Types of fine arts.
Painting
Painting is one of the oldest forms of art associated with the transmission of visual images by applying paints to a solid or flexible base. The most common works of painting are made on flat or almost flat surfaces, such as canvas stretched on a stretcher, wood, cardboard, paper, treated wall surfaces, etc. In a narrow sense, the term painting is opposed to works created on paper, for which the term is used - graphic arts .
Irina Shanko
"March, on the coast of the Gulf of Finland"
canvas, oil
33/58
2011
Classification.
Also, painting can be divided into easel and monumental. Here is an approximate division into these types, although almost any easel painting material can be used in monumental painting. Easel painting includes "small" works that can be placed on an easel or several. Monumental, painting the basis of which is usually not tolerated - wall, ceiling, etc.
easel:
Oil painting, a technique that uses paints with vegetable oil as the main binder. Oil paints are made up of dry pigments and drying oil.
Shanko Irina, "Sleeping boats", oil on canvas, 50/60, 2014
Tempera painting, the binder is the yolk of a chicken egg.
This type of painting got its name from the name of the paint - tempera. At the heart of this word is the Latin temperare, which means "to mix." The technology for the production of this paint was approximately as follows. The pigments were triturated with water and dried. Then they were mixed with an egg, diluted with glue, vinegar, wine or beer.
Tempera painting technique consisted in successive application of several layers. A light coat of paint was applied to the prepared surface. First, the artists outlined the contours, depicted the environment, nature, clothes. Images of people were drawn at the final stage. At the same time, in tempera painting it was very important that each of the layers dry well, otherwise the subsequent ones could blur. Fortunately, the structure of the paints allowed them to dry very quickly. Therefore, the work of the artist on the image was almost continuous.
Andrey Rublev, "Trinity", 1411 or 1425-27, tempera on wood, 142/114 cm, State Tretyakov Gallery, Moscow.
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Adhesive painting, based on animal glue. A technique in which the pigment binder is glue: animal (fish, skin, bone, casein) or vegetable (starch, gum, tragacanth).
Paints in adhesive painting are opaque, opaque, the painting surface is matte. With a high content of glue in the paint, the surface becomes glossy, and the color becomes more intense.
Mary with the sleeping Jesus, 1455.
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Encaustic, wax painting.
Encaustic (from other Greek ἐγκαυστική - [art] burning) is a painting technique in which wax is the binder of paints. Painting is done with paints in molten form (hence the name).
Apostle Peter (n. VI century)
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Monumental:
Fresco, one of the wall painting techniques characterized by writing on wet plaster.
Fresco (from Italian fresco - fresh), affresco (Italian affresco) - painting on wet plaster is one of the wall painting techniques, the opposite of "A secco" (dry painting). When dried, the lime contained in the plaster forms a thin transparent calcium film, which makes the fresco durable.
At present, the term "fresco" can be used to refer to any wall painting, regardless of its technique (and secco, tempera, oil painting, acrylic paint, etc.). Sometimes they write tempera on an already dry fresco.
Roman fresco, 40-30 BC e.
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And secco, as opposed to fresco, is painting on dry plaster.
And secco is also called casein and silicate painting (Mineral painting is a technical kind of monumental painting based on the use of soluble glass as a binder.) on dried plaster. It is used to perform work both on the internal and external surfaces of buildings. The technique allows subsequent adjustments with tempera and rinsing with clean water.
Leonardo da Vinci. The Last Supper.1498
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Sgrafito, wall painting, the essence of which is the multi-level application of paint.
Sgraffito (Italian sgraffito) or graffito (Italian graffito) is a technique for creating wall images, the merit of which is their great durability.
The simplest case of two-color sgraffito is the application of one layer of plaster on the wall, which differs in color from the base. If in some places the layer is scratched, the lower one, of a different color, will be exposed and a two-color pattern will be obtained. To obtain a multi-colored sgraffito, several layers of plaster of different colors are applied to the wall (the plaster is painted with different pigments); the plaster is then scraped off at varying depths to expose the desired color layer.
Such murals are very laborious, they are difficult to correct, therefore, a stencil is often used to perform murals in this technique in order to avoid mistakes.
Two-tone sgraffito, Březnice, Czech Republic
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Acrylic, water-based paints.
Acrylic paints become darker as they dry. They can also be used as an alternative to oil paint using widely known techniques. They dry very quickly - this is their advantage over other paints. It can be applied both in a very liquid, diluted state (diluted with water), and in a pasty state, thickened with special thickeners used by artists, while acrylic does not form cracks, unlike oil paints. The paint is laid with an even film, it shines a little, it does not require fixing with fixatives and varnishes, it tends to form a film that is washed off after drying only with special solvents.
Acrylic paints and varnishes can be used on any non-greasy base.
Fresh acrylic paint can be easily removed from objects with water, but requires special solvents when it dries.
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Students, graduate students, young scientists who use the knowledge base in their studies and work will be very grateful to you.
INTRODUCTION
1. TYPES OF PAINTING
2. PAINTING AND ITS GENRES
CONCLUSION
BIBLIOGRAPHY
INTRODUCTION
The word "painting" is formed from the words "live" and "write". “Painting,” explains Dahl, “to depict correctly and vividly with a brush or with words, with a pen.” For the painter, to depict correctly means the exact transfer of the external appearance of what he saw, its most important features. It was possible to convey them correctly by graphic means - line and tone. But it is impossible to convey vividly with these limited means the multicolor of the surrounding world, the pulsation of life in every centimeter of the colored surface of an object, the charm of this life and constant movement and change. Painting, one of the types of fine arts, helps to truly reflect the color of the real world.
Color - the main pictorial and expressive means in painting - has tone, saturation and lightness; it seems to fuse into a whole everything characteristic in the subject: both what can be depicted by a line, and what is inaccessible to it.
Painting, like graphics, uses light and dark lines, strokes and spots, but unlike it, these lines, strokes and spots are colored. They convey the color of the light source through glare and brightly lit surfaces, sculpt a three-dimensional form with object (local) color and color reflected by the environment, establish spatial relationships and depth, depict the texture and materiality of objects.
The task of painting is not only to show something, but also to reveal the inner essence of the depicted, to reproduce "typical characters in typical circumstances." Therefore, a true artistic generalization of the phenomena of life is the basis of the foundations of realistic painting.
1. TYPES OF PAINTING
monumental painting- This is a special kind of paintings on a large scale, decorating the walls and ceilings of architectural structures. It reveals the content of major social phenomena that have had a positive impact on the development of society, glorifies them and perpetuates them, helping to educate people in the spirit of patriotism, progress and humanity. The loftiness of the content of monumental painting, the significant size of its works, the connection with architecture require large masses of color, strict simplicity and laconism of composition, clarity of contours and generalization of plastic form.
decorative painting It is used to decorate buildings and interiors in the form of colorful panels, which, with a realistic image, create the illusion of a wall breakthrough, a visual increase in the size of the room, or, on the contrary, deliberately flattened forms confirm the flatness of the wall and the isolation of space. Patterns, wreaths, garlands and other types of decor that adorn the works of monumental painting and sculpture link together all the elements of the interior, emphasizing their beauty, consistency with architecture.
Theatrical and decorative painting(scenery, costumes, make-up, props, made according to the sketches of the artist) helps to reveal the content of the performance more deeply. The special theatrical conditions for the perception of the scenery require taking into account the many points of view of the public, their great distance, the impact of artificial lighting and colored highlights. The scenery gives an idea of the place and time of the action, activates the viewer's perception of what is happening on the stage. The theater artist seeks to sharply express the individual character of the characters, their social status, the style of the era, and much more in sketches of costumes and make-up.
miniature painting was greatly developed in the Middle Ages, before the invention of printing. Handwritten books were decorated with the finest headpieces, endings, and detailed miniature illustrations. Russian artists of the first half of the 19th century skillfully used the pictorial technique of miniature to create small (mainly watercolor) portraits. The pure deep colors of watercolors, their exquisite combinations, the fineness of the painting distinguish these portraits, full of grace and nobility.
easel painting, performed on a machine tool - an easel, uses wood, cardboard, paper as a material basis, but most often a canvas stretched on a stretcher. An easel painting, being an independent work, can depict absolutely everything: factual and fictional by the artist, inanimate objects and people, modernity and history - in a word, life in all its manifestations. Unlike graphics, easel painting has a richness of color, which helps to emotionally, psychologically multifaceted and subtly convey the beauty of the surrounding world.
By technique and means of execution, painting is divided into oil, tempera, fresco, wax, mosaic, stained glass, watercolor, gouache, pastel. These names were derived from the binder or from the method of using material and technical means.
Oil painting done with paint erased on vegetable oils. Thick paint, when oil or special thinners and varnishes are added to it, liquefies. Oil paint can be used on canvas, wood, cardboard, paper, metal.
Tempera painting is done with paint prepared on egg yolk or casein. Tempera paint dissolves with water and is applied pasty or liquid on the wall, canvas, paper, wood. Tempera in Rus' created wall paintings, icons and patterns on household items. In our time, tempera is used in painting and graphics, in arts and crafts and in art and design.
fresco painting adorns interiors in the form of monumental and decorative compositions applied on wet plaster with water-based paints. The fresco has a pleasant matte surface and is durable in indoor conditions.
wax painting(encaustic) was used by the artists of Ancient Egypt, as evidenced by the famous "Fayum portraits" (I century AD). The binder in encaustic is bleached wax. Wax paints are applied in a molten state to a heated base, after which they are cauterized.
mosaic painting, or mosaic, is assembled from individual pieces of smalt or colored stones and fixed on a special cement ground. Transparent smalt, inserted into the ground at different angles, reflects or refracts light, causing the color to flash and shimmer. Mosaic panels can be found in the subway, in theatrical and museum interiors, etc. Stained glass painting is a work of decorative art designed to decorate window openings in any architectural structure. The stained-glass window is made up of pieces of colored glass fastened with a strong metal frame. The luminous flux, breaking through the colored surface of the stained-glass window, draws decoratively spectacular, multi-color patterns on the floor and walls of the interior.
2. PAINTING AND ITS GENRES
Genres of painting (French genre - genus, type) - the historical division of paintings in accordance with the themes and objects of the image. In modern painting, there are the following genres: portrait, historical, mythological, battle, everyday life, landscape, still life, animalistic genre.
Although the concept of "genre" appeared in painting relatively recently, certain genre differences have existed since ancient times: images of animals in caves of the Paleolithic era, portraits of Ancient Egypt and Mesopotamia from 3000 BC, landscapes and still lifes in Hellenistic and Roman mosaics and frescoes. The formation of the genre as a system in easel painting began in Europe in the 15th-15th centuries. and ended mainly in the 17th century, when, in addition to the division of fine art into genres, the concept of "high" and "low" genres appeared, depending on the subject of the image, theme, plot.
The "high" genre included historical and mythological genres, while the "low" genre included portrait, landscape, and still life. This gradation of genres lasted until the 19th century. So, in the 17th century in Holland, it was precisely the "low" genres that became leading in painting (landscape, everyday genre, still life), and the ceremonial portrait, which formally belonged to the "low" genre of portraiture, did not belong to it.
Having become a form of reflection of life, the genres of painting, with all the stability of common features, are not invariable, they develop along with life, changing as art develops. Some genres die off or acquire a new meaning (for example, the mythological genre), new ones arise, usually within pre-existing ones (for example, an architectural landscape and a marina appeared within the landscape genre). There are works that combine different genres (for example, a combination of everyday genre with a landscape, a group portrait with a historical genre).
