is a serf of the landowner Miliukov.Grigory Vasilievich Soroka (1823-1864)Grigory Vasilyevich Soroka is a student of A.G. Venetsianov, one of the most talented and beloved. A serf of the Tver landowner N.P. Milyukov, a neighbor and good friend of A.G. Venetsianov. Taken by the master to his yard on the Ostrovki estate, Soroka was apparently noticed there by the artist, and, with Miliukov’s permission, the master took him to his village of Safonkovo. Like all of Venetsianov’s students, Soroka works mainly from life, draws a lot, paints landscapes, portraits, and interiors. A.G. Venetsianov tried to redeem him from captivity, but did not have time due to tragic death. After his death, Grigory Vasilyevich Soroka committed suicide.
And only almost a quarter of a century later, an artist was destined to appear in Russian art, about whom a poet could say: “He breathed life with nature alone, understood the babbling of a stream, and understood the conversation of tree leaves, and he heard the vegetation of grass...” Savrasov. He tried to find in the simplest, most ordinary things those intimate, deeply touching, often sad features that are so strongly felt in the Russian landscape and have such an irresistible effect on the soul.
In 1871, Savrasov created his own famous masterpiece- painting “The Rooks Have Arrived” (Tretyakov Gallery, Moscow). He painted it from life in the village of Molvitino, Kostroma province. The artist loved to depict spring, and in this picture he was able to subtly and convincingly show its first signs: darkened March snow, melt water, air saturated with spring moisture, a sky covered with dark clouds, birds fussing over their nests. Every detail of the landscape expresses acute feeling waiting for spring. This is probably why the picture was so loved by the Russian audience, who, in the harsh and long winter, eagerly awaited the arrival of spring and its first messengers - the rooks.
The painting, shown at a traveling art exhibition, attracted the attention of many. The famous art historian Alexandre Benois called it guiding star for a whole generation of landscape masters of the 19th century. I.N. Kramskoy, who saw the painting at the exhibition, spoke about it like this: “Savrasov’s landscape is the best, and it is really beautiful, although Bogolyubov is also there... and Shishkin. But all these are trees, water and even air, and the soul is only in “Rooks.”
People, as if for the first time, saw in their paintings both the transparent spring air and the reviving birch trees filled with spring sap; We heard the cheerful, hopeful, joyful hubbub of birds. And the sky doesn’t seem so gray and joyless, and the spring dirt is soothing and pleasing to the eye. It turns out that this is what Russian nature is like - tender, thoughtful, touching! It is thanks to the picture Alexey Kondratievich Savrasov(1830-1897) “The rooks have arrived”, Russian artists felt the songfulness of Russian nature, and Russian composers felt the landscape nature of Russian folk song.
The landscape by Ivan Ivanovich Shishkin “In the Wild North...” was written in 1891 based on the poem “Pine” by M. Yu. Lermontov. The work is done on canvas with oil. This work kept in the Kiev Museum of Russian Art. On the canvas we see a pine tree that stands on the edge of a cliff and is ready to fall at any moment under the weight of the snow that has clung to its branches in flakes. The top of the pine tree looks like the head of an eagle, which is about to break loose, flap its wings and be freed from an unbearable weight with relief. The gloomy dark blue sky is permeated with anxiety. The middle of the pine tree, closer to the trunk, looks like a skeleton that has lost its flesh-leaves during the winter. this work imbued with the spirit of loneliness and cold.
Read the poem by M.Yu. Lermontov “It’s lonely in the wild north”
It's lonely in the wild north
There's a pine tree on the bare top,
And dozes, swaying, and snow falls
She is dressed like a robe.
And she dreams of everything in the distant desert,
In the region where the sun rises,
Alone and sad on a burning cliff
A beautiful palm tree is growing.
In general, oak is one of the favorite trees of the landscape artist, who tirelessly depicted these magnificent titans created by unpredictable nature. In this canvas, Shishkin’s oak trees are magnificent heroes of the forest epic, with their mighty paw-branches spread wide. The trees are illuminated by the rays of the sun, which is about to leave the sky soon. The time of day depicted in the picture is evening. However, Shishkin masterfully emphasizes the unusual play of the luminary on the mighty trunks of oak trees.
