History of painting It began when a person for the first time depicted something on the first surface that came across to him with the help of paint. Most likely, this happened even before he fully realized himself as a man. And since all the time that mankind has been developing, it has been accompanied by painting, then to describe the entire history of painting in one short article is a task whose complexity borders on the impossible. Therefore, this article does not in any way claim to cover the world history of painting. Our modest aim will be achieved if the following will kindle in the reader a sincere interest, which he can satisfy with the help of a variety of available literature.

Painting

However, before understanding the ups and downs of history, let's find out what painting is.

TSB gives the following definition:

Painting, - view visual arts, works of art, which are created using paints applied to any solid surface.

The explanatory dictionary of the Russian language Ushakov is short:

Painting is the art of depicting objects with colors.

The small encyclopedic dictionary of Brockhaus and Efron, on the contrary, is verbose:

Painting is the art of depicting objects on the surface with paints, with the aim of impressing the viewer similar to that which he would receive from real objects of nature, also by the totality and nature of the depicted objects to evoke a certain mood in the viewer or express some artistic idea.

Well, if you do not go into details (and do not talk about it to art critics), then painting is everything depicted with paints on something solid, and representing at least some kind of artistic value. The last clause says that the obscenity painted on the fence, alas, cannot be considered painting.

petroglyphs

As we said at the beginning, painting appeared at the moment when the first humanity for the first time depicted something on a solid surface. Since at the beginning of their development people lived in caves and rocks, the first paintings were made there, using improvised means.

Such images are called rock art, or petroglyphs. The technique of primitive artists may seem primitive, but on the other hand, one should not forget that those who painted them could well be the ancestors of homo sapiens, and therefore rock art is also an example of human evolution. Mineral dyes were used as paints - mainly multi-colored ocher and manganese oxides.

Petroglyphs are reflected in a variety of subjects, ranging from hunting to ritual and memorial motifs. The most common images of animals.

1. Rock art Spain, Altamira cave

Painting of Ancient Egypt

However, as time went on, and developed human society. The next stage of development after the primitive one was the ancient Egyptian civilization, which made an invaluable contribution to the world history of painting.

A striking feature of the painting of Ancient Egypt was devotion to the traditions of the ancestors and adherence to certain artistic principles. History of painting Ancient Egypt was largely influenced by religion. Moreover, it is generally difficult to separate the art of that time from religion, and most of the surviving monuments of Egyptian painting had a religious purpose. Therefore, their authors had to follow certain established canons, which came from a number of conventions of primitive art.

Examples of this are images of objects and animals that are invisible to neither the viewer nor the artist, but which can definitely be present in a given scene (for example, fish and crocodiles under water); an image of an object using a schematic enumeration of its parts (leaves of trees in the form of a set of conventionally arranged leaves or plumage of birds in the form of individual feathers); a combination in the same scene of images of objects taken from different angles (for example, a bird was depicted in profile, and the tail is on top; the human figure has a head in profile, an eye in front, shoulders and arms in front, and legs in profile) .

Of course, the existence of such a strict system of canons required the creation of what, in a few thousand years, would be called an "artist's manual." And such written evidence came to light. However, later the observance of the canons played a conservative, inhibitory role, hindering the development of realistic tendencies.

2. A fragment of the painting of the tomb of Tutankhamun. Egypt, ca 1450 BC

Painting of Ancient Greece

Time passed, and the Egyptian civilization fell into decay. As everyone remembers very well, it was replaced by the ancient Greek, and this could not but affect the history of world painting.

The specificity of ancient Greek art partly lies in the fact that the Greeks preferred to use ceramic products for painting. Therefore, often ancient Greek painting is also called vase painting.

The ancient Greeks advanced far in the direction of realistic painting. The art of chiaroscuro discovered by them made it possible to fill the works of painting with an unprecedented volume and sensuality, and had a great influence on the history of the development of painting.

The first to use the new technique was Apollodorus of Athens, for which he was given the nickname the Shadowwriter. He was followed by other famous painters who applied this technique: Zeuceis, Parrhasius and Timanf. Their work, in comparison with ordinary graphics, is filled with emotionality, however, despite this, monumental painting has not received such distribution as vase painting.

The technique of vase painting was quite simple: clay items were covered with ornaments and various subjects. Initially, only the black-figure style was used, which consisted of black images on a red background (baked clay). Later, a red-figured (black-lacquer) style appeared, in which the background between the paintings was applied with black varnish, and the figures themselves remained the color of the clay on which it was all depicted.

All drawings were planar, graphic character. The drawings on the vases expand our understanding of Greek art, interiors, everyday life, people's costumes, and the peculiarities of seeing the world.

3. Black-figure Attic amphora Painting of Ancient Rome.

Speaking about the world history of painting, it is impossible not to talk about the art of Ancient Rome.

The aggressive nature of Roman politics led to the fact that the artistic traditions of many peoples were intertwined in ancient Roman art. In addition, unlike the Greeks, the pragmatic Romans were more prosaic about art. A feature of the art of Rome is its closest connection with life.