A genre of fine art that reflects the external and internal appearance of a person or group of people is called portrait. This genre is widespread not only in painting, but also in sculpture, graphics, etc. The main requirements for a portrait are the transfer of external resemblance and the disclosure of the inner world, the essence of a person's character. By the nature of the image, two main groups are distinguished: ceremonial and chamber portraits. The ceremonial portrait shows a person in full growth (on a horse, standing or sitting), against an architectural or landscape background. In a chamber portrait, a half-length or chest image is used on a neutral background. A self-portrait stands out in a special group - the artist's image of himself.
The portrait is one of the oldest genres of fine art, originally it had a cult purpose, it was identified with the soul of the deceased. In the ancient world, the portrait developed more in sculpture, as well as in pictorial portraits - Faiyum portraits of the 1st - 3rd centuries. In the Middle Ages, the concept of a portrait was replaced by generalized images, although there are some individual features in the depiction of historical figures on frescoes, mosaics, icons, and miniatures. Late Gothic and the Renaissance is a turbulent period in the development of the portrait, when the portrait genre is emerging, reaching the heights of humanistic faith in man and understanding of his spiritual life.
The genre of fine art dedicated to historical events and characters is called historical genre. The historical genre, which is characterized by monumentality, has long developed in wall painting. From the Renaissance to the 19th century artists used the plots of ancient mythology, Christian legends. Often the real historical events depicted in the picture were saturated with mythological or biblical allegorical characters.
The historical genre is intertwined with others - the everyday genre (historical and everyday scenes), portrait (image of historical figures of the past, portrait-historical compositions), landscape ("historical landscape"), merges with the battle genre.
The historical genre is embodied in easel and monumental forms, in miniatures and illustrations. Originating in antiquity, the historical genre combined real historical events with myths. In the countries of the Ancient East, there were even types of symbolic compositions (the apotheosis of the military victories of the monarch, the transfer of power to him by a deity) and narrative cycles of murals and reliefs. In ancient Greece there were sculptural images of historical heroes, in ancient Rome reliefs were created with scenes of military campaigns and triumphs.
In the Middle Ages in Europe, historical events were reflected in the miniatures of the chronicles, in icons. The historical genre in easel painting began to take shape in Europe during the Renaissance, in the 17th - 18th centuries. it was considered as a "high" genre, bringing to the fore (religious, mythological, allegorical, actually historical plots).
Pictures of the historical genre were filled with dramatic content, high aesthetic ideals, and the depth of human relations.
The genre of fine art dedicated to the heroes and events that the myths of ancient peoples tell about is called mythological genre(from the Greek. mythos - tradition). The mythological genre comes into contact with the historical and takes shape in the Renaissance, when ancient legends provided the richest opportunities for the embodiment of stories and characters with complex ethical, often allegorical overtones. In the 17th century -- early XIX century in the works of the mythological genre, the range of moral, aesthetic problems is expanding, which are embodied in high artistic ideals and either come close to life, or create a festive spectacle. From the XIX -XX centuries. the themes of Germanic, Celtic, Indian, Slavic myths became popular.
battle genre(from French bataille - battle) is a genre of painting that is part of the historical, mythological genre and specializes in depicting battles, military exploits, military operations, glorifying military prowess, the fury of battle, the triumph of victory. The battle genre may include elements of other genres - domestic, portrait, landscape, animalistic, still life.
A genre of fine art that shows scenes of everyday, personal life of a person, everyday life from peasant and urban life, is called everyday genre. An appeal to the life and customs of people is already found in the paintings and reliefs of the Ancient East, in ancient vase painting and sculpture, in medieval icons and hour books. But the everyday genre stood out and acquired characteristic forms only as a phenomenon of secular easel art. Its main features began to take shape in the XIV - XV centuries. in altar paintings, reliefs, tapestries, miniatures in the Netherlands, Germany, France. In the 16th century in the Netherlands, the everyday genre began to develop rapidly and became isolated. One of its founders was Hieronymus Bosch.
The development of the everyday genre in Europe was greatly influenced by the work of Pieter Brueghel: he moves to a pure everyday genre, shows that everyday life can be an object of study and a source of beauty. The 17th century can be called the century of the everyday genre in all the schools of painting in Europe.
In the XVIII century. in France, genre painting is associated with the depiction of gallant scenes, "pastorals", becomes refined and graceful, ironic. The works of the everyday genre are diverse: they showed the warmth of domestic life and the exoticism of distant lands, sentimental experiences and romantic passions. The everyday genre, focused on showing peasant life and the life of a city dweller, developed vividly in Russian painting of the 19th century: for example, in the works of A.G. Venetsianov, P.A. Fedotov, V.G. Perov, I.E. Repin.
The genre of fine art, where the main thing is the image of nature, the environment, views of the countryside, cities, historical monuments, is called landscape(French paysage). There are rural, urban landscape, architectural, industrial, marine (marina) and river landscape.
In antiquity and in the Middle Ages, the landscape appears in the paintings of temples, palaces, icons and miniatures. In European art, the Venetian painters of the Renaissance were the first to turn to the image of nature. From the 16th century the landscape becomes an independent genre, its varieties and directions are formed: lyrical, heroic, documentary landscape. In the 19th century the creative discoveries of the masters of the landscape, its saturation with social issues, the development of the plein air (the image of the natural environment) culminated in the achievements of impressionism, which gave new opportunities in the picturesque transmission of spatial depth, the variability of the light and air environment, and the complexity of colors.
A genre of fine art that shows household items, labor, creativity, flowers, fruits, dead game, caught fish, placed in a real household environment, is called still life(fr. nature morte - dead nature). A still life can be endowed with a complex symbolic meaning, play the role of a decorative panel, be a so-called. "deception", which gives an illusory reproduction of real objects or figures, causing the effect of the presence of genuine nature.
The image of objects is known in the art of antiquity and the Middle Ages. But the first still life in easel painting is the painting by the artist from Venice Jacopo de Barbari "Partridge with an arrow and gloves." Already in the 16th century, still life is divided into many types: the interior of a kitchen with or without people, a laid table in a rural setting, "vanitas" with symbolic objects (a vase of flowers, an extinguished candle, musical instruments). The Dutch still life was especially rich, modest in color and in the things depicted, but exquisite in the expressive texture of objects, in the play of color and light.
A genre of fine art depicting animals is called animal genre(from lat. animal - animal). The animal artist pays attention to the artistic and figurative characteristics of the animal, its habits, decorative expressiveness of the figure, silhouette. Often animals are endowed with traits inherent in people, actions and experiences. Images of animals are often found in ancient sculpture, vase painting.
CONCLUSION
In conclusion, let's summarize the above:
Painting is divided into monumental, decorative, theatrical and decorative, miniature and easel.
By technique and means of execution, painting is divided into oil, tempera, fresco, wax, mosaic, stained glass, watercolor, gouache, pastel.
In modern painting, there are the following genres: portrait, historical, mythological, battle, everyday life, landscape, still life, animalistic genre.
Historical painting is an image of certain historical moments, as well as figures of public life of the past.
Battle painting aims to capture battles, battles and wars. Mythological painting depicts events described in myths, epics and legends.
Everyday (genre) painting is an image of scenes of real life, its realities and attributes.
Landscape (landscape) painting is an image of natural nature or any area.
Portrait painting is an artistic depiction of a person. A specific type of portrait is the self-portrait.
A still life is an image of various inanimate objects, for example, fruits, flowers, household items, utensils, placed in a real household environment and compositionally organized into a single group.
BIBLIOGRAPHY
1. Batrakova SP Artist of the XX century. and the language of painting. M., 1996.
2. Vipper B.R. Introduction to the historical study of art. M., Visual arts, 1985
3. Western art of the XX century. Classical heritage and modernity. M, 1992.
4. History of foreign art. M., Visual arts, 1984
5. History of world art. 3rd edition, Academy Publishing House, M., 1998.
6. From constructivism to surrealism. M., 1996.
7. Polyakov V.V. History of world art. Visual arts and architecture of the XX century. M., 1993.
8. Sadokhin A.P. Culturology: Theory and History of Culture: Textbook. -- M.: Eksmo, 2007.
9. Contemporary Western art. XX century: problems and trends. M., 1982.
10. Suzdalev P. On the genres of painting. // Creativity, 2004, No. 2, 3. P. 45-49.
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Man has always strived for beauty, harmony and self-expression. This desire from ancient times is manifested in painting- a form of fine art, the first works of which we can meet in primitive man.
Painting conveys visual images by applying paints to a solid or flexible base (canvas, wood, paper, cardboard). Depending on the paints and materials used, the bases are distinguished by various technology and types of painting. Among them:
There are many painting techniques. Everything that leaves any trace on something, strictly speaking, is painting: painting is created by nature, time and man.
Color in painting is one of the most important means of expression. He himself can be the bearer of a certain idea, in addition, he can repeatedly reinforce the thought embedded in the plot of the picture.
Painting can awaken in us a wide variety of feelings and emotions. Contemplating, you can fill with a sense of harmony and peace, relieve stress and plunge into contemplation, Can i recharge your batteries and the will to make your dreams come true. A picture that is close emotionally is able to hold attention for hours, and the owner of such a picture will find in it new meanings, ideas and messages of the artist every time. Contemplation is a form of meditation where you dive into your inner world and spend much-needed time by yourself.
Besides, painting like any other art form, helps you express yourself, your emotions and mood, relieve stress and inner tension, and sometimes find answers to important questions.
For many people, painting becomes not just a pleasant pastime, but also a useful pastime that has a beneficial effect on the internal state. By creating something new, a person reveals his potential, realizes his creative abilities, cognizes himself and the world around him.
Painting classes activate the right(creative, emotional) cerebral hemisphere. This is very important in our reasonable and rational age. Unlocking your creative abilities helps you achieve success in completely different areas of life.(career, relationships, personal growth) as creativity and flexibility become part of your personality.
Perhaps, as a child, you loved to draw, but your parents did not want to send you to art school? Or have you always dreamed of being able to beautifully express your thoughts with the help of visual images? "It's never too late to learn painting!" say modern teachers. With the current variety of techniques, genres and materials, everyone can find something suitable for themselves. And you can learn the basics of composition and orient yourself in modern styles and trends at special painting courses for adults.
Painting is a whole world of beauty, images and colors. If you want to become a direct participant in its creation, then painting classes are for you!
outline - linear outlines of the depicted figure, its contour.
Abstract art - one of the formalist trends in the visual arts, which arose in the late XIX - early XX centuries. Abstractionists refused to depict objects and phenomena of the objective world (hence another name for abstractionism - non-objective art). Their work is an attempt to express their feelings and thoughts through color combinations of spots or lines on their own, without depicting real objects and objects. Abstractionists abandoned drawing, perspective, color and all other means of the visual language of the art of painting. By this they violated the professional foundations of painting, destroyed its true artistic possibilities. Abstractionism disfigures the aesthetic tastes of people, leads them away from understanding the beauty of nature and life.
Adaptation - the property of the eye to adapt to certain lighting conditions. There are adaptations to light, darkness, and also to color. The peculiarity of the latter lies in the adaptability of the eye not to notice the color of illumination on objects.