Contemporaries called Shishkin “the patriarch of the forest,” and these words very accurately conveyed the artist’s attitude towards nature and art. The forest, which the painter loved selflessly, became the main character of his paintings. Shishkin did not just write about nature: he, as a scientist, studied it. The master never tired of repeating to his students: “You can never put an end to the study of nature, you cannot say that you have learned it completely and that you don’t need to study anymore.” Shishkin was the first of the Russian painters of the 19th century to understand the importance and significance of sketches from nature. He knew the forest perfectly, the structure of every tree and plant.
“If pictures of the nature of our dear Rus' are dear to us, if we want to find our own, truly folk ways to depict its soulful appearance, then these paths also lie through your mighty forests, full of unique poetry.” - This is what Viktor Vasnetsov wrote to landscape painter Ivan Shishkin.
“This boy will still show himself; no one, including himself, has any idea about the possibilities hidden in him.” - These are the words of the artist Kramskoy about the Russian artist Fyodor Vasiliev. Vasiliev lived only 23 years, but he managed to do so much. His excited brush told people so much about the greatness and mystery of nature.
Painting " Birch Grove"(1879). In the foreground, not entire trees are depicted, but only flexible white trunks. Behind them are silhouettes of bushes and trees, and around them is the emerald green of a swamp with a clearing full of dark water.
The gift of color sensations is the kind of luxury that elevates a person” - this statement by the scientist Petrashevsky can be fully attributed to the work of Kuindzhi.
“The illusion of light was his God, and there was no artist equal to him in achieving this miracle of painting. Kuindzhi is an artist of light,” wrote Repin in 1913.
A contemporary of A. Savrasov and I. Shishkin, he brought the magic of light to the landscape. The natural world on his canvases is like a fairy-tale palace, where a person is visited by beautiful and eternal dreams.
The simple beauty of the Central Russian strip did not attract the attention of artists for a long time. Boring, monotonous flat landscapes, gray
the sky, spring thaw or summer grass withered by the heat... What's poetic about this?
Russians artists of the 19th century V. A. Savrasov, I. Levitan, I. Shishkin and others discovered the beauty of their native land.
Levitan's paintings require slow viewing. They do not overwhelm the eye, they are modest and precise, like Chekhov's stories. So few notes and so much music. great poet Levitan's nature, he fully felt the inexplicable charm of the Russian landscape, and in his paintings he was able to convey love for the Motherland, unembellished by anything, beautiful in its spontaneity.
The canvas “Fresh Wind” is also marked by a mood of joy. Volga” (1895, Tretyakov Gallery, Moscow). The free wind covers the water with light ripples, fills the sails, and drives light clouds across the sky. With the help of sonorous, fresh colors, the master conveys the dazzling whiteness of the steamship and clouds slightly gilded by the sun, the bright blue of the sky and river.
In “The Quiet Abode” the artist managed to show a generalized image of nature in a fresh and emotional way. Levitan repeated the same motif of the temple, reflected in calm and clear river water, in the painting “ evening call, evening Bell” (1892, Tretyakov Gallery, Moscow).
Levitan is recognized as one of the most subtle and soulful landscape painters. With the work of Levitan, the concept of “mood landscape” entered Russian painting. The ability to objectively convey the beauty of nature in all the diversity of its changing manifestations and at the same time express the state through the landscape human soul, her subtlest experiences were precious qualities of the artist’s talent. Imbued with a jubilant mood, the painting “Golden Autumn” is a kind of farewell hymn to the last flowering of nature: the extraordinary brightness of colors, the “burning” of gold of birches, the multicolored cover of the earth. Painted with brilliant skill, the landscape is distinguished by a complex color scheme and a variety of pictorial surfaces, on which textured colorful strokes stand out.
Probably, it is about the paintings “Golden Autumn” and “Fresh Wind. Volga” Grabar wrote: “...They instilled cheerfulness and faith in us, they infected and raised us. I wanted to live and work.”
But Levitan has few such life-affirming and joyful landscapes.
