SEASONS
Nature sketches
January sketch
Enchantress in Winter
Bewitched, the forest stands,
And under the snow fringe,
motionless, mute,
He shines with a wonderful life...
Fedor Tyutchev
Have you ever listened alone to the frosty silence, when your eyes are blinded by the bright whiteness of the snow, covering endless fields with fluffy silver blankets? Spreading spruces, centuries-old cedars and slender ship pines, like sensitive sentries, froze at their post, protecting the wondrous nature. Everything around is white and white. And such piercing silence! Only occasionally, with a crystalline crack, will a heavy, shaggy branch suddenly break off, throwing off a cap of snow covered with a blue ice shell of crust, and again... silence. You can’t hear the birds, you can’t hear the wind, which has nestled briefly in the thickets of a dense spruce forest. Everything seemed to freeze around! But you look a little more closely at the pure virgin snow and suddenly you notice fresh hare dots recently dusted with snow. It can be seen that just a few minutes ago a white hare was weaving around the thick-trunked birch tree that had been gnawed from the bottom, skillfully tangling the tracks it left behind.
Nature sleeps, and only the crunch of boots hangs in the blue frosty haze. And at this very moment, alone with nature, you feel like a ruler, the master of this huge snowy kingdom. After all, the real owner of the taiga took a time out until spring, sleeps serenely in a warm den, reflexively sucking his paw. Therefore, out of the acuteness of my feelings, I leisurely rake up a handful of fresh, unstalked snow, mold it into a weighty snow ball and... launch it into the crown of the tallest Christmas tree! She suddenly flinches from the blow she receives and... is generously showered with silver beads. And while I am fascinated by this fabulous waterfall, a whole avalanche of snow falls on me from the top of the spruce tree, some of which falls down the collar of my jacket, and now a dozen cold streams are joyfully running through my hot body. Here's Charcot's shower for you! “Cool down,” as if warning the winter forest. And I cringe, internally agreeing with him. The winter forest is unpredictable! “There is no mercy in nature towards man: there is no point in expecting mercy from her. Man must fight it, and be merciful, and protect nature, since he is its conquering king.” (M. Prishvin).
Meanwhile, the January frost is getting stronger, stronger, crackling, clicking, swelling its angry cheeks. Its prickly, stinging needles persistently crawl under a thick jacket and sweater, chilling them to the bones. You have to dance and stomp in one place so as not to freeze at all. And I constantly rub the reddened and frost-covered tip of my nose with a soft mitten so that, God forbid, it does not turn white and lose its sensitivity. Even a muskrat hat with earflaps drawn down and tied with laces does not provide much protection from the bitter cold. You can hear the wind awakening in the spruce forest, merciless to all living things, breaking through the warm fur with a howl and gusts.
And yet there is no greater pleasure than being alone with nature for at least an hour, in any weather! Honestly, these are moments of true pleasure! How is it sung in the song by film director Eldar Ryazanov? “Nature has no bad weather, every weather is grace! Whether it’s raining or snowing, any time of the year should be accepted with gratitude.” In my opinion, there is no better way to say it!...
January, 2011.
May sketch
The first thawed patches have dried up,
The nimble nightingale clicked.
A light blade of grass around the waist
An ant hugged awkwardly
Swinging between earth and sky,
Like a drop of sea on an oar,
He's never been this close
Neither to the sky, nor to the earth itself...
Vladimir Bespalko
I really love the spring forest, awakened after a long winter sleep. Do you remember how the young composer Johann Strauss, taking a walk through the Vienna Woods, conceived the perky notes of his immortal waltz? And the chirping of birds, and the crunch of dead wood, and the range of soft rustling sounds emanating from under the old cart, and the timid murmur of a brook - all this merged together into a friendly forest chorus...