In conditions of twilight and in general in low light in the eye, the nerve endings (photoreceptors) called rods are most sensitive to light. With their help, the eye perceives black and white gradations. In strong light in the daytime, other photoreceptors are more sensitive - cones, with the help of which color is perceived. With adaptation to light, the sensitivity of vision decreases, and with adaptation to darkness it increases. When the eye adapts to the darkness, we begin to clearly distinguish the details of the landscape. Due to the increased sensitivity of the eye to darkness on a cloudy day and at dusk, the novice artist loses sight of the level of general illumination, which under these conditions is much weaker than on a sunny or light gray day. At twilight, light objects do not seem to him reduced in lightness to the extent that the illumination has become lower than the previous daylight illumination. He also notices poorly the closer tonal relationships characteristic of twilight and a gray day. In addition, despite the darkening, the novice artist distinguishes in nature (or shadows) very subtle gradations of light and shade on objects and allows for excessive variegation and fragmentation. Thus, at first he is not able to accurately assess and convey those actual changes in lightness and color that occur in nature.
Adaptation is based on various changes that occur in our eye when the light intensity changes. So, for example, during the day the pupil decreases by 1-2 mm, as a result of which little light passes into the eye. In the dark, it expands by 8-10 mm, letting in a lot of light. Knowing that the area of the pupil is proportional to the square of the diameter, it can be established that if the pupil doubles in size, then the amount of light transmitted by it increases four times; if the pupil is enlarged four times, the amount of light transmitted by it increases by 16 times. This is partly the reason why we distinguish the main light ratios at twilight. The pupillary reflex to light and dark thus compensates to some extent for the decrease in illumination.
Academicism - an evaluative term that refers to those trends in art, whose representatives are entirely oriented towards established artistic authorities, believe the progress of modern art is not in living connection with life, but in its closest approximation to the ideals and forms of art of past eras, and defend absolute, independent from place and time, the norm of beauty. Historically, academism is associated with the activities of academies that educated young artists in the spirit of unreasoningly following the patterns of art of antiquity and the Italian Renaissance. Originating for the first time in the Bologna Academy of the 16th century, this trend was widely developed in the academies of subsequent times; it was characteristic of the Russian Academy of Arts in the 19th century, which caused a struggle with the academy of advanced realist artists. Canonizing classicist methods and plots, academism fenced off art from modernity, declaring it “low”, “low”, unworthy of “high” art.
The concept of academism cannot be identified with all the activities of the art academies of the past. There were many virtues in the system of academic education. In particular, based on a long tradition, a high culture of drawing, which was one of the strongest points of academic education.
Watercolor paints - water-adhesive from finely ground pigments mixed with gum, dextrin, glycerin, sometimes with honey or sugar syrup; are produced dry - in the form of tiles, half-moist - in porcelain cups or semi-liquid - in tubes.
Watercolor can be written on dry or wet paper immediately, in full color, and you can work with glazing, gradually refining the color relationships of nature. You need to know that watercolor does not tolerate corrections, torture, numerous repeated registrations with mixed paints.
Often, painters use the watercolor technique in combination with other materials: gouache, tempera, charcoal. However, in this case, the main qualities of watercolor painting are lost - saturation, transparency, purity and freshness, that is, exactly what distinguishes watercolor from any other technique.
Accent - the technique of underlining the line, tone or color of any expressive object, the details of the image to which it is necessary to direct the viewer's attention.
Alla prima - a technique in watercolor or oil painting, consisting in the fact that a sketch or picture is written without preliminary registration and underpainting, sometimes at one time, in one session.
Animal painter - an artist who mainly devoted his work to the depiction of animals.
achromatic colors - white, grey, black; differ only in lightness and are devoid of color tone. In contrast, there are chromatic colors that have a color shade of different lightness and saturation.
glare - an element of chiaroscuro, the brightest place on the illuminated (mainly shiny) surface of an object. With a change in point of view, the glare changes its location on the shape of the object.
Valer - a term of artistic practice that defines the qualitative side of a separate, mainly light and shade tone, in its relationship with the surrounding tones. In realistic painting, the material properties of the objective world are transmitted mainly through objectively regular tone relations. But in order to vividly and holistically reproduce the materiality, plasticity, and color of an object in a certain state of illumination and in a certain environment, the artist must achieve very great accuracy and expressiveness in the ratios of tones; richness, subtlety of the ratios of transitions leading to the expressiveness of painting, and are the main feature of valer. The greatest masters of the XVII-XIX centuries. - such as Velasquez, Rembrandt, Chardin, Repin - painting is always rich in valery.
vision picturesque - vision and understanding of the color relationships of nature, taking into account the influence of the environment and the general state of illumination, which is characteristic of nature at the time of its image. As a result of such a vision, the truthfulness of light and color relations, the richness of warm-cold shades, their color unity and harmony appear in the sketch, conveying nature with all the trepidation of life. In this case, one speaks of the picturesqueness of an etude or painting.
Artistic vision - the ability to give the necessary aesthetic assessment of the qualities inherent in nature. Before depicting nature, the artist already sees in its main features a figurative pictorial solution, taking into account a certain material.
stained glass - painting on glass with transparent paints or an ornament made up of pieces of multi-colored glass, fastened with metal binding, serves to fill window and door openings. Rays of light penetrating through the glass acquire increased brightness and form a play of color reflections in the interior.
aerial perspective - apparent changes in some features of objects under the influence of air and space. All nearby objects are perceived clearly, with many details and texture, and distant objects are perceived in a generalized way, without details. The contours of near objects look sharp, and distant objects look soft. At a great distance, light objects appear darker, and dark objects appear lighter. All close objects have a contrasting chiaroscuro and seem voluminous, all distant objects have a slightly pronounced chiaroscuro and seem flat. The colors of all distant objects become less saturated due to the air haze and acquire the color of this haze - blue, milky-pale or purple. All nearby objects appear to be multi-colored, and distant objects appear to be of the same color. The artist takes into account all these changes in order to convey space and the state of illumination - important qualities of plein air painting.
Perception visual - the process of reflection of objects and phenomena of reality in all the variety of their properties that directly affect the organs of vision. Along with visual sensations, perception also involves past experience of knowledge and ideas about a particular subject. To comprehend, to understand the essence of the perceived is possible only if the observed objects and phenomena are compared with previously seen ones (aconstant and constant visual perception). To this it should be added that visual perception is accompanied by associative feelings, a sense of beauty, which are associated with personal experience of sensory experiences from the impact of the environment.
Gamma color - the colors that prevail in this work and determine the nature of its color system. They say: a range of cold, warm, pale shades of color, etc.
Harmony - communication, proportionality, consistency. In the visual arts - a combination of forms, the relationship of parts or colors. In painting, this is the correspondence of details to the whole, not only in size, but also in color (color unity, a range of related shades). The source of harmony is the patterns of color changes in natural objects under the influence of the strength and spectral composition of lighting. The harmony of the color structure of a study or painting also depends on the physiology and psychology of visual perception of the light and color qualities of the objective world (contrasting interaction of colors, the phenomenon of a halo, etc.).
Engraving- printed reproduction of a drawing cut or etched on a wooden board (woodcut), linoleum (linocut), metal plate (etching), stone (lithography), etc. A feature of an engraving is the possibility of its replication: from one board engraved by an artist, print a large number of multi-colored prints (prints). According to the nature of the processing of the printing form (boards or plates) and the method of printing, convex and in-depth engravings are distinguished.
Graphic arts - one of the types of fine arts, close to painting in terms of content and form, but having its own tasks and artistic possibilities. Unlike painting, the main visual means of graphics is a monochromatic drawing (i.e., line, chiaroscuro); the role of color remains relatively limited in it. From the side of technical means, graphics include drawing in the proper sense of the word in all its varieties. As a rule, works of graphics are performed on paper, and other materials are occasionally used.
Depending on the purpose and content, graphics are divided into easel graphics, which include works of independent significance (which do not require an indispensable connection with a literary text to reveal their content and are not limited to a narrowed, strictly defined practical purpose), book graphics, which form an ideological and artistic unity with literary or an accompanying text and at the same time intended for decorative and artistic design of a book, a poster book, which is the most widespread type of fine art, designed to carry out political, propaganda, artistic production or applied tasks (labels, letters, postage stamps, etc.) by artistic means.
Grisaille - image in black and white paint (or monochrome, for example, brown); It is often used for auxiliary work when performing underpainting or sketching, as well as for educational purposes when mastering the techniques of tonal image performed in watercolor or oil paints. The image is created on the basis of only the tonal (lightness) ratios of the subjects of natural setting.
Priming - a thin layer of a special composition (glue, oil, emulsion) applied over canvas or cardboard in order to give their surface the desired color and texture properties and limit excessive absorption of the binder (oil). If you work with oil paints on a non-primed base (for example, canvas), the paints do not lay down, they dry out, the oil from the paint is absorbed into the fabric, destroying the canvas and the paint layer. According to the composition of the binder, soils are distinguished: oil, adhesive, emulsion, synthetic. By color - tinted and colored. The primer usually consists of 3 elements: a thin layer of adhesive covering the entire surface of the canvas with a film (i.e. sizing), and several layers of primer paint, including a thin final layer. Sizing - a thin layer of glue (carpentry, casein or gelatin) - protects the canvas from the penetration of primer paint or oil into the fabric or onto the reverse side of the canvas, firmly binds subsequent layers of soil to the canvas. Primer paint levels the surface of the canvas, creates the necessary (usually white) color and provides a strong connection of the paint layer with the primer.
Primer - in painting technology: the process of applying a primer to a surface intended for painting.
Gouache - water-based paint with great hiding power. Paints lighten quickly after drying, and considerable experience is needed to foresee the degree of change in their tone and color. They write with gouache paints on paper, cardboard, plywood. The works have a matte velvety surface.
Detailing - careful study of the details of the shape of objects in the image. Depending on the task that the artist sets for himself, the degree of detail may be different.
Additional colors - two colors that give white when optically mixed (red and bluish-green, orange and cyan, yellow and blue, violet and greenish-yellow, green and magenta). When these pairs of complementary colors are mechanically mixed, shades with reduced saturation are obtained. Complementary colors are often called contrasting.
Genre - historically established internal division in all types of art; the type of a work of art in the unity of the specific properties of its form and content. The concept of "genre" generalizes the features characteristic of a vast group of works of any era, nation or world art in general. In each art form, the system of genres is composed in its own way. In the visual arts - on the basis of the subject of the image (portrait, still life, landscape, historical and battle painting), and sometimes the nature of the image (caricature, cartoon).
Painting - one of the main types of fine arts. A true transfer of the external appearance of an object, its external features is also possible by graphic means - by line and tone. But only painting can convey all the unusually diverse multi-color of the surrounding world.
According to the technique of execution, painting is divided into oil, tempera, fresco, wax, mosaic, stained glass, watercolor, gouache, pastel. These names were obtained from the binder or from the material and technical means used. The purpose and content of a painting require the choice of such visual means, with the help of which it is possible to most fully express the ideological and creative intent of the artist.
By genre, painting is divided into easel, monumental, decorative, theatrical and decorative, miniature.
Decorative painting does not have independent significance and serves as decoration of the exterior and interior of buildings in the form of colorful panels, which, with a realistic image, create the illusion of a “breakthrough” of the wall, an increase in the size of the room, or, on the contrary, deliberately flattened forms visually, as it were, narrow, close the space. Patterns, wreaths, garlands and other types of decor that adorn the works of monumental painting and sculpture, link together all the elements of the interior, emphasizing the beauty, their consistency with architecture. Things are also decorated with decorative painting: caskets, caskets, trays, chests, etc. Its themes and forms are subordinate to the purpose of things.
