Still life by famous artists for children. Still life in Russian painting

Still life as an independent genre of painting appeared in Russia at the beginning of the 18th century. The idea of him was originally associated with the image of the gifts of the earth and the sea, the diverse world of things surrounding a person. Until the end of the 19th century, the still life, in contrast to the portrait and historical painting, was considered as a "lower" genre. It existed mainly as an educational production and was allowed only in a limited sense as a painting of flowers and fruits.

Although we are talking about agony, the main character of the picture looks like an already dead, white, emaciated, open mouth, which is probably exhaling its last breath. There is no consolation to a better state, only suffering. The same thing that cut off the life of his pregnant wife and Schiele himself during the Spanish flu epidemic.

This is a death she knew very well. Volunteering in the First World War, he quickly realized what atrocities, suffering and mutilations were such a conflict. He became deeply upset and presented all the horrors he saw with his own eyes in a series of engravings of great emotional impact. Although we are talking about the representation of death - and Dix does not stop showing his atrocities - he strikes me deeply with the image that, although not directly present, death is embodied by German soldiers, that the anti-gas mask turns into menacing skulls.

Ivan Khrutsky "Flowers and fruits" 1839

The beginning of the 20th century was marked by the flourishing of Russian still life painting, which for the first time gained equality among other genres. The desire of artists to expand the possibilities of the pictorial language was accompanied by active searches in the field of color, form, and composition. All this is especially evident in the still life. Enriched with new themes, images and artistic techniques, the Russian still life developed unusually rapidly: in a decade and a half it goes from impressionism to abstract form creation.

Death seemed much more terrible than all the gloomy dances. The latest work is "Sex Murder", which shows a condemnation of capitalism, represented by a grinning man in a bomb who has just killed what should be a prostitute.

It's not really art, much less von Haygens ever surrounded artistic claims. Though I'm wondering what the difference is between Damen Hirst's formal formaldehyde shark or Damien Hirst's cat and von Hagens' artwork. And then the usual smart Andy Warhol, who seems to have studied every topic, could come to mind, including the death that touched him Valerie Solanas, who shot him several shots. Here, death in all its rudeness is softened only by some kind of color filtration and nothing else.

Then in Russia there were many art associations.

Nikolai Sapunov "Flowers and vases on a pink background", 1910

A bright artist, a master of theatrical compositions and exotic still lifes, N. Sapunov had a very peculiar color talent. During the period of writing the still life "Flowers and Vases on a Pink Background" Nikolai Sapunov was a member of the Blue Rose symbolist association. The poetics of symbolism attracted artists to romantic-occult themes.

Death has the same value as Campbell's soup box, people are like objects, or at least how they are processed by information. He's still dead in the little electric chair, where the electric chair is a thousand times more memorable than any corpse - a bit like a soldier with an Otto Dix anti-gas mask. In fact, an empty room, the door is written with silence, an electric chair in the middle of the room. A place where more people die than any other common room in the world.

Of this work, she said, "It's amazing how many people hang a picture of an electric chair in a room, especially if the colors match the curtains."

But what Marta Pacheco does for me is objectively incomprehensible. Even so, do it yourself.

Since the title of the work is Death of a Collector, this may not have been the intention, although for those with minimal cinematic culture it is more natural to approach two things. The usual provocative setting? Why is the collector dead?

A. Blok singled out in his work the search for color rhythm, color music, color drama that would correspond to the drama of those performances for which he painted scenery.

Prone to the bohemian life, the artist once sailed with a company in a boat on the Gulf of Finland, and drowned at the age of 32.

Pyotr Konchalovsky was a member of the "Jack of Diamonds" association. This association is characterized by the search for new pictorial and plastic solutions, the deformation and dismemberment of form, the texture of painting, the identification of form and volume by color, the desire for painting the sensual, material and colorful side of life. The ideological origins are the so-called "Russian Cezannism", Russian folk art (lubok, icon, tile, murals, trade signs).

Typically, their work explores the relationship between art, architecture and design, through subversive humor and socio-cultural concepts.

Ranges from exotic reports to Cuba or the east, from classic white to black, to a themed themed series. His work is not merely photographic, but he relies heavily on photo editing to achieve painterly effects very similar to those of the Flemish painters. I have to say that I don't like photographic postage except in special cases.

P. Konchalovsky "Red Tray", 1913

Enlargement, coarsening, but making every thing dense and strong - this is the task of the young Konchalovsky in his numerous still lifes, where it is no coincidence that the same market tray often appears as a kind of tuning fork, setting the painting the necessary level of coloristic tension. The color here conveys not so much a surface coloring as the very form and mass, the material flesh of things.