With the shift of emphasis to the interior and the appearance of ceremonial rooms in Roman houses and villas, a system of highly artistic murals developed on the basis of the Greek tradition. Pompeian paintings introduce the main features of ancient frescoes. The Romans also used painting to decorate facades, using them as signs for commercial premises or craft workshops. In the history of painting, Pompeian paintings are usually divided into 4 groups, conditionally called styles. The first style, inlaid, widespread in the 2nd century. BC e. Imitates wall cladding with squares of multi-colored marble or jasper.

Since the 1980s BC e. the second style was used - architectural and promising. The walls remained smooth and were divided by picturesquely - illusoryly executed columns, pilasters, cornices, and porticos. The interior acquired splendor due to the fact that a large multi-figured composition was often placed between the columns, realistically reproducing plots on mythological themes from the works of famous Greek artists. The attraction to nature inherent in the Romans prompted them to illusoryly reproduce landscapes on stages using linear and aerial perspectives and thereby, as it were, expand the interior space of the room.

The third style, oriteizing, is characteristic of the era of the empire. In contrast to the splendor of the second style, the third style is distinguished by rigor, grace and a sense of proportion. Balanced compositions, linear ornament, on a bright background, emphasize the plane of the wall. Sometimes the central field of the wall stands out, where the paintings of some famous ancient master are reproduced.

The fourth decorative style spreads in the middle of the 1st c. AD With the splendor and decorativeness of the spatial and architectural solution, he continues the tradition of the second style. At the same time, the richness of ornamental motifs is reminiscent of the murals of the third style.

4. Ancient Roman fresco.

History of Russian painting

Speaking about the history of the development of painting, one cannot fail to mention Russian painting. Researchers believe that the roots of Russian painting lie in the tradition of the East Slavic people, who were well known in Europe in the 6th century. And it was called antes.

Like all other states of Europe, by the second half of the 11th century, Russia experienced a period of national fragmentation, and it was then that Russian art acquired its unique character traits. Art Kievan Rus was enough high level, however, it can hardly be called original, since, having been baptized in the 10th century, Prince Vladimir at the same time borrowed the artistic traditions of Byzantium, which were intricately intertwined with pagan artistic principles. Of course, the Eastern Slavs had a highly developed culture, and therefore the Byzantine traditions quickly changed in accordance with the original Russians.

Russian art proper developed from the Byzantine-Russian art of Kievan Rus. Further, it developed as the art of individual principalities that separated from the Galician-Volyn, Rostov-Suzdal and Novgorod lands. By the twelfth century, Russian art can be considered fully formed. Alas, the development of Russian painting was seriously slowed down due to the heavy Tatar yoke, which lasted more than three hundred years.

A new upsurge in the history of Russian painting began in the 15th century, when most of the lands united around Moscow. This age is often called the golden age of ancient Russian art. At this time, works were created that became classic examples of the Moscow school. The development of Russian culture took place along a path common to the countries of Europe. Both in the West and in the East, painting was, first of all, church painting, therefore, first of all, it was icon painting and monumental painting - frescoes.

Russian icon painting inherited the techniques of Byzantine masters. At the same time, their own traditions were born in Russia. Russian icons were not mere imitations, but had their own style, and masters such as Andrei Rublev raised the level of icon painting to new heights.

The first realistic portraits appeared in Russia in the 17th century; in the middle to the end of the 18th century, such major painters as Levitsky and Borovikovsky appeared in Russia.

Since that time, the history of Russian painting has followed global trends. Prominent Artists the first half of the 19th century were Kiprensky, Bryullov, Ivanov (“The Appearance of Christ to the People”).

In the second half of the 19th century, realist painting flourished. The creative association of Russian artists "Association of Travelers" was founded. art exhibitions(The Wanderers), which included such great artists as Vasnetsov, Kramskoy, Shishkin, Kuindzhi, Surikov, Repin, Savrasov.

5. Vasnetsov's painting "Bogatyrs".

Of course, the history of art is not limited to what we have told. Time passed and history changed. Human civilization has developed, and along with it, painting has developed. Middle Ages, Renaissance, Reformation, New and Newest time brought many new styles and trends to painting. Fortunately, there is now a great deal of literature in which one can find a detailed account of each of these great eras.

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Painting arose in the era of the late Paleolithic (40-8 thousand years ago). Rock paintings have survived (in the caves of Font-de-Gaume in southern France, Altamira in northern Spain, etc.), filled with earth colors (red, yellow and brown ocher, umber), black soot and charcoal using split sticks, pieces of fur and just fingers; truthful, expressive, dynamic images of individual animals were created, and then hunting scenes. Paleolithic paintings contain both linear-silhouette images and simple modeling, but the element of composition is still weakly expressed in it. More developed, more abstractly generalized ideas about the world were reflected in the abstract, rhythmic painting of the Neolithic (paintings in Valtorta, Spain). in Neolithic images, consciously linked into narrative cycles, a person appears.

The painting of the slave-owning society had an already developed figurative system, rich technical means; paints (earth - yellow, red and brown; mineral - blue and light blue) were applied in an even layer on white ground; binders appeared (albumin, casein, glutin, gum resins), hair brushes.