Painting miniature was greatly developed in the Middle Ages, before the invention of printing. Handwritten books were decorated with the finest headpieces, endings, detailed illustrations, and miniatures. Russian artists of the first half of the 19th century skillfully used the pictorial technique of miniatures to create small (mainly watercolor) portraits. The pure deep colors of watercolors, their exquisite combinations, the fineness of the painting distinguish these portraits.
Monumental painting - a special kind of paintings on a large scale, decorating the walls and ceilings of architectural structures (fresco, mosaic, panel). It reveals the content of major social phenomena that have had a positive impact on the development of society, glorifies them and perpetuates them. The loftiness of the content of monumental painting, the significant size of its works, the connection with architecture require large masses of color, strict simplicity and laconism of composition, clarity of silhouettes and generalization of plastic form.
easel painting - the name comes from the machine (easel) on which the picture is created. As a material basis, wood, cardboard, paper are used, but most often canvas stretched on a stretcher. The picture is inserted into the frame and is perceived as an independent work of art, independent of the environment. In this regard, to create works of easel painting, slightly different artistic means are used, more subtle and detailed color and tonal relationships are given, and a more complex and detailed psychological description of the characters is given.
Theatrical and decorative painting - scenery, costumes, make-up, props, made according to the sketches of the artist; help to deepen the content of the play. The special theatrical conditions for the perception of painting require taking into account the many points of view of the public, their greater remoteness, the impact of artificial lighting and color highlights. The scenery gives an idea of the place and time of the action, activates the viewer's perception of what is happening on the stage. In the sketches of costumes and make-up, the theater artist strives to sharply express the individual character of the characters, their social status, the style of the era, and much more.
Painting academic - painting, made for any educational purpose.
painting on wet - technique of oil and watercolor painting. When working with oil, it is necessary to finish the work before the paints dry and exclude such stages as underpainting, glazing and re-registration. Painting on wet has well-known advantages - the freshness of the paint layer, good preservation, and the relative simplicity of the technique.
In watercolor, before starting to work on raw paper, evenly moisten with water. When the water is absorbed into the paper and dries a little (after 2-3 minutes), they begin to write; strokes of paint, lying on a wet surface, blur, merge with each other, create smooth transitions. So, you can achieve softness in the transfer of the outlines of objects of airiness and spatiality of the image.
witheredness - undesirable changes in the drying layer of paint, due to which the painting loses its freshness, loses its luster, sonority of colors, darkens, becomes blackish. The cause of withering is an excessive reduction in the paint of the binding oil absorbed by the primer or the underlying paint layer, as well as the application of paints on a not completely dried previous layer of oil paints.
Completeness .- such a stage in the work on an etude or a picture when the greatest completeness of the embodiment of the creative idea is achieved, or when a certain pictorial task is completed.
"Kneading" base paints - preliminary preparation on the palette of a mixture of paints that correspond to the basic tonal and color relationships of objects in nature (landscape). In the process of work, various variations of shades are introduced into these basic mixtures, new colors are poured. However, the colors of the main objects prepared on the palette do not allow you to fall into excessive coloring, do not allow you to lose the character of the main color relationships. In watercolor, these reference "kneadings" are done in separate cups.
Sketch - a drawing from life, made mainly outside the workshop in order to collect material for more significant work, for the sake of exercise, sometimes for some special purpose (for example, on the instructions of a newspaper, magazine). Unlike a sketch similar in terms of technical means, the execution of a sketch can be very detailed.
Idealization in art - deviation from the truth of life due to intentional or involuntary embellishment by the artist of the subject of the image. Idealization usually manifests itself in the exaggeration and absolutization of the positive principle as some kind of ultimate, supposedly already achieved perfection; in smoothing life's contradictions and conflicts; in the embodiment of an abstract, over-life ideal, etc. Idealization always means a break with the principles of realism and, in one way or another, turns out to be connected with the ideology of the reactionary classes, who are inclined to get away from a true picture of life and replace the study of reality with subjectively embellished ideas about it.
It is necessary to distinguish from idealization the reflection in realistic art of a certain socially progressive ideal of life, which, being an important aspect of the ideological content of any realistic artistic image, can sometimes be the determining principle in the artistic solution of the image.
Painting idea - the main idea of the work, which determines its content and figurative structure, expressed in the appropriate form.
Illusory - similarity of the image with nature; bordering on optical illusion. As a result of illusory nature, the artistic expressiveness of the work and the depth of its content may be lost, if in the picture the desire for external similarity obscures the main thing - its intention.
Impressionism - a trend in the art of the last third of the 19th - early 20th centuries, whose representatives strove to most naturally and impartially capture the real world in its mobility and variability, to convey their fleeting impressions. Impressionism originated in the 1860s. in French painting. E. Manet, O. Renoir, E. Degas brought freshness and immediacy of perception of life into art, the image of instant, as if random movements and situations, apparent imbalance, fragmentation of the composition, unexpected points of view, angles, cuts of figures. In 1870-80s. formed impressionism in the French landscape. K. Monet, K. Pizarro, A. Sisley developed a consistent plein air system. In addition to painters, sculptors (O. Rodin, M. Rosso, P. P. Trubetskoy) took an interest in instantaneous movement, a fluid form.
Impressionism developed the realistic principles of art, but the work of its followers often showed a departure from the study of the basic phenomena of social reality, the constant stable qualities of the material world. This direction of creativity led the late impressionists to formalism.
Interior - interior view of the room. The image of the interior requires a thorough knowledge of perspective. At the same time, it is important to find a place from where you can compose the image more interestingly. The finished image of the interior, in addition to an interesting composition, correct perspective construction, placement of objects in space, should give an idea of the lighting.
Painting - a work of easel painting, truthfully embodying the artist's intention, distinguished by the significance of the content, truthfulness and completeness of the artistic form. The picture is the result of long-term observations and reflections of the artist on life. It is preceded by sketches, sketches, etudes, sketches, in which the artist captures individual phenomena of life, collects material for a future painting, and searches for the basis of its composition and color. Creating a picture, the artist relies on nature, proceeds from it both in the general plan and in individual details. In this process, observation, imagination, and design play an important role. The picture in its own way carries a certain ideological and figurative concept, and the forms of expression are visually authentic. Each detail, part is correlated with the whole, each element expresses an image. The decadent formalist trends are characterized by a crisis in the plot-thematic picture, the rejection of significant ideological issues and psychologism. Not only is the plot expelled from the paintings, but there is also a break with the subject image in general. According to the form of the image, the picture becomes pointless, abstract.
Adhesive paints - dry paints produced in powders and mixed by the artist himself with glue water. Well ground, they are sometimes used by artists in the design of reproduction originals as substitutes for gouache paints. Most often they perform theatrical scenery.
klyachka - a kind of soft gum, used in cases where you need to lighten the tone of the shading in pencil drawings. The nag is soft and easily kneaded by fingers; they do not erase the pencil with it, but lightly press it against those parts of the drawing that lighten up: graphite sticks to the nag and is held by it after it is taken away from the paper. If the lightened areas are very small, the nag is given the appearance of a pointed cone.
Klyachka can be made as follows. Ordinary gum is placed in gasoline for two or three days (possibly in kerosene), then it is kept for another two days. After that, the softened rubber is kneaded with potato flour (starch), the flour should be taken in pinches and the viscosity of the nag should be adjusted in its quantity.
coloring (etude or painting) - the nature of the relationship of all the color elements of the image, its color system. Its main advantage is the richness and consistency of colors that correspond to nature itself, conveying, in unity with chiaroscuro, the subject properties and the state of illumination of the depicted moment. The color of the study is determined by: 1) the consistency of color relationships proportional to nature, taking into account the general tone and color state of illumination, 2) the richness and variety of reflections of the light-air and object environment, 3) the contrasting interaction of warm and cold shades, 4) the influence of the color of lighting, which unites colors of nature, makes them subordinate and related.
A true reflection of the state of real lighting conditions has an impact on the feelings of the viewer, creates a mood, and causes appropriate aesthetic experiences.
brushes . Brushes are kolinsky, squirrel, bristle. Bristle brushes are designed to work with oil paints, but can be used in painting with tempera and gouache paints. Squirrel and kolinsky brushes are used in watercolor. The shape is flat and round. The size of the brush is indicated by a number. The numbers of flat brushes and flutes correspond to their width in millimeters, and the numbers of round brushes correspond to their diameter (also expressed in millimeters).
After working with oil paints, brushes are washed with warm water and soap. Do not wash brushes in acetone: this will damage the hair. Watercolor brushes are washed in clean water after work. In no case should you let the brushes dry out, especially after working with oil paints, put the brushes in the jar with the hair down, as the hair is deformed. The washed brush must be wrapped in paper, then it will retain its shape.
Composition - construction of a sketch or picture, coordination of its parts. With a natural image: selection and staging of objects, choosing the best point of view, lighting, determining the format and size of the canvas, identifying the compositional center, subordinating the secondary parts of the work to it. When creating a picture: choosing a theme, developing a plot, finding the format and size of a work, characterizing the characters, their relationship to each other, postures, movements and gestures, expressiveness of faces, the use of contrasts and rhythms - all these are the constituent elements of the compositional construction of the picture, serving the best realization of the artist's vision. In such a composition, everything is taken into account: the masses of objects and their silhouettes, the rhythm with which they are placed on the canvas, perspective, an imaginary horizon line and a point of view on the depicted, the color of the picture, the grouping of characters, the direction of their views, the direction of the line of perspective reduction of objects, distribution chiaroscuro, poses and gestures, etc.
Constancy of visual perception - the tendency to perceive an object, its size, shape, lightness, color as stable and unchanged, regardless of the changes that occur to it (removal from the viewer, change in lighting, environmental influences, etc.) - Size constancy - the tendency to perceive the size of an object as constant, despite the change distance to it. As a rule, novice draftsmen do not notice perspective changes.
Form constancy - the tendency to perceive the actual shape, even if the object is rotated so that its image on the retina differs from the actual shape. (For example, a square piece of paper lying on a table appears square even though its projection on the retina is not square.)
Luminance constancy - the tendency to perceive the lightness of an object as constant despite changes in illumination; depends mainly on the constant ratio of the intensity of light reflected from both the object and its environment.
Color Constancy - the tendency to perceive the object color (its local color) regardless of changing lighting conditions, its strength and spectral composition (day, evening, artificial).
Due to the phenomenon of constancy, the perception and transmission in painting of objects and phenomena exactly as they appear to the eye in specific lighting conditions, in a specific environment and at a certain distance, present a certain difficulty at the beginning of training. A novice artist, although he knows that the color changes depending on the lighting conditions, sees it unchanged and does not dare, for example, to write green-colored trees in the rays of the setting sun as reddish or to write the blue sky in a complex pink-ocher, as it happens at sunset.
It seems to an inexperienced painter that a white object is white in all its parts, a dark object is dark. Meanwhile, in a natural setting, the surface of a dark object facing the light will reflect more light rays than the shadow part of a white object, and therefore the shadow of a white object will be darker than the light part of a dark object.
While working on a sketch of a landscape, an inexperienced painter does not notice how dusk is coming, although the lighting has decreased significantly.
Surrounding objects can be illuminated by light of different spectral composition, which changes the spectral composition of light reflected from objects. However, the eye of a novice artist does not notice even this change in color.