For example, David LaChapelle is able to achieve an extremely subtle effect through well-used post-production use. This representation of death would also be interesting if it wasn't limited to two clicks, and if the post-post wasn't so irritated, so much to remind Michelangelo that with his piety, he made the sense of dead meat much more realistic using a simple stone.

The latest contemporary artist is Jeremy Millar, with a Self-portrait like a drowned human willow, if you lose, this is also a quote from the famous self-portrait of Hippolyte Bayard that we talked about. Even so, you need to learn a little, otherwise the path doesn't seem very clear. Don't forget, of course, Bayard and the message that an artist dies creating his own work.

All I have to do is quote Orazio and his famous inflation rate that he says.

Ilya Mashkov "Snedd Moscow"

Scandalous fame accompanied the young Ilya Mashkov, a gambling and enterprising nugget who gained life experience "in people" (working in shops for merchants), who passed "universities" in European museums, but was expelled in 1909 from the walls of the MUZHVZ (Moscow School of Painting Sculpture and architecture). However, while still studying, Mashkov himself taught with great success - his studio (1904-17; in 1925 it was transformed into the Central Studio of the AHRR) was the most expensive and at the same time the most visited in Moscow.

When we speak, time is already running away, because it hates us! So take care, do not believe tomorrow. Still life paintings are timeless classics. The history of this pictorial genre, depicting inanimate objects, began in the seventeenth century, when the artists of that time made nature a real subject of their artistic creativity. Still life paintings have a rich symbolism - they often point to the fugacity of life and the ephemeral nature of beauty. Among the most famous figures from the dead in Italy we can recall: Caravaggio, Giovanna Garzoni, Paolo Porpora, Vera Galicia.

Ilya Mashkov "Still life with a horse skull", 1914

Having struck the audience and critics with the "barbaric" pressure of his painting at the exhibitions "Golden Fleece" and "Izdebsky Salon" (1909-10), Mashkov found his place among the artists who made up the "Jack of Diamonds" society (P. P. Konchalovsky, A. V . Lentulov and others). "Jacks" affirmed the materiality of the world and the "low" object; the generosity and majority of Mashkov's palette, the abundance of his still life productions turned out to be consonant with the program of the association.

Caravaggio was a true master of this pictorial genre as he gave incredible realism to dead animals. The bimago still life collection is the perfect balance between modern and classical art. In order to satisfy all the tastes of our customers, we have prepared over 140 different motifs, from fantastic fruit paintings with a modern taste to more classic ones, ideal for an elegant environment. We invite you to discover many fantastic still life paintings that combine classic spirit with modern design.

In an effort to return art "from heaven to earth", the artists of this circle focused on the "craft" - a street sign, a tray, a popular print. Mashkov was familiar with such a craft from childhood, and the primitivism of his still lifes and portraits is the most ingenuous and genuine.

Still lifes - scenery ideal for any environment

Fresh and juicy fruits immediately attract the eye of the observer and make mouth water flow. That is why they will be ideal for increasing the void on the kitchen walls. Do you want to give the finishing touch to your bedroom? In our collection of Still Life paintings, you will find decorations that, while maintaining a classic spirit, adapt to modern needs. Wonderful pictures of musical instruments hanging above the bed will emphasize your passion for music and give a unique character to your oasis of relaxation.

Ilya Mashkov "Still life with fruit"

Painter, in love with "the bright flesh and blood of things." This life-affirming, realistic, optimistic attitude turned out to be the most suitable for the new tasks of art. A clear view of the world, the look of a working person, rejoicing in the work itself and celebrating its results, is characteristic of the artist in the post-revolutionary years. Mashkov has his own special understanding of the relationship between object and space in painting, and his pathos is in affirming the healthy reality of the subject by enhancing its plastic and color characteristics.

The living room is our business card and therefore requires decorations that capture the eye and seduce with intricate details. To meet these needs, a wide range of bimago still life paintings were created. In a living room decorated in a minimalist style, wall decorations filled with rich colors will be well presented.

Still lifes or paintings - choose the technique that suits you

However, in a declining environment, they prefer paintings of classical taste. When decorating our home, we must start from a basic concept: what kind of decoration best expresses our personality? What kind of background would be ideal for us to feel comfortable? Still life is usually associated with the classical style and is therefore underestimated by modern decorating enthusiasts. Our collection of still life paintings show how contemporary design meets the sophistication of the past. However, in order to find the perfect piece of furniture, it is not enough to choose the right motif, as well as the technique by which the paintings are made from dead nature.