In the eastern despotisms ( Ancient Egypt and other states), in ancient America there was monumental painting (painting of tombs, less often - buildings), usually associated with the funeral cult and wearing a detailed narrative character; the main place was occupied by a generalized and often schematic representation of a person. In the strict canonization of images inherent in this genre, in the features of the composition, the correlation of figures reflected the rigid hierarchy that prevailed in the slave-owning society. Ancient painting also possessed decorative qualities; with its flatness, this painting emphasized the surface of the wall. The painting of ancient Egyptian tombs reached a particularly high level of perfection (paintings afterlife, including domestic and battle scenes, animalistic images) with its musical rhythm and clarity of composition, refinement of lines.

In antiquity, painting still acts in synthesis with architecture and sculpture, serving together with them not only cult, but also secular purposes; happens (especially Ancient Greece) awareness of the social (including moral and educational) significance of painting, as well as all art in general. Gradually, new, specific possibilities of painting are revealed, giving a broader reflection of reality in terms of themes than sculpture, striving for a sensually full-blooded embodiment of the world. Antique painting, with its plastic clarity of form, is characterized either by planar contour images or three-dimensional ones, as well as by broad, free writing, a life-accurate depiction of objects and partly of space; the palette of colors as the development of painting expanded and enriched; tonal painting arose, which existed simultaneously with painting with local color. In antiquity, the principles of chiaroscuro, peculiar variants of linear and aerial perspective are born. Along with the mythological, everyday and historical scenes, landscapes, portraits, still lifes were created. Monumental and decorative painting (frescoes and mosaics preserved in Pompeii, Herculaneum, Paestum, Kazanlak, Northern Black Sea region), which adorned temples, dwellings, tombs, stands, came to an illusory change in architectural space and architectural forms as a result of a long development. An antique fresco (on multi-layer plaster with an admixture of marble dust in the upper layers) had a shiny, glossy surface. In ancient Greece, easel painting (on boards, less often on canvas), which has not survived to the present day, arose mainly in the encaustic technique (see Wax painting; glue paints and tempera were less often used), which made it possible to expressively sculpt volumes; some idea of ​​ancient easel painting give Fayum portraits.

In the Middle Ages, in Western Europe, Byzantium, Russia, the Caucasus, and the Balkans, which developed mainly in line with the ecclesiastical Christian ideology, religious-ascetic images full of spiritual expression were created. Despite the strict canonization of images, folk representations (for example, in Russia in the icons and frescoes of Theophan the Greek, Andrei Rublev, Dionysius) and individual (often naive) observations found an echo in medieval painting. The main types of painting are fresco (both on dry and wet, often rough plaster, applied to stone or brickwork), icon painting (icons were painted on primed boards mainly in egg tempera, which mainly determined the planar interpretation of forms), and also miniature in manuscripts (on primed parchment or paper; executed with tempera, watercolor, gouache, glue and other paints); the sequence of execution, type of image, composition, coloring - all this was regulated. Made with the care inherent in handicraft work, icons, wall paintings (subject to architectural divisions and the plane of the wall), as well as mosaics, stained-glass windows, together with architecture, formed a single ensemble in church interiors. The increased emotionality and decorativeness of medieval painting is due to the expression of sonorous, rich color and accentuated rhythmic line, and the expressiveness of clear contours; forms in medieval painting are planar, stylized, the background is abstract, often golden; there are also conditional methods of modeling volumes, as if protruding on a picturesque plane, devoid of depth. A significant role was played by the symbolism of composition and color (for example, in Western European painting, blue is the color of the Mother of God). In the 1st mill. e. monumental painting (with adhesive paints on white gypsum or lime primer on clay-straw soil) experienced a high rise in the countries of Western and Central Asia, in India, China, and Ceylon. In the feudal era in Mesopotamia, Iran, India, Central Asia, Azerbaijan, Turkey, the art of decorative planar miniatures developed, attracting both with subtle colorfulness, elegance of ornamental rhythm, and the brightness of individual life observations. Far Eastern painting with ink, watercolor and gouache on scrolls of silk and paper - in China, Korea, Japan - was distinguished by deep poetry, amazing vigilance of seeing people and nature, conciseness honed over the centuries of painting style, the finest tonal transmission of aerial perspective.

AT Western Europe in the Renaissance, the principles of a new, life-loving humanistic art, based on an anti-feudal worldview, re-discovering and inquisitively knowing the earthly, material world, imbued with the spirit of early bourgeois anthropocentrism, are being affirmed; because of this, the role of painting increases, developing a system of means for a realistic depiction of reality. Individual achievements of Renaissance painting were anticipated in the 14th century. Italian painter Giotto. scientific study perspectives, optics and anatomy, the use of the oil painting technique improved by J. van Eyck (Netherlands) contributed to the wide disclosure of the possibilities inherent in nature of painting; volumetric forms are convincingly reproduced in painting (with the help of light and shade modeling) in unity with deep space (unfolding behind the visually destroyed picturesque plane) and the light environment, the color richness of the world is being mastered. A fresco experienced a new heyday, sometimes visually expanding the interior of a palace or church, but the easel painting also gained importance, which, however, still retained a decorative unity with the surrounding objective environment. The feeling of the harmony of the universe, the fascination with the freshness of individual bright life details, interest in a real person, the spiritual activity of images are characteristic of compositions on religious and mythological themes, portraits, domestic and historical scenes, images of nudes. Tempera was supplanted first by a combined technique (glazing and working out details with oil on a tempera undercoat), and then by a technically perfect multi-layer oil-lacquer painting without tempera. Along with smooth, detailed painting on boards with white ground (characteristic of the artists of the Netherlandish school), the Venetian school of painting develops the techniques of free, wide, pasty painting on canvas with colored grounds. Simultaneously with painting in local, often bright colors, with a clear pattern, tonal painting also developed (in the Venetian school, which subtly and variedly revealed the richness of the coloristic possibilities of painting). The largest painters of the Renaissance - Masaccio, Piero della Francesca, Mantegna, Botticelli, Leonardo da Vinci, Michelangelo, Raphael, Giorgione, Titian, Paolo Veronese, Jacopo Tintoretto in Italy, J. van Eyck, P. Brueghel in the Netherlands, A. Durer, X Holbein the Younger, M. Nithardt (Grunewald) in Germany.