Constancy of perception can increase and intensify from many reasons. The stronger the chromatic illumination, and also the greater the distance from which the object is observed, the weaker the manifestation of constancy. The ability of the surface of an object to strongly reflect light rays also contributes to aconstant perception: objects that are light in color more noticeably show the influence of the color of illumination. Light and color adaptations enhance the constancy of perception. Observing the winter landscape in cloudy weather, you can see only complex grayish shades. If you look at the same winter motif from the window of a room lit by electricity, then the landscape outside the window will be perceived as intensely bluish. If you leave the room under the open sky, then after a few minutes the blue tone of the landscape will disappear. Similarly, zero constancy in the audience manifests itself in the color lighting of the theatrical stage; after the warm electric lighting in the hall fades, the curtain opens and the viewer admires the scene of winter, moonlight or other conditions of illumination.
As a result of practice, the artist acquires the ability to notice in nature the changes in the color of an object due to the environment and lighting, sees and conveys all the richness and diversity of the outside world, a great many color gradations. As a result, the lighting appears convincing on the canvas, the color looks complicated and enriched by the environment and lighting. Many artists and educators performed special exercises, creating visual models to understand the coloristic features of different lighting conditions. K.. Monet, for example, wrote a series of studies depicting the same object (haystack), and thus studied the change in color under different lighting conditions in nature. To develop aconstant perception, N. N. Krymov placed a white cube, painted on one side with black paint, and illuminated it from this side with a powerful lamp, leaving the white side in shadow. At the same time, his students were convinced that the black, illuminated side of the cube was lighter than the white, which was in the shade. Krymov suggested that students write a small cardboard accordion screen, the planes of which were painted in different colors and illuminated from two sides: on one side - an electric lamp, on the other - daylight. The rays from the lamp were directed to areas painted with cool colors, while warm colors were turned to daylight. The students were convinced that the lighting conditions significantly change the subject colors, and thus were freed from the constant perception of colors.
A novice painter must get rid of the constancy of perception and be able to perceive the shape of an object, its lightness and color, due to the light environment, lighting and space.
Design - in the fine arts, the essence, a characteristic feature of the structure of the form, suggesting a natural relationship between the parts of the form, its proportions.
Contrast - 1) a sharp difference, the opposite of two quantities: size, color (light and dark, warm and cold, saturated and neutral), movement, etc.; 2) lightness and chromatic contrast - a phenomenon in which the perceived difference is much greater than the physical basis. On a light background, the color of the object appears darker; on a dark background, the color appears lighter. Light contrast is most clearly tripled at the border of dark and light surfaces. Chromatic contrast is a change in hue and saturation under the influence of surrounding colors (simultaneous contrast) or under the influence of colors previously observed (sequential contrast). For example: green next to red increases its saturation. Gray color on a red background acquires a greenish tint. Chromatic contrast is stronger when the interacting colors are approximately equal in lightness.
copying - the process of obtaining copies of a drawing or drawing; can be done in various ways: by puncturing, tracing, squeezing, redrawing to the light, redrawing along the grid, as well as using a pantograph and an epidiascope.
perforation - a method of copying without changing the scale: the original is placed on a blank sheet of paper and, using a thin needle, all the characteristic points of the drawing or drawing are pricked, through which pencil lines are then drawn on the pricked paper.
Tracing - a way to copy without changing the scale. Tracing paper is applied to the original, on which an image is drawn with a pencil or ink; the working surface of the tracing paper should first be degreased - wiped with chalk powder or magnesium carbonate.
Squeezing - a method of copying without changing the scale: dry transfer paper is placed under the original or its copy on tracing paper; A pointed needle is driven along the lines of the original image, due to which the translated image is imprinted on a blank sheet of paper. The reverse side of the original (tracing paper) can be rubbed with a soft pencil, in which case the transferred image is clearer.
Redrawing to the light - a way to copy without changing the scale. The original is placed on glass and covered with clean paper or tracing paper; behind the glass is a light source (daylight or electric); the lines of the original translucent through the paper are circled in pencil. There are special copiers adapted for this purpose.
Grid redrawing - a method of copying with a possible change in scale (enlargement or reduction of a picture) using a coordinate grid made on the original and a blank sheet of paper. The image is drawn "by cells". Cells build square or rectangular. Redrawing by cells is very laborious and cannot convey the lines of the original with impeccable accuracy, since it is done by eye and by hand.
Body (pastose) laying of paints - execution of a study or painting with a dense, opaque, relatively thick layer of oil paint, often with a relief texture.
Kroki - a quick sketch from nature, less often a quick fixation of a compositional idea in the form of a drawing. The term "crocs" is of little use; in general sense, it is close to the broader term "sketch".
Woodcut - woodcut, the main technical variety of convex engraving, the oldest engraving technique in general. Woodcuts are performed by cutting on a board, usually pear, beech wood, those parts of the engraving applied on top of it, which should remain white. In a longitudinal or edged engraving, the fibers of the board are parallel to its surface, and the work is carried out mainly with pointed knives. The possibilities of this technique are relatively narrow, but the difficulties are significant (since the resistance of the fibrous material to the knife is uneven in different directions). End engraving is performed on a board with a fiber perpendicular to the surface; her main tool, the engraver, allows for very fine and varied techniques.
Unlike any type of intaglio engraving, woodcuts can be printed along with typesetting on a conventional printing press, and are therefore often used in book illustration.
Lucky . Artists varnish the grounds to prevent them from penetrating oil from the paints, introduce varnishes into the binder of the paint, apply them to the hardened paint layer before further work (for better bonding of the layers) and, finally, varnish the finished works. At the same time, the varnish enhances the saturation of colors. The lacquer film protects the picture from direct contact with harmful atmospheric gases, dust and soot in the air. Varnishes in the composition of oil paint contribute to its more uniform and faster drying, and the paint layers better bind to the ground and to each other. It is better to cover the paintings with turpentine varnishes than with oil varnishes (then they darken less). Lacquer-fixer fixes works made with charcoal, sanguine, pastels, watercolors.
Modeling a shape with color - the process of modeling an object, revealing its volume and material with color shades, taking into account their changes in lightness and saturation.
Glaze - one of the methods of painting technique, which consists in applying very thin layers of durable and translucent paints over a dried dense layer of other paints. This achieves a special lightness, sonority of colors, which is the result of their optical mixing.
Linocut - engraving on linoleum, a kind of convex engraving. In terms of technique and artistic means, linocut is similar to woodcuts, and in the print it often differs from it only in the absence of fine details.
Lithography - in the visual arts, a widespread type of graphic technique associated with working on stone (dense limestone) or a metal plate replacing it (zinc, aluminum).
The artist performs lithography by drawing on the grainy or smooth surface of the stone with a bold lithographic pencil and special ink. Following the etching of the stone with acid (acting on the surface not covered with grease), the pattern is washed off: in return, printing ink is applied, which sticks only to the unetched particles of the stone, exactly corresponding to the pattern. The paint is rolled with a roller over a moistened stone; printing is done on a special machine.
local color - the color characteristic of a given object (its color) and has not undergone any changes. In reality, this does not happen. Object color is constantly changing somewhat under the influence of the strength and color of lighting, the environment, spatial removal, and it is no longer called local, but conditioned. Sometimes a local color is understood not as a subject color, but as a uniform spot of a conditioned color, taken in basic relation to neighboring colors, without revealing a mosaic of color reflections, without nuances of these main spots.
Manner - in relation to artistic practice: the character or method of performance as a purely technical feature (for example, "broad manner").
In the history of art, the term "manner" sometimes denotes the general properties of performance characteristic of an artist or art school in a certain period of creative development (for example, "Titian's late manner").
Manerity - in artistic practice: properties of approach and execution, devoid of simplicity and naturalness, leading to pretentious, far-fetched or conditional results. Most often, mannerism is called predilection for some outwardly spectacular, learned manner and all sorts of biased artistic techniques, gravitation towards stylization. The extreme expression of mannerism is given by the formalistic practice of contemporary bourgeois art.
Oil paints - dyes mixed with vegetable oil: linseed (mainly), poppy or walnut; oil paints from exposure to light and air gradually harden. Many bases (canvas, wood, cardboard) are primed in advance to work on them with oil paints. The most commonly used primer is as follows: the material is covered with liquid carpentry glue, and when it dries, rubbed with pumice, and then coated with fine chalk powder mixed with glue water to the consistency of sour cream. To clean the brushes, they are washed in kerosene, turpentine or gasoline, and finally in warm water with soap, squeezing the paint from the root of the brush, after which they are rinsed in clean water.
Materiality depicted objects is transmitted primarily by the nature of chiaroscuro. Objects consisting of different materials have gradations of chiaroscuro characteristic of them. A cylindrical gypsum object has smooth transitions from light through penumbra, shadow and reflex. A glass cylindrical vessel does not have pronounced gradations of chiaroscuro. On his form, only glare and reflexes. Metal objects are also characterized mainly by glare and reflections. If you convey the nature of chiaroscuro in the figure, then the objects will look material. Another, even more important condition, on which the representation of the material qualities of objects depends, is the consistency in the drawing or pictorial study of tonal and color relations between objects proportional to nature. When perceiving the material qualities of objects, our consciousness relies mainly on their tonal and color relationships (differences). Therefore, if the nature of chiaroscuro, tonal and color relationships are conveyed according to the visual image of nature, we get a true image of the material qualities of still life objects or landscape objects.
Layered painting - the most important technical type of oil painting, requiring the division of the work into a number of successive stages (underpainting, registration, glazing), separated by breaks for the complete drying of the paint. When performing a large thematic composition, as well as during long-term work in general, multilayer painting is the only full-fledged oil painting technique. Until the middle of the XIX century. all the major progressive artists of the past used this technique as the main one. Later, the Impressionists and their followers abandoned it.
From a narrow technological point of view, not related to the technique of the old masters, the concept of multilayer painting can only correspond to registration on a dried paint layer (without underpainting and glazing).
Modeling - in the visual arts: the transfer of volumetric-plastic and spatial properties of the objective world through light and shade gradations (painting, graphics) or the corresponding plasticity of three-dimensional forms (sculpture, in particular relief). Modeling is usually carried out taking into account perspective, in painting, in addition, with the help of color gradations that are inextricably linked with chiaroscuro. The tasks of modeling are not limited to a simple reproduction of the objective world: participating in the ideological and figurative characteristics of the object, it generalizes, enhances and reveals the most essential, characteristic.
Modernism - a general designation of the directions of art and literature of the late XIX-XX centuries. (Cubism, Dadaism, Surrealism, Futurism, Expressionism, Abstract Art, etc.). The main features of modernism are: the denial of the cognitive and social role of art, its ideology, nationality, the substitution of art for all sorts of tricks, the complete distortion or ignorance of the professional traditions of the realistic artistic heritage.
Mosaic - a special technical kind of monumental painting, based on the use of multi-colored solids - smalt, natural colored stones, colored enamels over fired clay, etc. as the main artistic material. The image is made up of pieces of such materials, well fitted to each other, reinforced with cement or special mastic and then polished. According to the method of the so-called direct set, the mosaic is executed from the front side - in the place intended for it (wall, vault, etc.) or on a separate slab, which is then built into the wall. With the reverse set, the colored pieces are visible to the artist only from the back, as they are pasted with the front surface onto a temporary thin lining (removed after the transfer of the mosaic to the wall). The first of these methods is relatively complex and time-consuming, but more perfect from an artistic point of view.