And now! I’m standing in a forest clearing, surrounded by slender birch trees, dressed in such transparent clothes that everything in the forest can be seen through them, and I experience complete calm and tranquility. I admire the green young grass breaking through the ground warmed by the sun's rays, and the small insects hurrying about things that are very important to them. Everything is interconnected in nature! A light rain has just passed, and the air is filled with the aroma of forest freshness... The bird cherry has blossomed and is already crumbling into white boils, followed by lush lilacs gathering their heavy clusters. But the beautiful daisy, nailed to the ground by the rain, rises... It pulls, exposing its orange core to the gentle rays of the sun in a round dance of snow-white petals. And I just want to remember my barefoot childhood, squat down in front of a simple flower and tell fortunes about the future, about the future paths and roads! But no, there is no place for sentimentality here! There is no point in guessing about the future. There is only eternity ahead with its mysterious periods and commas. And everything else has long been behind us...
And then the woodpecker knocked. His timid single blows on wood develop into the rhythm of Morse code: dot, dot, dot, short pause, dash, dash and then in a circle. And after him, the nightingale, echoing the woodpecker’s quiet beat, began to pour out its iridescent trill. The friendly bird chorus was picked up from afar by the cuckoo. “Kuk-ku, kuk-ku, kuk-ku...,” echoes melodiously over the forest. I would like to count the remaining years, but I don’t trust the bird. What's left is all mine! I switch my hearing to the murmur of water. It is clear water rustling in a crystal shallow stream. I make a paper boat from a piece of newspaper and set it sailing...
Nature awakens, and with it, hope for tomorrow awakens. After all, spring is always the start for the wildest desires. Let those who think I am wrong throw a stone at me!
July sketch
Dressed in berries
In apples and plums.
The days have become beautiful.
So much color!
How much light!
The sun is at the top of summer.
V. Lanzetti
As I write these lines, I remember a song about Moscow to the words of the unforgettable poet and screenwriter Gennady Shpalikov. Remember his heartfelt lines about the rain, where after a summer downpour the Garden Ring sparkles like a wedding ring... So, I can safely say, I adore this kind of rain. No, don’t look at this picture through the glass window, but walk along a forest path, exposing your face and hands to the wind and rain, and your body slightly covered by a light T-shirt and shorts. At these moments it is very easy to think. Above you is a heavy, leaden sky, zigzags of lightning are throwing, summer thunder is roaring. And you go, wet to the last thread, but so happy! Your body may feel a slight chill, but how easy it is to breathe! And how freely one can think! Spurred by splashes of rain, the brain begins to move violently, and now the outlines of one plot and another appear. Just have time to comprehend and place the right emphasis.
And then everything suddenly calms down. The flash of lightning and the menacing rumbles of thunder are instantly forgotten. Rare drops of rain hit the puddles, which promise to dry up soon. After all, the hot summer sun is already peeking out from behind the edge of the cloud, and the paths in the forest, accessible to the sun’s rays, are already swirling with barely noticeable warm vapors. And only the goose-bumped skin on the back and chest and the wet T-shirt annoyingly stuck to the body cause slight irritation that disturbs mental comfort. I stand under a spreading linden tree, take off my wet clothes, wring them out to the last drop and, putting on only damp shorts, continue on my way. The sun has finally rolled out completely, the chills have stopped, and I, raising my palms up, welcome the generous rays of the sun. How good it is that the middle of this wonderful time has only just crossed its rubicon. And this means that summer will not end for a long time, and although not all, I still have a lot ahead of me. Unrealized creative plans too. That's why it's summer, capable of presenting mostly pleasant surprises... A very beloved and long-awaited time of year.
July, 2008.
Autumn sketch
The golden grove dissuaded
Birch, cheerful language.
And the cranes, sadly flying,
They don't regret anything anymore...
Sergey Yesenin.
Golden autumn comes in different ways in Krasnoyarsk. And now it’s the second ten days of the month. Bright sun and transparent sky, across which clouds, freshly washed after another rain, float. Quiet. Only insects invisible to the eye are ringing somewhere, and light azure hangs between multi-colored, lacy leaves, trees. Crimson maple leaves rustle underfoot. And I remember the words from the famous song: “The autumn forest scattered rubles, just collect the gold with a rake. And the girls are all stupid, give them love instead of gold!”