In the 17-18 centuries. the process of development of European painting becomes more complicated. Stacked up national schools in France (J. Latour, F. Champigne, N. Poussin, A. Watteau, J. B. Chardin, O. Fragonard, J. L. David), in Italy (M. Caravaggio, D. Fetti, P. yes Cortona, J. B. Tiepolo, J. M. Crespi, F. Guardi), Spain (El Greco, D. Velasquez, F. Zurbaran, B. E. Murillo, F. Goya), Flanders (P. P. Rubens , J. Jordans, A. van Dyck, F. Snyders), Holland (F. Hale, Rembrandt, J. Vermeer, J. van Ruisdael, G. Terborch, K. Fabricius), England (T. Gainsborough, W. Hogarth ), Russia (F. S. Rokotov, D. G. Levitsky, V. L. Borovikovsky). There is an intense struggle of currents, progressive and reactionary ideas, advanced trends against academicism, different stylistic systems of painting coexist, proclaim new social and civic ideals, turn to a more detailed and accurate image real life in its movement and diversity, especially in the everyday environment of a person (landscape, interior, household items); psychological problems deepen, the conflict interaction of the individual and the world is realized and embodied. In the 17th century the system of genres expanded and clearly took shape. In the 17-18 centuries. monumental and decorative painting flourishes (especially in the Baroque style), existing in close unity with sculpture and architecture and creating, often with the help of illusionistic effects, an emotional environment that intensely affects a person. At the same time, the role of easel painting increased.

The complication of the problems of painting, the abundance of tasks facing it, the class and class differentiation of the worldview led to the formation of various pictorial systems, as having a common stylistic features (emotionally rich, dynamic baroque painting, with a characteristic open, spiral composition; strictly balanced painting of classicism with its cult of clear , a strict, clear pattern, the predominance of a volumetric-chiaroscuro principle over color, the locality of color; rococo painting with its play of the most refined and fluid nuances of color, light and faded tones), and did not fit into any specific style framework. Striving for the finest reproduction of the brilliance of the world, the light-air environment, many artists improved the system of tonal painting. All this caused a sharp individualization of the technical methods that prevailed in the 17-18 centuries. multilayer oil painting. At the same time, paintings were often made simultaneously by several artists who specialized in certain pictorial motifs. The growth of easel painting and the increased need for works designed for intimate contemplation led to the development of more intimate, subtle, and lighter painting techniques—pastel, watercolor, ink, and various types of portrait miniatures. In the 19th century new national schools of journalism are taking shape in Europe (in the Balkan countries) and in America. Relationships between European painting and other parts of the world are expanding, where the experience of European realistic painting and individual formal achievements are being interpreted in their own right, often on the basis of local ancient traditions (in India, China, Japan, and other countries). European painting is also influenced by the art of non-European countries (mainly Japan and China), which is reflected in the renewal of individual methods of decorative and rhythmic organization of the pictorial plane. In the 19th century painting is broader and deeper than other types of fine arts, it solves complex and urgent worldview problems, plays an active role in public life, being often associated with social and national liberation movements; important in 19th century painting. acquired a sharp criticism of social reality. At the same time, throughout the 19th century. in painting, academic canons far from life, abstract idealization of images were officially cultivated, naturalistic tendencies arose that ignored specificity, independent expression means of expression painting. In the struggle against these tendencies, against the rationalism and abstractness of the official salon-academic painting, the painting of romanticism is formed with its emotional intensity, active interest in the dramatic events of history and modernity, the display of strong human passions, the energy of the pictorial language, the dynamics of constructions, the contrast of light and shadow, saturation color (T. Gericault, E. Delacroix in France; in many ways O. A. Kiprensky, Sylvester Shchedrin, K. P. Bryullov, A. A. Ivanov in Russia). Rejecting the classical ideals of harmonic perfection, he arrives at a more complete, concretely reliable, often heightened visual depiction of the life of realistic life, based on direct observation. characteristic phenomena reality (G. Courbet, J. F. Millet, O. Daumier, K. Corot, masters of the Barbizon school in France; J. Constable in England; A. Menzel, V. Leibl in Germany; A. G. Venetsianov, P. A. Fedotov in Russia). Zh. democratic realism widely shows the life and work of the people, their struggle for their rights, refers to the most important events of history, creates vivid, psychologically in-depth images ordinary people and leading public figures; in many countries, schools of national realistic landscapes are emerging. Closely connected with the bourgeois-democratic stage, the Rus. revolutionary movement Zh. Wanderers and artists close to them - V. G. Perov, I. N. Kramskoy, I. E. Repin, V. I. Surikov, V. V. Vereshchagin, I. I. Levitan.