Easel - a machine (hence the definition of "easel painting"), necessary for the artist to maintain the desired tilt of the picture during work. The main requirement for an easel is stability.
Monotype - a special type of graphic technique associated with the printing process, but sharply different from any kind of engraving by the complete absence of mechanical or technical influences on the surface of the board. Paints are applied by hand on a smooth surface, followed by printing on the machine. The resulting print is unique and inimitable.
Mmonumentality in the works of easel painting is due to the social significance of the theme of the painting, its heroic pathos, the depth and strength of the embodiment of ideas in the corresponding images - simple, strict, majestic and expressive.
sketch in color - an etude of small size, fluently and quickly executed. The main purpose of such a sketch is to acquire the ability to fully perceive nature, to find and convey the correct color relationships of its main objects. It is known that the full-fledged pictorial structure of the image is determined by the proportional transfer of differences between the main color spots of nature. Without this, no careful study of details, reflections, mosaics of color shades will lead to a full-fledged pictorial image.
Nationality - the connection of art with the people, the conditionality of artistic phenomena by life, struggle, ideas, feelings and aspirations of the masses, the expression in art of their interests and psychology. One of the basic principles of socialist realism.
Nature - in the practice of fine arts, these are any natural phenomena, objects and objects that the artist depicts, observing as a model directly. From nature, as a rule, only a sketch, sketch, sketch, portrait, and sometimes a landscape is performed.
Naturalism - in the visual arts, it is expressed in isolation from broad generalizations, from ideological principles and leads to a method of purely external copying of everything that is in the field of view. Beginning painters also sometimes think that a reliable depiction of nature in the transfer of its three-dimensional, material and spatial qualities is the absolute goal of fine art. Of course, it is necessary to master the fine arts, the technical techniques of pictorial mastery. However, it is equally important to simultaneously develop the ability to see reality through the eyes of an artist. The picturesque image is not a mirror reflection of nature. “Painting,” said I. I. Levitan, “is not a protocol, but an explanation of nature by means of painting.” The painter selects and generalizes in the colorful diversity of nature those elements that can expressively convey the ideological and figurative design. He tries to reveal the essence of the depicted, shows what excited him. This shows the personality of the artist, his worldview, as well as taste and practical experience in the use of colorful materials and techniques.
Still life - one of the genres of fine arts dedicated to the reproduction of household items, fruits, vegetables, flowers, etc. The task of the artist depicting a still life by means of painting is to convey the coloristic beauty of the objects surrounding a person, their voluminous and material essence, and also to express their attitude to the depicted . The image of a still life is especially useful in educational practice for mastering painting skills. In a still life, the artist comprehends the laws of color harmony, acquires the technical skill of pictorial modeling of form.
Artistic generalization - the artist's ability to cognize objective reality, revealing the main, essential in objects and phenomena through comparison, analysis and synthesis. A work of fine art is the result of the expressiveness of the general, while at the same time retaining all the originality of the concrete visual image.
In a narrow professional sense, generalization is the last stage in the process of drawing or painting from nature, following the detailed study of the form. At this stage of work, the details are summarized in order to create a holistic image of nature based on its integral visual perception.
Artistic image - a specific form of reflection of reality in a concrete-sensory visually perceived form. The creation of an artistic image is closely connected with the selection of the most characteristic, with emphasizing the essential aspects of an object or phenomenon within the limits of the individual unique nature of these objects and phenomena. It is known that human consciousness reflects not only the objective visual image of an object or phenomenon, but also the emotional qualities of their perception. Therefore, the artistic image in painting contains not only the real features of the depicted object, but also its sensual and emotional significance. Each image is both a true reflection of objective reality and an expression of the artist's aesthetic feelings, his individual, emotional attitude to the depicted, taste and style.
Reverse perspective - an erroneous technique for drawing perspective, the essence of which is that parallel and horizontal lines in space in the picture are depicted not converging, but diverging; occurs quite often in ancient icon painting, as a result of artists' ignorance of the elementary rules for constructing perspective (in some cases, deliberate violation of the rules for perspective construction is allowed).
General tone and color state of nature - the result of different lighting strengths. In order to convey the state of different illumination (in the morning, afternoon, evening or on a gray day), when building the color system of the sketch, light and bright colors of the palette are not always used. In some cases, the artist builds a relationship in a reduced range of lightness and color strength (gray day, dark room), in other cases, light and bright colors (for example, a sunny day). Thus, the artist maintains the tone and color relationships of the study in different tonal and color ranges (scales). This contributes to the transmission of the state of illumination, which is especially important in landscape painting, since it is this state that determines its emotional impact (see the tonal and color scale of the image).
Volume - the image of the three-dimensionality of the form on the plane. It is carried out primarily by the correct constructive and promising construction of the subject. Another important means of conveying volume on a plane is the gradation of light and shade, expressed in color: highlight, light, penumbra, own and incident shadow, reflex. The image of volume on the pictorial plane is also facilitated by the direction of the stroke or hatching, their movement in the direction of the form (on flat surfaces they are straight and parallel, on cylindrical and spherical surfaces they are arcuate).
Halo - a phenomenon also known as "irradiation"; occurs as a result of the scattering of bright light in a transparent liquid that fills the eyeball. Due to the increase in the sensitivity of the eye in the dark, it reacts strongly when observing bright light sources (a fire or a lit lamp). During the day they do not seem bright, but at dusk or at night they can blind the eyes. The eyes almost do not perceive the color of bright light sources, but the halo around luminous bodies or strongly illuminated objects has a more pronounced color. The flame of a candle looks almost white, and the halo around it is yellow. A strong highlight on a shiny surface appears white, and the halo around it takes on the color property of the light source. Thin tree trunks against the sky are completely shrouded in a halo, that is, they look blue, and against the background of a yellow sunset - orange or red. When the halo is transmitted in the image, the eye perceives objects as luminous (a candle, bright windows day and night, stars in the sky, etc.). Depicted without a halo, an indispensable companion of bright light, the tree trunk and its crown look like a hard application against a light sky, stars without a halo give the impression of specks of paint sprayed on a dark background, bright highlights without a halo against the background of a jug look like light patches.
The foundation - in the technology of painting: the material on which the primer and the paint layer of the picture are applied. The most common type of base is canvas, wood (it was the most common base in antiquity, the Middle Ages and the Renaissance), cardboard, paper, metal, glass, linoleum, etc. are less commonly used. In some types of painting (for example, fresco, watercolor and etc.) the basis is used without special preparation.
laundering - 1) watercolor technique using very liquid paint or ink. To paint a relatively large area in a light tone, they color it with paint for about '/ * a glass of water, let the paint settle (it is better to filter it later) and take the “solution” with a brush from above, without touching the bottom of the glass; 2) receiving clarification of the paint or removing it from the paper with a brush dipped in clean water, and collecting the soaked paint with blotting paper (the procedure is repeated several times).
Color relationships - differences in objects by lightness and color: what is lighter in nature, what is darker, plus differences in color and its saturation.
Hue (nuance) - a small, often barely noticeable difference in color, lightness or color saturation.
Etching - needle or line etching, a widely used technical variety of in-depth engraving on metal. Work on etching by scratching the engraving ground with special needles, usually in free line drawing technique. The uneven duration of etching of image details with acids results in differences in the strength and richness of the stroke. The etching technique is characterized by comparative simplicity and great flexibility.
Visual sensation - the result of the interaction of radiant energy with the organ of vision and the perception of this interaction by consciousness. As a result, a person receives a variety of sensations of light and color, rich color gradations that characterize the shape of objects and natural phenomena in various conditions of lighting, environment and space.
Palette - 1) a small thin board of a quadrangular or oval shape, on which the artist mixes paints while working; 2) an exact list of colors used by this or that artist in his creative practice.
Panorama - a painting canvas in the form of a closed circular ribbon. Various real fake objects are placed on the canvas in front of the pictorial image, which create the illusion of a direct transition of the real space of the foreground into the pictorial space of the picture. The panorama is located in a picture hall specially built for it with a central, usually darkened, viewing platform. Unlike a panorama, a diorama is a picturesque picture in the form of a curved semicircular ribbon.
Panoramas created by the artist F. A. Rubo "Defense of Sevastopol" (1902-1904) and "Battle of Borodino" (1911) are still unsurpassed examples.
Pastel - colored pencils without rims, made from paint powder. They are obtained by mixing paint powder with an adhesive (cherry glue, dextrin, gelatin, casein). Work with pastel on paper, cardboard or canvas. Paints are applied with strokes, as in a drawing, or rubbed with fingers with shading, which allows you to achieve the finest colorful nuances and the most delicate color transitions, a matte velvety surface. When working with pastel, paint layers can be easily removed or overlapped, as it is freely scraped off the ground. Works made in pastel are usually fixed with a special solution.
Pastosity - 1) in the technique of oil painting: a significant thickness of the paint layer used as an artistic medium. Acting as a technical feature, pastosity always remains noticeable to the eye and manifests itself in a certain unevenness of the paint layer, in a “relief stroke”, etc. In a narrow, purely technological sense, thick-layer painting with a smooth surface is sometimes called pasty, in which pastosity may not be noticeable (body painting). painting); 2) a special property of the plasticity of the paint material, which allows the non-diluted oil paint to completely retain the shape that the brush gives it.
Landscape - view, image of any area; in painting and graphics, a genre and a separate work in which the main subject of the image is nature. Often depicted views of cities and architectural complexes (architectural landscape), sea views (marina).
Variegation (fractionality) of the image - flaws in a drawing or sketch, which are obtained when a novice artist draws or paints nature in parts, “point blank”. As a result, the shape of objects is overloaded with details, their contours are sharp, many objects and their surfaces look the same in tone and color strength. This happens because an inexperienced artist, although he compared objects by tone and color, looked at them alternately, separately. When an artist develops the skill of simultaneous (integral) vision and comparison of objects according to three color properties (color, lightness, saturation), the tonal diversity of the image disappears.
Spatial plans - conventionally divided areas of space located at different distances from the observer. Several plans are distinguished in the picture: first, second, third, or front, middle, back. The space on the plane of the canvas or paper is conveyed mainly by the correct perspective construction. If objects or volumes on spatial plans are drawn without strict adherence to their perspective changes, the color solution will do little to depict the space. The nature of the stroke also contributes to the transmission of the spatial qualities of the image (in the figure - the nature of the stroke). The shading technique for foreground objects is more defined, rigid and dense. A smear of paints is more pasty, embossed, fractional. Distant plans are transmitted with a softer stroke, a thin layer of paint.
Plastic - harmony, expressiveness and flexibility of forms, lines, noticed by the artist in the depicted nature.
Plein air painting - painting in the open air. Changes in the colors of nature under the influence of light and air have an active meaning in writing a sketch in the open air. Particular attention should be paid to the general tonal and color state of nature (depending on the strength and color of lighting) and the phenomenon of aerial perspective. The defining moment in painting in the open air is the consistency of the tonal and color scale when constructing the tone and color relationships of the study (see the tonal and color scale of the image):
Underpainting - the preparatory stage of work on the picture, performed in the technique of oil painting. Underpainting is usually done with a thin layer of paint and can be monochromatic or multicolor.