I bend my back, grab a bunch of withered leaves with my palms and throw them up. This is how I salute the years I have lived. Here is another step towards eternity. Born under the constellation Virgo, September became the measure of my age. And again I look, peer into the sky. A wedge of cranes flew by. There's another one behind him. Birds fly to the southern regions to return here again in the spring. They, like us humans, live in hope. And the grass has already fallen to the ground, it is almost invisible under the cover of foliage. In the air there is a dance of once green shoots, transformed in autumn into golden twisted splashes. Any time of year is beautiful in its own way.
And it happens that in the morning and throughout the day a tedious gray rain will charge, but my soul quietly rejoices that it is able to hide in the body, like in a safe house, and wait out the bad weather there. She feels comfortable and calm in it. Again, thoughts rush in one after another and fall onto the paper line by line. Just have time to write it down! And the rain drums on the glass of the windows, washes them, promising the next sunny, dewy morning, a warm and humid autumn day. And again the wind will sigh, flirt with the young aspen trees, pluck bright red coins from them, and chase them like golden fireflies along forest paths. And my soul will again be light and calm.
For creative trips around the world I prefer late spring, for seaside holidays - summer, but for writing there is no better time than autumn or winter. It is not for nothing that the great poet called the Boldino autumn the most prolific period in his short life. Autumn excites and hurries. There is a lot to be done and done in this busy life. In other words, autumn is not a launching pad for the accomplishment of grandiose plans, but most likely a finishing one for summing up the preliminary results of what has already been accomplished! That is why this golden time of year, in my personal perception, is also filled with a deep philosophical meaning: autumn comes and goes, but life, ebullient, life in full swing, continues...
September 2012.
Reviews
Hello Boris Mikhailovich! I enjoyed reading your miniatures about the seasons. Very lyrical. With a slight minor note.
I paid attention to Prishvin’s quote. It clearly contains the famous statement of Ivan Michurin. I wasn’t too lazy to go online. True:
//I read in the tear-off calendar: “There is no mercy in nature, a person should DEMAND from it not mercy, but...” (Michurin).
There is no mercy in nature towards man: there is no point in expecting mercy from her. A person must fight it and BE MERCIFUL, AND PROTECT NATURE, since he is its victorious king (Prishvin).//
This is all Prishvin, a singer of nature and a subtle observer. and “Our task, according to Michurin, is not to take them from her,” but to be merciful and protect nature. A completely obvious reaction to Michurin’s somewhat extremist, ingrained statement. The Bolsheviks saw this as a suitable slogan and began to CONQUER nature. Conquer the North, the taiga, regulate river flow where it is necessary and not necessary. Now we all see what conquest leads to. Forests are disappearing, water bodies are being polluted... And they are trying to justify all this as the inevitable consequences of technological progress. But it’s time to live in harmony with nature, stop conquering it. Man is only a particle of this species, a particle of the biosphere. Due to the nature of my profession, I had to travel a lot around the world and see many examples of human barbarity.
Let me congratulate you on the upcoming NEW YEAR. We wish you good health and fruitful creativity.
With respect
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 three-dimensional shape, the stronger the further the object is from the observer. Therefore, it is necessary to distinguish between spatial plans - the first, second, third, the most distant - and by comparing objects of close and distant plans according to color and clarity of outlines reveal an aerial perspective. Without this, it is impossible to convey the depth of a vast space. For this task, we advise you to choose a simple motive and carefully work it out 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 simple motif: 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 paint 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 under 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 variety 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. Outline the location and dimensions of the main objects, construct their three-dimensional form.