To the living embodiment of the surrounding world in its naturalness and immediacy, constant variability comes in the early 1870s. Impressionism (painting by C. Monet, O. Renoir, C. Pissarro, A. Sisley, and partly by E. Manet and E. Degas in France), overcoming the conventionality and blackness of color that prevailed in painting in those years, and updating the technique and methods of organizing the pictorial surface , revealing the beauty of pure color, quivering picturesqueness, textural effects. In the 19th century In Europe, easel painting in oils dominates, decoratively even less than before, associated with the object environment. The technique of oil painting in many cases acquires a vividly individual, free character, but gradually loses its earlier thoroughness, strict systematicity, and multi-layeredness; the strength of Zh.'s works is reduced (which was also facilitated by the spread of new factory-made paints to replace the previously used hand-made paints); the palette expands (new pigments and binders are created); instead of dark colored soils, characteristic of the 18th century, as early as the beginning of the 19th century. white soils are being introduced again. Like other types of monumental art (architecture, sculpture), monumental and decorative painting, which was used in the 19th century. almost exclusively glue or oil paints, fell into decay at this time. Only in the late 19th - early 20th centuries. Attempts are being made to revive monumental painting and to merge various types of Zh. with works of decorative and applied art and architecture into a single ensemble (mainly in the art of "modern"); The technical means of monumental and decorative painting are also being updated, and the technique of silicate painting is being developed.

At the end of 19-20 centuries. all over the world, the development of painting becomes especially complex and contradictory; realist and modernist currents coexist and struggle at the same time. Fertilized by the ideals of the Great October Revolution and armed with the method of socialist realism, painting is developing intensively in the USSR and other socialist countries. New schools of painting are emerging in Asia and Africa, Australia, and Latin America. Realistic painting in the late 19th and 20th centuries. With its democratic tendencies and close connection with life, it follows the best traditions of Zh. from previous eras. At the same time, it is distinguished by the desire to know and show the world in all its contradictions, the essence of the deep processes taking place in social reality, the inner meaning of life phenomena, which sometimes do not have a sufficiently visual appearance; therefore, the reflection and interpretation of many phenomena of reality often acquires a sharply subjective, generalized symbolic character. Painting of the 20th century along with the sensory-reliable, illusory, volumetric-spatial way of depicting, he widely uses new (as well as dating back to antiquity) conditional principles for interpreting the visible world. Already in the painting of post-impressionism (P. Cezanne, V. van Gogh, P. Gauguin, A. Toulouse-Lautrec) and partly in the painting of "modern" features are emerging that determined the characteristics of some trends of the 20th century. (an active expression of the artist’s purely personal relationship to the world, the emotional and psychological strength and associativity of color, which has little to do with the colorful relationships observed in life, exaggerated forms, decorativeness). In the first trend that arose in the 20th century - in Fauvism - the character of the image, the flashiness of bright color contrasts are clearly dictated primarily by the subjective will of the artist, who intensely experiences reality. The world is comprehended in a new way in the art of the great Russian painters of the late 19th and early 20th centuries. - in socially rich, figuratively pointed paintings by V. A. Serov, intensely dramatic works by M. A. Vrubel.

In the 20th century reality is realized and realized in different aspects in the painting of the largest artists of the capitalist countries: P. Picasso, A. Matisse, F. Léger, A. Marquet in France; D. Rivera, J. C. Orozco, D. Siqueiros in Mexico; R. Guttuso in Italy; J. Bellows, R. Kent in the USA. In many of their paintings and wall paintings, a true understanding of the tragic contradictions of reality found an elevated emotional expression, turning into a denunciation of the deformities of the capitalist system; painting by leading artists promotes the progressive political ideas of our time, recreating historical and contemporary events with particular breadth, epic and expressiveness; it also embodied a cheerful and optimistic perception of the world, a passion for its materiality. The aesthetic comprehension of the new, "technical" era is associated not only with the reflection of the pathos of the industrialization of life, not only with the penetration into painting of geometric, "machine" forms, to which organic forms are often reduced, but also with the search for in painting that meets the worldview modern man, his spiritual needs for emotionally imaginative color solutions, new forms that can be used in decorative arts, architecture and industry. Wide use in painting, mainly in the capitalist countries, from the beginning of the 20th century. received various modernist currents (see Modernism), reflecting the general crisis of the culture of bourgeois society, to one degree or another breaking the living connection with reality; However, modernist painting sometimes indirectly reflects the “sick” problems of our time and the unbridled spirit of protest (for example, in Expressionist painting with its dramatic fury and crisis moods). In the painting of many modernist movements (cubism, futurism, surrealism), individual more or less easily recognizable elements of the visible world are fragmented or geometrized, appear in unexpected, sometimes illogical combinations that give rise to many associations, sometimes merge with purely abstract forms. The further evolution of many of these currents already in the 1910s. led to complete failure from figurativeness, to the emergence of abstract painting....