Stretcher. The canvas on which the artist paints a picture is stretched on a stretcher. Its purpose is to keep the canvas taut. This is ensured by non-rigid fastening of the wooden planks of the subframe. With a blind fastening of the corners of the stretcher, it is difficult to correct the sagging of the canvas from dampness. On the slats of the subframe, bevels are made directed inside the subframe. Otherwise, at the points of contact between the canvas and the inner ribs of the stretcher, the canvas is deformed, and the inner ribs of the stretcher appear on it. Subframes of large sizes are made with a cross, which protects them from diagonal distortions and deflections of the slats.
Penumbra - one of the gradations of chiaroscuro on the surface of a three-dimensional object, intermediate between light and shadow (both in nature and in the image).
Portrait - an image that captures the appearance of a particular person, his individual features. The art of portraiture requires that, along with external resemblance, the appearance of a person reflect his spiritual interests, social status, and typical features of the era to which he belongs. The artist's personal attitude to the people depicted, his worldview, the imprint of his creative manner should also be present in the portrait.
Primitivism - one of the formalist trends in the visual arts. It is characterized by a complete rejection of the achievements of realism in order to imitate the art forms of the so-called primitive eras (primitive tribes), deliberately borrowing the features of children's drawings, etc.
Registration - in the technique of oil painting, the main stage in the execution of a large canvas, which follows the underpainting, preceding glazing. The number of registrations depends on the progress of the artist's work; each of them ends with complete drying of the paint. In a broad and inaccurate sense of the word, underpainting, as well as any processing of an already finished canvas or its part, is sometimes called registration.
Proportions - the ratio of the sizes of objects or their parts to each other and to the whole. In a drawing or painting, these relationships are conveyed in proportion, that is, similar, reduced or increased by the same number of times. Compliance with proportions is of decisive importance, since they are the most characteristic feature of the subject and form the basis of a truthful and expressive image.
Proportionality of relations - the law of realistic painting, which determines the relationship of each light-color spot of the study with others, proportional to the visual image of nature, an important condition for a truthful and holistic depiction of reality. Our visual perception and recognition of the shape, color, material of objects, the state of illumination is based on their tonal and color relationships. Features of tone and color are visually perceived not in isolation, but depending on the environment, along with other tones and colors. Therefore, the artist reproduces the tonal and color differences of nature on the sketch, as well as the perspective dimensions of objects, by the method of proportional correspondence between the image and the visual image of nature. This achieves the state of illumination of the study, the true modeling of three-dimensional form, materiality, spatial depth and other pictorial qualities of the image.
The process of painting from nature involves a special order of doing work at the beginning, in the middle and at the final stage. This process goes from the general to the detailed elaboration of the form and ends with a generalization - highlighting the main and subordinating the secondary to it. In painting at these stages, the following specific tasks are solved: 1) finding the relationship of the main color spots, taking into account the tone and color state of illumination (its strength and spectral composition), 2) color-tone "stretching" within the found basic relationships, color modeling of the three-dimensional shape of individual objects , 3) in the stage of generalization - softening the sharp contours of objects, muffling or enhancing the tone and color of individual objects, highlighting the main, subordinating the secondary to it. Ultimately, the entire pictorial image is brought to integrity and unity, to the impression that vision receives when seeing nature as a whole.
Thinners . For watercolors and gouache paints, the only thinner is water. To dilute oil paints, compositions of turpentine origin (pinene No. 4) or petroleum products mixed with alcohol or linseed oil (thinners No. 1, 2) are used. Adding, for example, pinene, to oil paint contributes to their rapid drying. In addition, in order to ensure better adhesion of the paint layers, the hardened surface of the paint layer is wiped with pinene before re-registration.
Angle - perspective reduction of the form of an object, leading to a change in its usual outlines; sharply pronounced contractions that occur when an object is observed from above or below.
Frame. The picture created by the artist has a frame. It completes the composition, gives it unity, directs the viewer's attention to the work itself. Most often the frame has a rectangular shape, occasionally round or oval. Often the frame slats have thin profiles, like steps descending to the picture itself. They help the viewer's eye to more easily immerse themselves in the world of the depicted. Artists treat the frame as an essential part of the painting composition and paint it in light and dark colors of different shades. There are frames with rich plastic motifs, conventional floral or geometric ornaments.
Realism - a method of artistic creativity based on a deep knowledge of life and a figurative reflection of its essence and beauty. Realism in painting is based on the depiction of life in the forms of life itself. The artist constantly studies life with a pencil and a brush in his hand and perfectly masters the skill of truthful depiction of objects and objects of reality. Without organic knowledge and generalization of life, on the one hand, and the ability to embody all this in a concrete visual image, on the other hand, the artistic image in the picture turns into a scheme devoid of life's persuasiveness.
realism socialist - the method of socialist art, aimed at a truthful, historically concrete reflection of reality in its revolutionary development for the purpose of ideological and aesthetic education of people in the spirit of socialism and communism.
Reflex - light or colored reflection that occurs on the form as a result of the reflection of light rays from surrounding objects. The colors of all objects are interconnected by reflections. The greater the difference in lightness and color between two adjacent objects, the more noticeable are the reflexes. On rough, matte surfaces they are weaker, on smooth they are more visible and more distinct in outline. On polished surfaces, they are especially distinct (in this case, they are enhanced by specular reflection).
Picture -1) full-fledged reproduction of the objective world: volumetric-spatial modeling, correct proportions, truthful expression, clearly expressed character, etc. This is the basis for a realistic depiction of reality in general - by any technical means and techniques. Teaching drawing is an essential part of the professional education of a painter, graphic artist and sculptor; 2) a kind of artistic graphics based on technical means and drawing capabilities. Unlike painting, drawing is performed mainly with a solid coloring matter (pencil, charcoal, sanguine, etc.), as a rule, by means of a stroke and a line, with the auxiliary role of color; 3) a separate work of the corresponding type of graphics.
Rhythm and rhythm - the repetition of certain compositional elements of the work, their special proportionality, leading to a harmonious, regular coherence of the whole. Rhythm can manifest itself through contrasts and correspondences of groupings of figures, objects, lines, movements, black and white and color spots, spatial plans, etc.
Light - an element of light and shade gradations, serves to designate the illuminated part of the surface of objects.
Lightness (tone) - the comparative degree of difference from the dark: the farther from the dark, the greater the lightness of the color.
Aperture - the degree of lightness of the subject, its tone. Aperture depends on the presence of other (neighboring) tones, as well as on the color of objects.
Chiaroscuro - regular gradations of light and dark on the volumetric form of an object, due to which, both in nature and in the drawing, such objective properties as volume and material are perceived by the eye. The main gradations of chiaroscuro: highlight, light, penumbra, own shadow, reflex, falling shadow.
color properties - color tone, or shade: red, blue, yellow, yellow-green, lightness and saturation (the degree of its difference from gray, that is, the degree of proximity to a pure spectral color). In the process of painting, these three properties are used to compare the colors of a natural production, find their color differences and are transferred to the sketch in proportional relationships.
Binder - this is an astringent (glue, oil, slaked lime, chicken egg yolk), with the help of which the pigment particles are interconnected and fixed on the surface of the soil, forming a paint layer. Types of painting - fresco, oil painting, tempera - differ precisely in the composition of the binder, although the pigment is usually the same.
Silhouette - a one-color planar image dark on a light background. person, animal or object. The term comes from the name of the French Minister of Finance of the XVIII century. E. de Silhouette, who was caricatured in the form of a shadow profile.
Symbol. - an image that allegorically expresses any broad concept or abstract idea. In the event that the connection of a symbol with the concept it expresses results from an internal meaningful similarity, a relationship between the depicted object and its allegorical meaning, the use of a symbol becomes appropriate and possible in realistic fine art. A symbol is used when they want to express a broad, multi-encompassing concept in a concise and concise form.
Content and form in art - inextricably linked and interdependent categories, one of which indicates what exactly is reflected and expressed in the work (content), and the second indicates how, by what means this is achieved (form). The leading, determining role belongs to the content. It becomes a certain phenomenon of life, realized and aesthetically comprehended by the artist in the process of creative work. The category of artistic form in the visual arts includes: plot, composition, type, drawing, color system, volume, spatiality, light and shade construction, etc. It should be noted that the artistic merits of a work are directly dependent on how professionally trained the artist is using forms of expression. Without practical mastery of the culture of using color, it is impossible to express the figurative content by means of painting in a certain material.
Comparison - a method for determining proportions, tonal and color relationships, etc. Properties and qualities are known by our consciousness through comparison. To understand the nature of the form of an object, to determine its tone and color is possible only in comparison with other objects. In order to depict nature truthfully, the artist must create on the sketch proportional to nature differences in objects in size, tone and color. It is only by the method of comparison (with an integral perception of nature) that it is possible to determine in nature the color relationships between objects, to convey them on canvas or paper.
Stylization - 1) intentional imitation of an artistic style, characteristic of any author, genre, trend, art and culture of a certain social environment, nationality, era. Usually involves a free interpretation of the content and style of the art that served as a prototype; 2) in the visual arts and mainly in the decorative arts, design, the generalization of the depicted figures and objects using conditional techniques; stylization is especially characteristic of the ornament, where it turns the object of the image into the motif of the pattern.
Style - 1) the commonality of the ideological and artistic features of works of art of a certain era. The emergence and change of styles is determined by the course of the historical development of society (for example, classicism, baroque, etc.); 2) national feature of art (Chinese, Moorish style, etc.). They also talk about the style of a group of artists or one artist, if their work is distinguished by bright individual features.
Dry brush - in painting and graphics, an auxiliary technique consisting in working with hard brushes that are weakly saturated with paint. As an independent technique, the dry brush is mainly used in the decorative arts.
Sfumato - in painting and graphics, a term associated with the painting of the Italian Renaissance starting with Leonardo da Vinci and meaning the softness of execution, the elusiveness of object outlines as a result of a certain artistic approach.
Plot - 1) a specific event or phenomenon depicted in the picture. One and the same theme can be revealed in a variety of plots; 2) sometimes the plot is understood as any object of living nature or the objective world, taken for the image. Often, the plot replaces the concept of a motif, which is the basis of a work (especially a landscape).
Creative process (creativity) - the process of creating a work of art, from the birth of a figurative idea to its embodiment, the process of translating observations of reality into an artistic image. In painting, creativity consists in creating a work in directly authentic visible forms.
Topic - the range of phenomena chosen by the artist to depict and reveal the idea of the work.
tempera paints - water-based paints made from dry powders mixed with egg yolk diluted with glue water. Currently, semi-liquid paints are also made, enclosed in tubes and prepared on the yolk, whole egg or vegetable oil emulsion with egg and glue. Tempera paints can be written thickly, like oils, and thin, like watercolors, diluting them with water. They dry more slowly than gouache. The disadvantage is the difference in shades of raw and dried paint. Paintings painted with tempera paints have a matte surface, so they are sometimes covered with a special varnish that eliminates this matteness.
Shadow - an element of chiaroscuro, the most dimly lit areas in nature and in the image. There are own and falling shadows. Shadows that belong to the object itself are called proper shadows. Falling shadows are shadows cast by the body on surrounding objects.
Warm and cold colors . Warm colors are conditionally associated with the color of fire, the sun, hot objects: red, red-orange, yellow-green. Cold colors are associated with the color of water, ice and other cold objects: green-blue, blue, blue-blue, blue-violet. These qualities of color are relative and depend on the location of another color nearby. Ultramarine, for example, is cold on its own, next to Prussian blue it will be warm, and speckled red will appear colder than cinnabar red.