The canvas “Spring” is imbued with quiet sadness. Big Water” (1897, Tretyakov Gallery, Moscow). The color of the picture is very harmonious. With the help of subtle color nuances, the artist conveys the fresh charm of the coming spring. Thin tree trunks are permeated with dim sunlight. Their fragility and grace are emphasized by clear reflections in the water. This emotional and heartfelt picture of nature conveys the depth of human feelings and experiences. A lonely boat near the shore and modest peasant houses on the horizon remind of the presence of a person.
Plyos is a small provincial town on the banks of the Volga, where Levitan worked for three years (1888-1890). Here Levitan first found those motifs and plots that subsequently immortalized his name, and, at the same time, the name of Ples. Zolotoy Plyos is one of the masterpieces created by Levitan at this time. With amazing sensitivity, this canvas conveys the feeling of peaceful silence, the soft glow of the pre-sunset light, the gentle haze of fog floating over the sleeping river... Everything is filled with a precious feeling of the integrity and beauty of being, and it seems that the bell will now strike and the canvas will tremble to the beat his blows. Levitan rented part of a white stone house with a red roof for some time.
The philosophical make-up and dramatic inner world the artist, his reflections on the frailty of human existence in the face of eternity.
Levitan's painting Lake (Rus)(1895, State Russian Museum, St. Petersburg) is the artist’s last large painting, on which he worked for a long time and with inspiration. Perhaps he did not make so many preparatory studies and sketches for any of his works. It is known that in the process of creation Lakes the artist more than once traveled for sketches to the Tver province, to places that once served as the basis for the painting Above eternal peace. But in comparison with the last one in Lake one hears not mournful, but solemn music of nature. Lake makes a strong impression with its bright, festive sound, the “chime” that unites the high blue sky, through which snow-white clouds float, and the wonderful freedom of a blue lake, on the near shore of which the reeds agitated by the fresh wind are green, and on distant shores one can see villages and white temples and bell towers raising their heads to the sky.
Wonderful day, centuries will pass,
They will also be in eternal order
The river flows and sparkles,
And the fields to breathe in the heat.
Fedor Tyutchev
Read words of the Russian poet I. Bunin.
No, it’s not the landscape that attracts me,
It’s not the colors that the greedy gaze will notice,
And what shines in these colors:
Love and joy of being.
How do you understandwords of the Russian poet I. Bunin?
Quote from the French writer A. de Saint-Exupéry: “You cannot see the most important things with your eyes, only your heart is vigilant.”
Assignment: o explain the meaning?
Write down in a creative notebook in prose or poetic form, impressions of any natural phenomenon, which amazed you with its beauty.
Select pieces of music that are in tune with the paintings of Russian artists. What artistic associations arise in your imagination?
Listen to music:
S.I.Taneev “Pine” based on lyrics by Y. Lermontov.
“You are already my field” Russian folk song.
It is necessary to analyze and compare it with literary text and artists’ paintings.
Literary pages
Listen to poems about nature:Native. D.Merezhkovsky
Autumn evening. F. Tyutchev.
Read aloud two literary works written in the 20th century, find the intonation, tempo, and dynamics of the voice to convey the emotional state reflected in these works.
Everything is in a fading haze
|
Everything is in a melting haze: Hills, copses. The colors are not bright here And the sounds are not harsh. The rivers are slow here Foggy lakes, And everything slips away From a quick glance. There's not much to see here Here you need to take a closer look, So that with clear love My heart was full. |
It's not enough to hear here Here you need to listen So that there is harmony in the soul They poured in together. So that they suddenly reflect Clear waters All the beauty of shy Russian nature. |
N. Rylenkov
To an unknown friend
This morning is sunny and dewy, like an undiscovered land, an unknown layer of heaven, this is the only morning, no one has gotten up yet, no one has seen anything, and you yourself are seeing for the first time. The nightingales are finishing their spring songs, dandelions are still preserved in quiet places, and perhaps the lily of the valley is whitening in the dampness of the black shadow. Lively summer birds began to help the nightingales.<…>The restless chatter of blackbirds is everywhere, and the woodpecker is very tired of looking for live food for his little ones, so he sat down on a branch far from them just to rest.