Painting is an ancient art that has evolved over many centuries from Paleolithic rock paintings to the latest trends in painting of the 20th century. Painting has a wide range of possibilities for embodying an idea from realism to abstractionism. Enormous spiritual treasures have been accumulated in the course of its development.

AT ancient era there was a desire to reproduce the real world as a person sees it. This caused the emergence of the principles of chiaroscuro, elements of perspective, the emergence of three-dimensional pictorial images. New thematic possibilities for depicting reality by pictorial means were revealed. Painting served to decorate temples, dwellings, tombs and other structures, was in artistic unity with architecture and sculpture.

Medieval painting was predominantly religious in content. It was distinguished by the expression of sonorous, mostly local colors, expressive contours. The background of frescoes and paintings, as a rule, was conditional, abstract or golden, embodying the divine idea in its mysterious shimmer. Color symbolism played a significant role.

In the Renaissance, a sense of the harmony of the universe, anthropocentrism (man in the center of the universe) was reflected in pictorial compositions on religious and mythological themes, in portraits, domestic and historical scenes. The role of painting has increased, having developed a scientifically based system of linear and aerial perspective, chiaroscuro.

The process of development of European painting in the XVII-XVIII centuries. becomes more complex, national schools are formed, each with its own traditions and characteristics. Painting proclaimed new social and civic ideals, psychological problems deepened, a sense of the conflicting relationship between the individual and the world around him. The appeal to the diversity of real life, especially to the everyday environment of a person, led to a clear formation of a system of genres: landscape, still life, portrait, household genre etc. Various pictorial systems were formed: dynamic baroque painting with its characteristic open, spiral composition; rococo painting with a play of exquisite nuances of color, light tones; painting of classicism with a clear, strict and clear pattern.

In the 19th century painting played an active role in public life. The painting of romanticism was distinguished by an active interest in the dramatic events of history and modernity, the contrast of light and shadow, and the saturation of color.

The revolution in painting, which influenced its development for many years, was the emergence of impressionism, which sought to convey the changing beauty of the world, which revealed the possibilities of optical mixing of pure colors, and the effects of texture transfer. The artists went out to paint their paintings in the open air.

AT late XIX-XX centuries the development of painting becomes especially complex and contradictory. Various realistic and modernist movements are gaining their right to exist.

Appears abstract painting(avant-garde, abstractionism, underground), which marked the rejection of figurativeness and the active expression of the artist's personal attitude to the world, the emotionality and conventionality of color, the exaggeration and geometrization of forms, the decorativeness and associativity of compositional solutions.

In the XX century. the search for new colors and technical means of creating paintings continues, which will undoubtedly lead to the emergence of new styles in painting, but oil painting still remains one of the most beloved techniques of artists.

Most of the paintings that you see are easel paintings. This term means that the paintings were painted on a special easel. They can be framed, hung on the wall or given as a gift. In other words, an easel painting is a painting painted on a flat background: paper, canvas, board. This type of painting is dominated by oil paintings, but there are also paintings in which other materials are used - gouache and watercolor, pastel, ink, charcoal, acrylic paints, colored pencils, etc.

One of the applied types of easel painting is theatrical and decorative painting - sketches of costumes for heroes and mise-en-scenes.

Monumental painting - painting of buildings

Monumental painting cannot exist separately from the place where it is performed. This type of painting was very popular in the 16th-19th centuries, when majestic temples were built, and best artists painted their vaults. The most common type of monumental painting is fresco, painting with water-based paints on wet plaster.

Painting on dry plaster - secco - was also common, but such works have survived worse to our times. The most famous example of monumental painting is the large-scale painting of the Sistine Chapel, in which Michelangelo took part. According to critics, the frescoes of the chapel can be equated with the Eighth Wonder of the World.

The most ancient works of monumental painting are rock paintings of the first people.

Decorative painting - applied art

Decorative painting is closely related to arts and crafts. She plays a rather supporting role in the decoration. various items. Decorative painting is a variety of patterns and ornaments that decorate household items, furniture, architecture. The authors of this type of painting may be unknown - simple paintings of peasant houses and furniture also belong to this type.

Miniature painting - cute little things

Initially, miniature painting was the art of book design. Old books were made with great care and were very expensive. For their decoration, special craftsmen were hired, who beautifully designed the capital letters, covers and screensavers between the chapters. These publications were a real work of art. There were several schools that adhered to the strict canons of miniature painting.

Later, miniatures began to be called any small-scale paintings. They were used as souvenirs and memorable gifts. Despite its small size, this type of painting required great precision and skill. The most popular materials for souvenir miniatures were wood, bone, stone and metal plates.

Advice 2: What are the types of easels: basic and popular

Drawing is one of the most interesting directions in creativity. But in order to paint a picture, you need to choose the right not only brushes and paints, but also an easel.

For some people, creativity, namely drawing, is an integral part of life in the form of a hobby or professional activity. Artists and amateurs attach particular importance to the materials and devices with which they work. So easels are an integral part creative process, so there is a need to consider these auxiliary items in more detail.