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 by 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. In the shadows falling on horizontal surfaces, the cold reflections of the sky are strong. 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 paint the shadows transparently (after all, they are penetrated by 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 solar lighting is created only by correctly identifying light and shadow 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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Spring
Spring is a new beginning. This is the birth of a new life, this is a blossoming, milky, still very tender sprout. These are the first rays, the first songs. This is when the old foundations collapse, and from under the fragments a new, beautiful thing is reborn. Spring is a wonderful baby, still very young and fragile. Then he laughs, smiles - and his laughter illuminates everything around with warmth and light. Then he cries and is sad - and tears flood the streets, and the whole sky frowns. This baby is still very small, capricious, and his mood is constantly changing. But his arrival brings something new, brings hope and joy, no matter how difficult the past from which he was reborn was. Spring is the formation of a new stage, it is a baby bringing faith and love.
Summer
Summer is a time of fun and discovery. This is a feeling of happiness. This is boundless warmth, this gentle sun. Summer is a young man, forever in love and happy. He always laughs and jokes, is not serious in everything, but everything is forgiven to him for his optimistic outlook. He is active and passionate. Every day sparkles with laughter and smile. And even rain and wind turn into something joyful and cheerful. Summer is carefree youth, this is the time to fall in love and feel the world around you more sensually than ever.
Autumn
Autumn is a gloomy sky. This is damp asphalt and mirror puddles. These are fiery colors and golden outfits. Autumn is longing and sadness for the past. This is an eternally gray sky, this is a stop of time. These are the last light rays and remnants of warmth. Autumn is a thoughtful young man. His time for fun and games was over, his gaze became gloomy, more serious. He looks sad more often than dreamy. The carefree time is over, and it's time to feel life on your shoulders. This is a comprehension of everything, this is a kind of rebirth and awareness of simple truths. Autumn is a slightly open door to truth, it is a gloomy time that lowers a cloud to the ground.
Winter
Winter is bitter cold and flawless whiteness. This is compressed air, clear sky. These are powdery branches and soft snowdrifts. This is frost biting your cheeks, this is cold light. Winter is a wise old man who has thrown away all idleness, leaving only the naked essence. He is not attracted to paints or color formalities. He skimped on the design and put only one meaning on the bright cover. And it’s all wonderful, majestic. This old man has already seen all the manifestations of life, all the signs of its struggle, he has understood everything and everyone, he has learned the whole essence of things and is now talking about something lofty. His gaze lost the fire of youth, but became soft and understanding. With advice and instructions, he again and again reminds us of the harsh nature, again and again he says: “If you give up, you won’t change anything, stand up and fight!” It's like an icy wind that constantly pushes you forward. A little harsh, but effective. Winter is when in front of you is one bare essence, one truth without embellishment, it is an old man, wise and instructive.
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 subtlest strings of his soul, help him touch the unique beauty of his native nature, see the unusual in what is familiar and everyday, and give everyone the opportunity to develop a sense of belonging to their native land, to their father’s home.
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. 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 light, 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 his 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 famous masterpiece - the 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 a keen sense of anticipation 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 her a 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 - gentle, 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 is 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 flakes stick to its branches-arms. 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 is 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 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?
Russian artists of the 19th century. 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. The great poet of nature, Levitan, 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 Bells” (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, through the landscape, to express the state of the human soul and its 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 the finest 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 artist's philosophical makeup and dramatic inner world are revealed, as well as 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, along 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 the far shores one can see villages and raising heads to white churches and bell towers 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 that struck 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 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 intonation, tempo, and vocal dynamics 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 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 see 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, and 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 cannot 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 is voiced by F. Tyutchev’s poem about nature?
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 the masterpieces of 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
What light are they 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. There is 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 in them similar and different features, expressive means that convey the composers’ attitude to 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 adaptations of classic works depicting nature. What new do modern performers bring to the interpretation of familiar melodies?
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. Concerto for string instruments “The Seasons”; (fragments).
Lesson developments (lesson notes)
Basic general education
Line UMK S. P. Lomov. Fine Arts (5-9)
Attention! The site administration is not responsible for the content of methodological developments, as well as for the compliance of the development with 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 the 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 for learning 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 consider the works of famous artists and select paintings of the landscape genre 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. Statement of the 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 in 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. |