Get up, my friend! Gather the rays of your happiness into a bundle, be brave, start the fight, help the sun! Listen, and the cuckoo has begun to help you. Look, a harrier is swimming over the water: this is not an ordinary harrier, this morning he is the first and only one, and now the magpies, sparkling with dew, came out onto the path<…>. This is the only morning, not a single person has ever seen it on the entire globe: only you and your unknown friend see it.
And for tens of thousands of years people lived on earth, accumulating joy, passing it on to each other, so that you would come, pick it up, gather its arrows into bundles and rejoice. Be brave, be brave!
And again my soul will expand: fir trees, birch trees, and I can’t take my eyes off the green candles on the pine trees and the young red cones on the fir trees. Fir trees, birch trees, how good!
M. Prishvin
Answer the questions;
* What thoughts of the poet and writer, revealing the secrets of our native Russian nature, help us feel its beauty? Highlight key words that are important to you in these texts.
What works of art do you associate with these literary images?
Select reproductions of landscapes by Russian artists that are in tune with them.
Artistic and creative tasks
Prepare a computer presentation on the topic “Landscape in literature, music, painting.” Justify your choice of works of art.
Imagine yourself as a sound engineer, select musical compositions familiar to you that can be used to sound the literary works presented above. Read them to this music.
Listen to music:
Autumn.G.Sviridov;
The Legend of the Invisible City of Kitezh. Introduction;
Answer the question: Which of these musical works voices a poem about nature by F. Tyutchev?
Remember music lessons. Listen to Valery Gavrilin's music again. Is it consonant with the paintings of I. Levitan?
Visible music
Listeners all over the world know and love masterpieces musical classics- “The Seasons” - a series of concerts by the Italian composer XVIII
V. Antonio Vivaldi(1678-1741) and a cycle of Russian piano pieces
19th century composer Pyotr Ilyich Tchaikovsky(1840-1893). Both compositions belong to program music: they have titles and are accompanied by poetic lines - sonnets of the composer himself in Vivaldi concerts and poems by Russian poets for each of the 12 plays of the cycle Tchaikovsky.
A. Vivaldi "The Seasons" for string orchestra.
Spring is coming! And a joyful song Shepherd bagpipe sound |
P.I. Tchaikovsky "Seasons" - cycle for piano
12 plays - 12 pictures from Tchaikovsky’s Russian life received epigraphs from poems by Russian poets during publication:
And don’t rush after the troika
And sad anxiety in my heart
Hurry up and put it out forever."
N.A. Nekrasov
"Christmas time." December:
Once on Epiphany evening
The girls wondered
A shoe behind the gate
They took it off their feet and threw it."
V.A. Zhukovsky
"Snowdrop". April Listen
"The blue one is clean
Snowdrop: flower,
And next to it is draughty
The last snowball.
Last tears
About the grief of the past
And the first dreams
About other happiness..."
A.N. Maikov
"White Nights". May Listen
"What a night! What a bliss everything is like!
Thank you, dear midnight land!
From the kingdom of ice, from the kingdom of blizzards and snow
How fresh and clean your May flies out!”
A.A.Fet
"Barcarolle". June Listen
"Let's go ashore, there are waves
They will kiss our feet
Stars with mysterious sadness
They will shine on us"
A.N. Pleshcheev
"The Mower's Song" July:
"Get itchy, shoulder. Swing your arm!
Smell it in your face, Wind from noon!"
A.V.Koltsov
"Harvest". August:
"People with families
They began to reap
Mow to the roots
Tall rye!
In frequent shocks
The sheaves are stacked.
From carts all night
The music will hide."
A.V.Koltsov
"Hunting". September:
"It's time, it's time! The horns are blowing:
Hounds in hunting gear
Why are they already sitting on horses?
Greyhounds jump in packs."
A.S. Pushkin
In Russian landscapes-moods - poetic, pictorial and musical - images of nature, thanks to the amazing songfulness of intonations, melodies that last like an endless song, like the melody of a lark, convey the lyrical desire of the human soul for beauty, helping people to better understand the poetic content of sketches of nature.