So in this moment There are three main types of easels, these are: tripod easels, vertical panel (stationary) easels, and sketchbooks. Each type of easel has its own characteristic features. For example, tripods are very easy to assemble and use. Such an easel can always be disassembled, while when folded, this device takes up very little space.

At the same time, vertical panel easels are very convenient, having the functions of adjusting the height and angle of inclination, but they take up a lot of space due to their stationarity. The principle of fastening paper or stretched canvas in these types of easels is practically unchanged. At the bottom there is a small panel for the location of consumables: pencils, paints, brushes and other things.

Sketchbooks can be used in nature to paint pictures from nature. At the same time, when assembled, this device turns into a small suitcase with which you can make long journeys to the place where the canvas is written.

The most popular easels

Tripod easels are the most popular. This is due to their convenience and compactness. In addition, such an easel can be made independently if you do not want to spend money on buying it.

For work in the studio or at home, table easels, that is, easels with a vertical panel, are often used. This type is convenient when working in one place, since its transportation is hampered by the inability to disassemble the object into more small parts followed by assembly. At the same time, each type of easel is designed for a specific intended use, however, the tripod can rightfully be considered the most versatile, since it can be used both for permanent job in the studio, and for working from nature in nature, of course, if it is not too large.

Sources:

• Classification of easels

The art of decorating surfaces with paints and a brush is called artistic painting. The very concept of painting is seriously different from painting, as it is part of the space conceived by the artist.

Artistic painting was originally applied to any democratic and easily obtained materials: leather, wood, natural fabrics, clay and bone. Skills were passed down from generation to generation by masters, specific artistic techniques, which helped product recognition. Over time, the most meaningful and expressive application of the ornament was chosen. In architecture, ceilings, vaults, walls, beams were decorated with paintings, and in everyday life, decor was applied to household items.

The systematization of various types of painting was first started in 1876 by Professor A.A. Isaev in his two-volume book entitled "Crafts of the Moscow province". Artistic painting enterprises are still developing their business in order to meet the demand in the markets of Russia and abroad.

Khokhloma painting

The skill of a fine brush, which came from the monasteries, was used in the rich floral ornament. From there, the secret was derived of how to paint dishes in gold color without the use of gold. The painting has not changed to the present, and the process from ancient times to the present day is the same. A blank of dishes is turned from wood on a lathe, then primed with a specially prepared clay solution or artificial primers are used. The dishes are covered with paint based on tin or silver, less often - aluminum. They paint according to the conceived motive and dry it in an oven, then varnish it and again do hot drying.

Since the product undergoes intensive heat treatment several times, the paints were chosen from those whose brightness high temperatures did not influence. It is black, gold and cinnabar.

Gzhel porcelain

Gzhel is unique, since each artist, using classical and familiar motifs, creates the technique individually. The main role belongs to the experience of the master and the movement of his brush. At the same time, harmonious transitions from dark blue to pale blue appear on whiteness from one stroke. Only one paint is used, cobalt, and the drawing is done very quickly, the first time.

Matryoshka

These figurines of different sizes, nested in one another, originate from Japan. These dolls gained great popularity in 1900, after an exhibition in Paris. The main production took place in the village of Polkhovsky Maidan, which was famous for both painting and turners - after all, the shape of the nesting dolls had to be carved.

Polkhov matryoshka has distinctive features, by which it can be recognized among others. She has a face painted in small strokes, and a wild rose flower in the forehead area. The color of the scarf contrasts with the color of the sundress, and from the back the matryoshka is 2/3 scarlet or green. The apron is oval and runs from the neck to the ground.

The most difficult to process, straw-encrusted matryoshka from Vyatka.

Almost every girl, if her free time not overloaded with studies or dating, has one or more hobbies. Some of them captivate her with their originality for a short time, others are companions for life.

Instruction

The most common type of female hobby can be called all types of needlework: knitting and crocheting, macrame, sewing, embroidery. Such a hobby does not arise from scratch, it traditionally comes from mothers and grandmothers who are engaged in them in the presence of their daughters and granddaughters. The little girl gets curious and asks the adults to show her how to make buttonholes, knots, stitch or chain stitch. At first it doesn’t work out, and she can even give up her new hobby for a while, but after a few years nature will take its toll, and now a teenage girl will sew her first jeans or knit a beret.

Not so time-consuming, leaving the evenings free for other activities, is floriculture. All women love flowers, and those grown with their own hands are of the greatest interest. Tracking the appearance of shoots, their increase in size and subsequent flowering is akin to motherhood, which is why it gives pleasure to many of the fair sex. If you don’t have the patience to care for roses and violets, you can start with chlorophytum, spathiphyllum, or simple cacti.

The earliest hobbies a young child has are drawing and moving to music. If there is talent for them, then undertakings will not be lost, but will develop into the ability to display the external and inner worlds through painting and dancing. If there is no talent, but the soul insistently demands the expression of all her impulses, then the girl becomes a good photographer. Her photographs most often feature relatives and friends, significant places and corners of nature that captured the imagination.