Heightened attention to the inherent value of objects allowed the painter to discover new expressive possibilities in simple, familiar things.

Ilya Mashkov "Copper dishes"

In "Still Life with a Samovar (Copper Ware)" (1919), kitchen utensils - a coffee pot, a milk jug, a mug, a plate, an iron, trays - rallying together and pushing space to the periphery of the canvas, resemble a small, but strong army in its unity and confidence. Restrained, almost monochrome color scheme highlights the chased forms of objects, conveys their soft, but strong brilliance. Each thing appears in its brightly individual appearance, but all of them are united by some kind of almost "ideological" commonality - belonging to the same "class", the material - copper. This is the apotheosis of the beauty of modest metal, and it sounds loud, solemn, powerful. Sovereign, copper objects are weighty, and the viewer, subdued by the restrained power emanating from them, forgets about their purely domestic purpose.

Between classic and modern - the versatility of still lifes

In our gallery you can find the differences between still lifes and pictures which works for you. Our artists are not afraid to experiment and take new approaches to the classical style, offering you still life paintings that reflect the trends of the moment. Our mission is to impress our customers with decorations that will not only give a new look to the environment, but also create a real "wow" effect on the walls. Many people associate photography with the classic style, but we want to show you that inanimate objects presented in a modern style will be equally well represented in the environments predicted in the future.

Petrov-Vodkin's still lifes are unpretentious in terms of their set of objects and bear signs of the harsh era in which they were created. In this sense, a still life depicting a skinny herring, a piece of bread and two potatoes, a meager ration of famine, has become a classic.

Take a look at our unusual dead nature collection and discover their versatility. He is the modern godfather of the new generation. His name is Antonio Piromali, son of Giuseppe Piromali. He is 44 years old and runs one of the main branches of the Calabrian mafia, known as the 'Ndrangheta.

Although its specific traditions have survived, and now with traditional dialectical appeals from vendors to passers-by, the market is a pale shade of what it used to be. The place is immortalized in a painting by Renato Gutuso and on screen directed by Roberto Ando. Today, however, the market is mostly in ruins with only a few stalls selling fruit.

Kuzma Petrov-Vodkin "Herring", 1918

The artist likes to introduce mirrors, glass or just some shiny objects (samovar, nickel-plated teapot) into them, allowing him to devote himself to the analysis of the complex game of reflexes, refractions of beams of light incident and reflected in the inner faces. In these studies, in the spirit of Vrubel, Petrov-Vodkin replaces the passion of his brilliant predecessor with a methodically persistent desire to know the subject in all its aspects.

In fact, Vouquiria has become a battlefield for a group of local businessmen who have decided to rebuild the neighborhood and build new apartments, as well as the famous Sicilian mafia who want to keep control of the city, as they have done for most of the last century.

Austrian artist Uwe Jentzsch, who lives in Palermo, is trying to draw attention to uncontrolled market conditions by painting walls and making provocative art installations. Three years ago, a group of 17 businessmen finally heeded his calls by investing in a plan to stop the inexorable destruction of Vučiriya.

Kuzma Petrov-Vodkin "Still life with an inkwell", 1918

The artist examines the things laid out and placed on the table from above, so that their location lends itself to precise fixation and they are visible "as in the palm of your hand"; the polished edges of the teapot or the glass-covered surface of the table double the image, allowing you to look at it from the side invisible to the artist. Thus, Petrov-Vodkin overcomes the monocular point of view, which seems to him insufficient and does not reflect the true knowledge of the subject, which can be walked around, eventually getting a total and more complete idea of it.

Kuzma Petrov-Vodkin "Bird cherry in a glass", 1932

The most striking thing in all the still lifes of Petrov-Vodkin is that the close, sometimes scrupulous analysis of objects and the strict, almost experimental compositional construction of the canvas in no way deprive them of the immediacy of the artistic perception of nature, not to mention the richness and subtlety of color. The special clarity of the image, in which objects are as if named in turn and do not obscure each other, gives rise to an almost physical feeling of joy from the contemplation of these still lifes, such as if simple and so, in essence, difficult, as far as Petrov's art is far from simple and unambiguous -Vodkin.

Understanding the world as a large still life, as a combination of tangible and material colorful textures, he did not turn to the radical forms of the avant-garde - stopping, as it were, on the threshold of cubism - or to the lubok-folklore primitive.