These are the words I used to describe my impressions of I. Levitan’s painting
"Spring. Big Water" expert on Russian painting M. Alpatov:
Thin, like candles, girlishly slender birches look like the very ones that have been sung in Russian songs from time immemorial. The reflection of birch trees in clear water seems to be their continuation, their echo,
melodic echo, they dissolve in the water with their roots, their pink branches merge with the blue of the sky. The contours of these bent birch trees sound like a gentle and sadly plaintive pipe; from this choir, individual voices of more powerful trunks burst out, all of them are contrasted with a tall pine trunk and the dense greenery of spruce.
Pay attention to the epithets in the description of the picture. Why did the author use musical comparisons?
I can imagine how wonderful it is now in Rus' - the rivers have overflowed, everything is coming to life. No better country than Russia... Only in Russia can there be a real landscape painter.
I. Levitan
Why did a simple Russian landscape, why a walk in the summer in Russia, in the village, through the fields, through the forest, in the evening in the steppe, used to put me in such a state that I lay down on the ground in some kind of exhaustion from the influx of love for nature, those inexplicable sweet and intoxicating impressions that the forest, steppe, river, distant village, modesta church, in a word, everything that made up the wretched Russian landscape of our native land? Why all this?
P. Tchaikovsky
What attracts composers and artists to Russian nature?
Complete a task of your choice
Listen to fragments of program works by A. Vivaldi and P. Tchaikovsky. How does this music make you feel?
Find similar and different features in them, means of expression, which convey the composers’ attitude towards nature. What distinguishes Russian music from Italian?
What visual and literary associations emerge from these works? Match the poems to the music played.
Listen to modern arrangements classical works drawing nature. What's new? contemporary performers into the interpretation of melodies familiar to you?
Artistic and creative task
Select reproductions of landscape paintings. Write a short story about one of the paintings in a creative notebook, find musical and literary examples for it.
Musical works: P.I. Tchaikovsky cycle of piano pieces “The Seasons”; A. Vivaldi. Concert for string instruments"Seasons"; (fragments).
Working on landscapes using technology watercolor painting described in detail in the special manual “Watercolor”, authors G. B. Smirnov and A. A. Unkovsky (“Enlightenment”, 1964). Therefore, in this manual we limit ourselves to a description of working on landscapes using the technique of oil painting.
In order to write landscape sketches, you need to have a sketchbook with all the necessary accessories, a folding chair, an umbrella, primed sheets of cardboard or canvases on stretchers. If the sketchbook does not have retractable legs, then for large canvases you need a lightweight folding easel.
A novice artist is attracted to many objects. Nature captivates with its beauty, you want to write everything, in a word, you want to “embrace the immensity.” However, you need to be able to calculate your strength and set a specific task. To begin with, we recommend making two small studies a day with a specific goal - to convey the state of nature using large tonal relationships.
When choosing a landscape motif, many things can attract attention: lighting, color and tonal relationships of sky and earth, the nature of vegetation, the relationship of its large masses with smaller ones, a certain weather condition, for example quiet morning, a bright afternoon with contrasting chiaroscuro, or the subtle relationships of an overcast, “gray” or “silver” day.
It is important to always keep in mind what struck you at the first moment. Having outlined on cardboard with a stick of charcoal the relationship between earth and sky, the drawing of the largest masses, you need to take a closer look and try to more accurately determine the general tone that will characterize this state of nature. It is immediately necessary to determine how much darker one part of the landscape is in relation to another, what is the darkest, what is the lightest. Correctly found tonal relationships are the basis that will help convey the state of nature.
You need to start writing with the main subjects in terms of tone and color. In most cases, you have to immediately take the relationship of the tone of the earth, forest or buildings in the background to the sky. If in the foreground of the chosen motif there is a tree trunk or other large object, then it is necessary to take the relations of the foreground, earth and sky, but in each specific case you need to decide for yourself where it is more expedient to start determining the pictorial solution. It is necessary to take into account that lighting in nature changes quickly, tonal and color relationships also change, and therefore you cannot count on a long session. On a gray day, a sketch can be written for a relatively long time, and on a sunny day, in the morning or evening, no more than an hour and a half. On a clear afternoon, relationships do not change so quickly, which allows you to work for two to two and a half hours. At sunset or sunrise, when a thunderstorm is approaching, etc., you can only write quick sketches.