In the color appearance of visible nature, both warm and cold shades are always present. This warm-coldness of shades is based primarily on natural color contrasts in light and in shadow. In nature, it often happens that the colors of objects are cold, and their shadows are warm, and vice versa. The so-called contrast visual perception of colors also contributes to the phenomenon of coldness: from the presence of a warm color in the perceived nature, the impression of a cold one arises on the retina, although this is not the case in nature. Heat-coldness in painting is a natural phenomenon and an integral quality of the pictorial representation of a study of nature or a picture.
Technique - in the field of art: a set of special skills and techniques through which a work of art is performed. The concept of "technique" in the narrow sense of the word usually corresponds to the direct, immediate result of the artist's work with a special material and tool, the ability to use the artistic possibilities of this material; in a broader sense, this concept also covers the corresponding elements of a pictorial nature - the transfer of the materiality of objects, modeling of three-dimensional forms, modeling of spatial relationships, etc. Without exception, all technical means should lead to a well-known, at least modest, artistic result.
The technical means of art do not remain neutral in relation to content. The main features of realistic technique are primarily due to its subordination to the ideological and figurative structure of the work.
Tpainting technique - see oil painting, watercolor, gouache, tempera, glue painting, pastel, encaustic, fresco, mosaic.
Tone (without accompanying the word "color") - in the terminology of artists is equivalent to the concept of lightness of color (paint). Any chromatic or achromatic color can have different lightness. You can say about the tone within the same color, for example red: "light tone of red paint" or "dark tone of paint." Sometimes the term "tone" is used in relation to color, for example, "the golden tone of the panel", "the brown tone of the picture." Artists often use the term "lightness" or "aperture" of color instead of the term "tone" of color.
Key - a term denoting the external features of color or chiaroscuro in works of painting and graphics. It is more common in relation to color and coincides with the term "color gamut".
Tonal and color scale of the image . The transfer of tone and color ratios proportional to nature can be carried out in different ranges of lightness and saturation of the colors of the palette. It depends on the general state of the strength of the illumination of nature and on its removal from the painter. The artist can take the lightest and most saturated in color objects in nature on a study either in full strength of the light and bright colors of the palette, or only in half of their possibilities. This is how the tonal and color scale of the image is maintained, in which the tonal and color relationships of objects of natural production are reflected.
tone image - an image with different tonal transitions from light to shadow, that is, with areas that have different tone strengths. A typical example of a tone image is a photograph, an oil or watercolor drawing in one color (grisaille), as well as a pencil drawing made using the shading technique.
tone relations . Recognition of the volumetric form of objects, their material occurs in our minds on the basis of visual perception of their light relations. Therefore, the artist must reproduce the lightness ratios of the drawing by the method of similarity. By means of gradations of chiaroscuro on a volumetric form and the transfer of tonal relations proportional to nature between the color (material) of objects, the artist achieves a true volumetric modeling of the form, the expression of materiality, spatial depth and the state of illumination (tonal drawing, grisaille painting).
Texture - characteristic features of the surface of objects made of various materials both in nature and in the image (relief of the paint layer of strokes). The texture can be smooth, rough, embossed. The texture of the letter largely depends on the properties of the colorful material, on the features of the object of nature, which the artist depicts, as well as on the task and material of execution. In watercolor, the texture largely depends on the surface of the paper. The texture of the letter reveals the individual handwriting of the artist.
Fas (full face) - front side, front view. This term indicates that the model (a person's head or an object) is located frontally, parallel to the plane of the picture.
Background - any medium or plane behind the image object.
The form - 1) appearance, outline; implies the presence of volume, construction, proportion; 2) in the visual arts, an art form is an artistic means that serves to create an image, reveal the content (see content and form).
Formalism - the general designation of numerous *> 1X anti-realist schools and trends in the visual arts: cubism, futurism, constructivism, surrealism, suprematism, purism, dadaism, abstractionism, pop art, etc. All these varieties of formalism are based on the unnatural separation of the art form from the content, on the recognition of the independence and independence of form, mistakenly claiming to create works of art through various combinations of “clean” lines or colors. The formalistic image grossly distorts reality, loses the ability to figuratively cognize the world, and sometimes turns into meaningless, charlatan experiments.
Format - the shape of the plane on which the image is performed. It is due to the general outlines of nature, the ratio of height to width. The choice of format depends on the content and suits the composition of the image. For the figurative system, the format is essential.
Fresco - the most important technical variety of monumental painting, using lime as the main binder.
Color in painting. Color in general is the property of objects to cause a certain visual sensation in accordance with the spectral composition of the reflected rays. In everyday life, one specific color is assigned to each object or object. This color is called objective or local (grass is green, the sky is blue, sea water is blue, etc.). In novice painters, as a rule, the objective vision of color prevails, which leads to amateurish coloring. In a pictorial sense, an object can be correctly depicted only if it is not the object color that is conveyed, but the color changed by the lighting and the environment. The subject color changes as the intensity of light increases and decreases. It also varies from the spectral composition of the illumination. The environment in which the object is located also reflects color rays, which, having hit the surface of other objects, form color reflections on them. The color also changes from the contrast interaction. Thus, the color of an object is always a mosaic composed of color and light and shade spots (reflexes and highlights), and in this case it is called not objective, but conditioned. It is this color that is one of the main visual means of realistic painting.
It is generally accepted that color itself can have some effect on a person. Sometimes they think that dark and light colors create a cheerful mood; gray and black cause a feeling of despondency, etc. In psychology, research and experiments are being conducted on this subject, but certain patterns in this matter have not yet been identified. The painter does not use the above color values. He does not have a general rule for the emotional impact of color on “different occasions”. It is not at all necessary to solve a picture in dark or severe coloring if its theme is tragic or sad, and bright colors are not necessary for joyful plots. For example, the plots of Surikov's paintings "Menshikov in Berezovo" and "Boyar Morozova" are dedicated to the tragic fate of people of strong will and conviction. Dark tones predominate in the coloring of the first picture. The second picture is built on rich color combinations of plein-air painting of a winter landscape, bright clothes of the crowd, festive "carpet" coloring. The nature of the natural plot, the state of illumination determined the color of these works. Thus, the color of the picture is created by a system of color relations aimed at depicting real life conditions and conditions. Color is a means of depicting the volumetric form of an object, its materiality, spatial qualities, the coloristic state of illumination of nature, and only by revealing the semantic content of the picture in this way does it have the necessary emotional impact.
Color unity and affinity of colors. The color of lighting, its spectral composition, appropriately affects the various colors of objects and objects of nature, subordinates them to a certain range. The result is a coloristic unity of colors. A true reflection of these qualities makes a study from nature especially truthful and harmonious in terms of painting.
Color Relations - differences in natural colors in terms of hue (hue), lightness and saturation. In nature, color is always perceived in relation to the colors surrounding it, with which it is in strict interaction and dependence. Therefore, the color relations of the study should be transmitted in proportion to the color relations of nature. This is the law of the coloristic transposition of the colors of visible nature into the range of colors of the palette, it is determined by the psychophysiology of our visual perception and thinking.
Image Integrity - the result of working from nature by the method of relations (comparisons) with an integral vision of nature, as a result of which the artist gets rid of such shortcomings of a drawing or sketch as fragmentation and variegation.
Integrity of perception - the artist's ability to see objects of natural production at the same time, all at once. Only as a result of integral visual perception, it is possible to correctly determine the proportions of objects, tone and color relationships and achieve the integrity of the image of a natural production. The integrity of perception is the professional ability to see and the “setting of the eye” of the artist.
There are a number of tips on how to practically perceive nature as a whole: 1) at the moment of observation, when determining color relationships, squint or “dissolve” your eyes to the whole nature, 2) P. P. Chistyakov advised “mentally to have in front of you, as it were, flat glass, it gives relations”, 3) R. Falk, for the integrity of vision, recommended cutting a rectangular hole (2X1 cm) in a piece of cardboard and looking at nature in the plane of this window (the eye receives a holistic pictorial system of the main color relationships of nature, similar to a mosaic of precious stones) ; 4) you can also perceive nature as a whole and understand its color relationships with the help of a “black mirror” (if you paint over one side of a transparent glass with black paint, you will get a mirror in which, in bright sunlight, you can view landscape objects in reduced brightness. In such a mirror, objects are reflected in the same plane in a reduced form, they can be seen all at the same time.This will allow you to more accurately capture the tonal and color relationships of nature).
Exterior (as opposed to interior) - a depiction of the exterior of a building.
Encaustic Wax painting is a kind of painting technique, which is currently rarely used, based on the use of wax as a binder. The best method of wax painting in terms of results and durability is antique encaustic. Its advantages lie in the exceptional qualities of a specially prepared wax, which is almost unaffected by time or dampness, never cracks and retains its color unchanged.
Sketch - a preparatory sketch of a study or painting. In the process of working from nature, sketches are used as auxiliary material; they develop options for compositions of a sheet of paper or canvas. Sketches are made both in the form of quick pencil sketches and in the material.
Etude - an auxiliary image of a limited size, made from nature for the sake of its careful study. Through sketching, the artist improves his professional skills. The main goal of etude work always remains a true and lively embodiment of the pictorial idea, the creation of a picture. In realistic art, the study always plays a supporting role.
Etude is the result of a reassessment of the role of the study, it inevitably leads to the impoverishment of the ideological and figurative content. It is generally accepted that etude was born of impressionism, which limits the artist's activity to cursory work from nature, replacing a picture with a etude.
Purkyne effect - change in the relative brightness of colors when the illumination is increased or decreased. For example, during the day, the relative brightness of red and yellow seems strong, and at dusk, green and blue. The point here is that in the daytime, under normal lighting, our eye sees through some cells of the retina of the eye, the so-called cones, and under very weak light already through others - rods. Cones are more sensitive to yellow and red, while rods are more sensitive to blue-green. Even Leonardo da Vinci noticed: "Green and blue intensify their colors in partial shade, and red and yellow win in color in the most illuminated places."
Art is creativity in general.
What arts do you know?
Literature, music, dance, theater, cinema.
art- spatial, not extended in time. It requires two- or three-dimensional space. Although in our time, thanks to technical capabilities, an art form has appeared that includes temporary space (video art).
Fine art reflects reality with the help of visual images:
- the diversity of the surrounding world;
- human thoughts and feelings.
It is a way of knowing the environment and yourself.
To do this, the artist uses generalization and imagination.
Types of fine arts:
Architecture
Painting
Graphic arts
Sculpture
Arts and Crafts
Theatrical and decorative art
Design
The word "architecture" comes from the Greek "Archus" - the main, the highest;
"Tectonic" - construction.
Requires three-dimensional space.. It also has an internal space - the interior.
Graphics is divided into easel, book and applied.
On the verge of painting and graphics are watercolor, gouache and pastel.
The first works of graphics are rock paintings of primitive art.
In ancient Greece, graphic art was at the highest level - vase painting.
Materials: bone, stone, wood, clay, metal, wax…
Sculpture is one of the most ancient forms of art.
The first sculptural works were idols, amulets, portrayed the ancient gods.
A distinction is made between round sculpture (viewed from different angles) and relief (high, medium, low, counter-relief).
Sculpture is divided into types: easel and monumental (monuments, monuments) and monumental-decorative (architectural decoration).
Historical
mythological, religious
Battle
Portrait
Landscape
Still life
Domestic
Marina
animalistic
Interior