A. Kuprin "Still life with a blue tray", 1914

The works of his early period are dominated by intense colorful contrasts, nature is perceived as if tactile and objective and at the same time quite alienated.

Zinaida Serebryakova "Still life with attributes of art"

This work by Serebryakova has a traditional composition for the artist. As is customary in works with a similar name, an antique mask is depicted here, there is a box with paints, a roll of paper resembling a scroll, glass bottles with pigment powders for paints and a light ceramic mortar are located in the background. Still lifes on the "production theme" are often found in the work of artists.

In 1913, P. Konchalovsky painted the painting “Dry Paints”, which clearly shows the artist’s interest in combining bright pigments: orange with cobalt, ocher with scarlet.

P. Konchalovsky "Dry colors", 1913

The canvas is made in a rough, simplified manner. Serebryakova's painting is softer, more tactful. In books, in brushes stained with paint, in sheets of drawing paper left on the table, the warm touch of the artist's hands lives, love trembles, keen interest, attachment to the constant and reasonable helpers of his work. And perhaps it is precisely in this: in the humanity of the objective world, in its visible connection with people, that the interpretation and assessment that Zinaida Evgenievna gives to reality are most fully revealed. She is connected with the world of objects by a deep inner community, things serve her like good old servants, well known in their unchanging and useful qualities. Serebryakova's world is revealed to us full of even, clear, warm light and harmony.

Igor Grabar "Lilac and forget-me-nots"

It was then that Grabar was fond of the painting method of Claude Monet. "Chrysanthemums" are extremely typical in this respect. The color analysis of the vibrating light-air medium is close to some searches of French painters of this direction.

Igor Grabar "Chrysanthemums"

The artist is looking for a way out in the subordination of forms and colors to a certain decorative rhythm. Very soon, this overcoming of the well-known limitations of the impressionistic method becomes consistent with Grabar. The artist sets still lifes for the purpose of a special analysis of the color, shape, and materiality of the object. Grabar's still lifes are marked by the variety and complexity of the tasks set, the search for new artistic techniques. This is no coincidence. Everything here speaks of the proximity of a new stage in the development of Russian still life. In the atmosphere of the struggle for new artistic forms, which permeated the painting of the 1900s, still life becomes one of the leading genres, an arena for creative experimentation.

In the 1930s and 1940s, the development of still life stopped, but since the mid-1950s this genre has been experiencing a new upsurge in Soviet painting, and from that time on it finally and firmly stands on a par with other genres.

Still life(French nature morte - “dead nature”) - the image of inanimate objects in the visual arts, in contrast to portrait, genre, historical and landscape themes.

The starting point of the early still life can be found in the XV-XVI centuries, when it was considered as part of a historical or genre composition. For a long time, the still life remained connected with the religious painting, framing the figures of the Mother of God and Christ with flower garlands, and also often located on the reverse side of the altar image (as in Rogier van der Weyden's Triptych of the Marriage Family). Also in the 16th century, the tradition of creating portraits with the image of a skull was widespread, for example, the portrait of Jean Carondel by Jan Gossaert (see vanitas). Early still lifes often served a utilitarian function, such as decorating closet doors or masking a wall niche.

Still life finally takes shape as an independent genre of painting in the works of Dutch and Flemish artists of the 17th century. Objects in still life painting of this period often contain a hidden allegory - either the transience of everything earthly and the inevitability of death (Vanitas), or - in a broader sense, the Passion of Christ and the Resurrection. This meaning is conveyed through the use of objects - in most cases familiar and encountered in everyday life, which are endowed with additional symbolic meaning.

Netherlandish still life of the 17th century

The Netherlandish still life was a unique cultural phenomenon of the 17th century, which influenced the further development of all European painting. The “Little Dutchmen” reflected in their works the world of objects that live their own quiet, frozen life. The term "frozen life" (Dutch stilleven, German stilleben, English still-life) began to be used to refer to the genre in the middle of the 17th century, initially in the Netherlands. Prior to this, artists called such paintings, describing the plot: “Little Breakfast”, “Bouquet of Flowers”, “Hunting Trophy”, “Vanity of Vanities”. The main translation of the specified term, found in the literature - "quiet, motionless life."

Still life in Russian painting of the 18th-20th centuries

In the 1930s and 1940s, this development stopped, but since the mid-1950s, still life has experienced a new upsurge in Soviet painting, and from that time on it finally and firmly stands on a par with other genres.

Russian naturmorists