In addition to the fidelity of tonal relationships, it is also necessary to take care of color saturation and its activity. Inexperienced artists often paint in a gray color or heavily blacken shady places,
At the beginning of training landscape painting It is recommended to write one-session sketches. The size of one-session sketches should not be large. It is most convenient to write them on primed cardboard mounted on inside sketchbook covers. A landscape sketch is often painted with a thin core brush. The paint should be thin and dull in color (one of brown paints or ultramarine, but in no case black). It should be remembered that the pencil or paint of the design will mix in when applying color and make it dirty. In drawing you need to achieve correct definition proportions and structural structure, but you should not reduce it with unnecessary details that will hinder the work with a brush.
Before starting work, you should try to mentally “see” the completed sketch and think about how best to determine the basic color relationships. It is impossible to paint only one part of the sketch until the end, when the color layout of other large surfaces is not determined. The color of the sky has a great influence on the color. It especially noticeably affects the color of those shadow surfaces on which its reflexes fall. On those surfaces where the reflections of the sky do not fall, the influence of light rays reflected from the ground, buildings, and trees is visible. When small clouds float across the sky, their shadows will be visible on the ground. The foreground can be shaded while the distance is illuminated or vice versa.
A novice landscape painter is often confused by the variability of lighting, but one must firmly adhere to the distribution of light and shade established at the beginning of the sketch. White snow, white clouds and white walls cannot be painted with just white paint, since one or another color characteristic of each surface will depend on the lighting and the influence of color reflexes. In cases where the background bright sky you need to transfer a lot of thin branches without foliage, you can first “lay” them in the right color, and make gaps on top with small strokes.
When writing a sketch, you need to pay attention to the variety of characteristics of the “touches” of the depicted surfaces. To convey the air environment, you cannot sharply delineate the boundaries of objects, as this will destroy the inherent softness of nature. But at the same time, sometimes it is necessary to reveal a clear silhouette of a dark tree against the sky or other tonal contrasts. A soft “blur” of color tones characterizes a foggy day, while the clarity of the sculpted shapes of objects is characteristic of dry sunny weather. In the foreground, the direction of the strokes should clearly reveal the sculpting of the form.
Reflections in calm water are often painted with vertically directed strokes. There can be no ready-made recipes; in each individual case, you need to think about which direction of the stroke will help better convey nature. You just can’t allow a random, chaotic accumulation of strokes.
The image of clouds occupies a large place in landscape paintings. The shapes of clouds are very diverse, and the artist must study their structure well. Clouds can have vertical and horizontal development, located in the upper, middle or lower tiers.
Cirrus clouds are very high and look like light strokes, as if drawn on a clear blue sky, or resemble feathers arranged in a fan. They are arranged in stripes and, according to the laws of perspective, appear to converge on the horizon at the vanishing point. There are no shadows on cirrus clouds, as they are transparent and sometimes have a silky sheen. They consist of very small ice crystals, and their transparency depends on the relatively sparse arrangement of ice particles. When cirrus clouds cover the sun, they slightly weaken its light, but the solar disk is still visible. Before sunrise and sunset, painted in orange and pinkish tones, they are brightly lit at a time when it is already dark on the surface of the earth. During the day, cirrus clouds near the horizon have a slightly yellowish color, which is explained by a large layer of air separating them from the viewer. Borders cirrus clouds vague, without sharp outlines. Sometimes cirrostratus clouds resemble a light veil that gives the sky a milky tint without completely blocking out the sunlight.
Altocumulus clouds look like ridges consisting of small lumps. Depending on the thickness of the layer, the color of the clouds changes from light to dark. Between individual clouds, gaps of clear sky are visible. Sometimes ridges of dark-colored altocumulus clouds can be seen against the background of lighter cirrostratus clouds. Often several layers of altocumulus clouds can be observed, having different color and tonal relationships. It depends on their lighting conditions.
Altostratus clouds can form a thick, monochromatic blanket in the sky. Stratocumulus clouds often cover the entire sky, but the thickness of the cloud layer varies and forms a "wavy surface" with alternating light and dark tones. Such layers of clouds can often be seen in winter.
At sunset, the so-called evening stratocumulus clouds, which have flat, elongated shapes, form. Dark nimbostratus clouds produce uniform tones throughout the sky. These clouds are characteristic of cloudy rain.