Another method to realize your potential is to make crafts from various materials. This is clay modeling and soap making, carving and design. The latter can turn into a profession and become a good way to earn money. And carving can be called a kind of common, but far from all-encompassing hobby - cooking. Almost every girl is capable of cooking the simplest porridge and soup, baking pizza from everything that is in the refrigerator, but only a few of them have the art of preparing original dishes.

And finally, the general hobby of women of all ages and social categories is fortune telling. Most often on cards, but pendulums, coffee grounds, palmistry and other divination methods are also used to achieve results. Knowing the past and the future cannot be boring, and specializing in separate form can turn a girl into a real master.

Round and flat, with a wooden handle and plastic, marten and pony. A variety of shapes and types of brushes helps the artist to create masterpieces on canvas or paper. So, for example, a squirrel brush is used mainly for working with watercolor paint, and a linear brush is used for writing.

Brush shapes

One of the most common and versatile brush shapes is round. A bundle of such a brush is fixed in a round clip, usually metal. Brushes can be of different sizes. A small beam is used to create miniatures, and a large beam is used for large landscapes. A round brush provides a uniform line of the same thickness, although a skilled artist can vary it.

It is good to work out large areas of the composition with flat brushes, they hold a lot of paint in themselves. Strokes with such a brush are smooth and wide.

The brush called "cat's eye" has an oval or domed shape. Such a brush is very individual in use and can be applied in the same way as round and flat.

A subspecies of flat brushes is contour, they have a similar shape, but the bundle is shorter and, accordingly, more elastic. Such brushes are used for oil painting techniques, they are easy to make flat strokes and clear contours.

Type brushes have a round long bunch with a thin, sharp tip, which allows you to write and apply contours. Such brushes are used with liquid paints.

Retouching brushes also belong to a variety of flat brushes, their peculiarity lies in the tip cut at an angle. These brushes are used to create very thin strokes and smooth and precise transitions from one color to another. This is due to the thin and sharp tip.

Line brushes, like type brushes, have a round, long beam shape and are used to apply inscriptions and create long, even lines. Line brushes are shorter than type brushes, but longer and thinner than round ones.

Flute brushes, in addition to painting, are used when applying makeup, namely, powder or blush. These soft brushes are designed for free painting with watercolors. They hold a lot of water, so they can draw long, solid, uniform lines without interruption.

Fan brushes have a thin bunch in the shape of a fan. They are used to create subtle color stretches, color transitions and contrasts.

Types of brushes

In addition to shapes and sizes, there is a significant difference in types of brushes, namely, what kind of hair the bundle is made of. The most common type of brush is the squirrel. Such brushes are made from processed tail hairs of a squirrel, since it is in the tail that the longest pile is. Squirrel brushes are very soft and delicate, so they require special care. They are used to work with watercolor paint or other water-based paint.

Kolinsky brushes are made from processed kolinsky tail hair. These brushes are quite soft and at the same time elastic. Therefore they are used

The word "painting" comes from the Russian words "live" and "write", the phrase "live writing" is obtained. Painting as an art form means the image of the real world, drawn with the help of improvised materials (pencils, paints, plasticine, etc.) on flat surfaces. We can say that the projection of the real world through the prism of the artist's imagination - this is painting.

Types of painting

This one is replete with a variety of types and techniques of depicting reality, which depend not only on the technique of performing the artist’s work and the materials used, but also on the content and semantic message of creativity. In order to convey feelings, emotions and thoughts, the artist primarily uses the rules of the game with color and light: the ratio of color shades and the play of highlights and shadows. Thanks to this secret, the pictures are really alive. To achieve this effect, you need to skillfully use colorful materials. Therefore, painting, the types of which depend on the drawing technique and types of paint, can use watercolor, oil, tempera, pastel, gouache, wax, acrylic, and so on. It all depends on the desire of the artist.

In the visual arts, there are such main types of painting:

1. Monumental painting. From the very name of this type of art it emanates that the creation will live for many centuries. This type implies a symbiosis of architecture and fine arts. most often seen in religious temples: these are painted walls, vaults, arches and ceilings. When the drawing and the building itself become one, such works have a deep meaning and carry a global cultural value. Frescoes more and more often fall under this type of painting. They, as a rule, are performed not only with paints, but also with ceramic tiles, glass, colored stones, shell rock, etc.

2. Types of such fine art are very common and accessible to any artist. For a painting to be considered easel, the creator will need a canvas (easel) and a frame for it. Thus, the picture will be independent, and there is no difference where and in what architectural structure it is located.

3. Decorative and applied painting. The types and forms of expression of creativity are limitless, and this type of art can serve as proof. has existed for more than one thousand years: these are home decorations, painting dishes, creating souvenirs, painting fabrics, furniture, etc. The essence of creativity is that the object and the drawing on it become one. It is considered bad taste when an artist depicts a completely inappropriate drawing on an object.

4. implies a visual design for theatrical performances, as well as cinema. This type of art allows the viewer to more accurately understand and accept the image of a play, play or film.

Genres of painting

In the theory of art, it is also important to highlight the genres of painting, each of which has its own characteristics:

Portrait.

Still life.

Iconography.

Animalism.

Story.

These are the main ones that have existed for a long time in the history of art. But progress does not stand still. Every year the list of genres grows and increases. So, abstraction and fantasy, minimalism, etc. appeared.