When the sun is hidden by a thick cover of stratus clouds, the sketch can take a long time to paint, since the lighting conditions change little.
Dense cumulus clouds increase vertically, develop in clear weather and have the appearance of snowy mountains or fantastic towers. On such clouds, in lateral light, brightly illuminated and shadow surfaces are observed, revealing their relief. Cumulus clouds have dome-shaped tops and their bases are horizontal. The lower surfaces of cumulus clouds vary in color because they receive reflections from the ground's grass, dense forests, or sandy desert. Sometimes a cumulus cloud, developing vertically, turns into a thunderstorm, looking like a giant anvil. From above, such a cloud loses its clear outline. Beneath its base, very low, broken clouds of other tonal characteristics form. When a cumulus cloud covers almost the entire sky, the observer can only see its base, which resembles nimbostratus clouds. Cumulonimbus clouds produce fast-moving showers that are visible from a distance as a dark curtain between the lower surface of the cloud and the ground. The leading edge of a large thundercloud often separates into a shaft of darker color and is visible against the background of a towering light-colored cloud tower. The external outlines of clouds, with the ability to observe them in nature, make it possible to understand the direction of air flow and the direction of the wind.
In order to study various cloud structures, it is recommended to perform more sketches and one-session studies. We must learn to coordinate the shapes and color tones of the clouds in the landscape with the overall composition and color.
The inserts show the sequence of work on the landscape sketch. The first stage of the work is the execution of a pencil drawing, on which the composition is determined and all elements of the landscape are marked. The etude format is chosen to be vertical. The horizon line is taken below the middle of a sheet of cardboard, the trees are placed at different distances. Already in the initial markup it is shown different characteristic the shape of each tree. The second stage of work is determining the basic color and tonal relationships. The relationship of the trees in front, as well as the distant forest, to the sky and to the ground is taken. The third stage is general registration. The entire surface of the cardboard is covered with paint. At this stage, the previously outlined relationships between the tree in the foreground and the trees located in the depths of the picture were further developed. The relationships between the clouds at the horizon and in the upper part of the sketch were defined. A spatial solution of the foreground and background plans of the earth has been revealed. The last stage corresponds to the degree of completion that can be achieved in a one-session sketch. We recommend paying attention to the fact that each tree has its own color and tonal characteristics, and also consider how the details are conveyed: bark, some branches, rays of grass on the ground, etc. In the last stage of the work, the artist’s main attention was focused on the final generalization tonal and color relationships.
It must be remembered that the main task in the sketch is to study nature, color and tonal relationships that characterize nature at different times of the year, under different weather conditions. Working on a sketch requires direct observations. Fragmentation and incompleteness of details are excusable here.
Having accumulated some skills in landscape painting while performing small short-term sketches, you can move on to working on large and more complex sketches in composition, designed for two or three sessions.
Before starting a long sketch, it is useful to make several preliminary sketches, compose the image, and highlight the compositional center. You can’t rush to complete a drawing for painting. It is necessary to carefully draw all the characteristic forms in it, to trace the plastic relationship of large and smaller masses of vegetation.
Underpainting, that is, a wide covering of the canvas with paints, is better to start with the largest and clearest areas of nature. We advise you to start writing liquidly and avoid white in the shadows, which will allow you to achieve the necessary saturation of color relationships. After the first session, the canvas needs to be dried, as it is better to paint on a dry underpainting. Before the next session, it is recommended to wipe the dried surface of the canvas with a cut of an onion. In the second session, you can paint impasto, but without being distracted by small details, trying to maintain the harmony of color and tonal relationships that distinguishes the chosen landscape motif. When working on the shape of trees, leaves and other elements, you need to think about the meaning that this or that element has in the overall color structure of the canvas.
In the next session, which may be the last, we recommend working either on a non-dried layer, that is, the next day, or on a dry layer, but in no case on a half-dried layer, since in this case the colors will fade and they will fade. Working on identifying forms, it is necessary to achieve truthfulness in the depiction of nature. At the end of the work, you need to summarize some details if they “fall out” of the general order, or strengthen them if they lack the activity of color and tone.