Ancient mythology in world painting. Mythological paintings

AENEAS
(Greek, Roman) - king of the Dardans, son of Anchises and Aphrodite, relative of the Trojan king Priam. Aeneas was born on Mount Ida and raised by mountain nymphs. At first he did not take part in the defense of Troy and came out on the side of the Trojans only after Achilles attacked the lands of the Dardans. Aeneas fought with Achilles and Diomedes, but was defeated and was saved only thanks to the help of Aphrodite and Apollo. Aeneas was also patronized by Poseidon, who saved the wounded Aeneas from Achilles in order to preserve the royal family of Dardan. On the night of the capture of Troy, Aeneas tried to fight, but was ordered by the gods to leave the city. He left with his son Ascanius (Yul), his wife Creusa, who died shortly after fleeing Troy, and carried his elderly father Anchises on his shoulders. With the remains of the Trojans and sacred images of the Trojan gods, E. sailed on 20 ships in search of a new place of residence. During the journey, he visited Thrace, Macedonia, Crete, Peloponnese and Sicily, where Anchises died, and from there he headed to Italy, but Hera sent a terrible storm, and his ships were thrown back to Carthage. Here Queen Dido, the founder of Carthage, fell in love with the hero. Hera and Aphrodite tried to arrange the marriage of Aeneas and Dido, but Zeus ordered the hero to leave Carthage. Aeneas again headed to the shores of Sicily, and then arrived in Cumae and, with the help of the Cumaean Sibyl, descended to underground kingdom. There, the shadow of Anchises predicted his fate and the future of his descendants. After this, Aeneas arrived in Latium, where he was warmly received by King Latinus, who gave the hero land to build a city. The king promised Aeneas the hand of his daughter Lavinia, who was already betrothed to the king of the Rutuli, Turnus. The offended Turnus started a war and died in a duel with Aeneas. Having married Lavinia, Aeneas founded a city named after her and united local residents and the Trojans into a single nation of Latins. At the end of his life, Aeneas was ascended to heaven and became a god. Representatives of the Yuli family considered themselves descendants of his son Askania (Yula).

COURT OF PARIS

This mythological plot was repeated many times by the artist in many paintings throughout his entire career. creative life. Mercury, whose scarlet cloak gently flutters in the wind, brought three goddesses to Paris: Juno with a peacock, Venus with Cupid, and Minerva, who can be recognized by her helmet and shield with the head of a Gorgon. Decorated with jewels and almost naked, the women stand before the shepherd Paris, holding Golden Apple, which he, at the behest of the gods, must award to the most beautiful of the three goddesses. In this picture early period Rubens depicted one of the most popular mythological subjects with the brightness and splendor typical of the Baroque style. (Rubens was among its brightest representatives.) Luxurious color and tremulous, wave-like brush movements convey sensual beauty female body. Later, in repeated versions of the plot of “The Judgment of Paris,” in order to convey the sensual thrill of life, Rubens used rich color scheme, inspired by the Venetian masters, Titian and Veronese. The fluid brush strokes, rich colors and heightened emotionality of his compositions gave him a reputation as the greatest Baroque painter north of the Alps.

Hero and Leander

Peter Paul Rubens

Gero, in Greek mythology priestess of Aphrodite (option: Artemis) in the city of Sest on the shores of the Hellespont, with whom the young man Leander from Abydos (on the opposite bank of the strait) fell in love. Every night Leander swam across the strait to meet his beloved, Gero lit a fire on the tower in Sesta, and Leander sailed across the dark sea, looking at the flame of the lighthouse. One day the fire went out and Leander drowned. When in the morning Gero saw the corpse of a young man washed up on the shore, she threw herself into the sea in despair.

SAMSON AND DELILA
Peter Paul Rubens

When the angel told Samson's mother that she would finally give birth to a child, she was overjoyed. He will be a “Nazarite of God” - he will never drink wine, nor shave or cut his hair. God rewarded Samson supernatural power so that he would deliver Israel from their enemies, the Philistines. Unfortunately, Samson turned out to be a bad leader.

Samson mercilessly killed 30 Philistines from the city of Ashkelon and destroyed their harvest, for which the Philistines burned his wife. Samson took revenge on them by killing them all, and at the same time brutally killed another thousand people with the help of a donkey's jaw.

When one day Samson was in Gaza and came to a harlot, his enemies locked the gates of the city, planning to kill him. But Samson tore the gate out of the ground and took it to the top of the mountain opposite Hebron, which is 65 kilometers from Gaza.

Finally, the Philistine leaders bribed Delilah, Samson's mistress, to learn the secret of his extraordinary strength. Samson deceived her three times, but then, irritated by Delilah’s grumbling, he revealed the truth: “If you cut my hair, my strength will depart from me.” When Samson fell asleep, the treacherous woman cut off his hair. The Philistines captured him, blinded him, and then forced him to grind grain in a mill in Gaza. In captivity, Samson's hair grew back again. During a festival in honor of the Philistine god Dagon, Samson could not tolerate ridicule and last time showed his strength. With God's help, he brought down the columns of the temple and died under the rubble along with everyone else.

Did Samson really exist? He is reminiscent of other supernaturally powerful mythical figures - the Babylonian hero Gilgamesh and the Greek Hercules. However, all his exploits were dictated more by vengeance than by religious feelings. Perhaps his life story is just a cautionary tale.

Birth of Venus

BOTTICELLI Sandro (born Alessandro Filipepi, Filipepi) (1445-1510), Italian painter. Representative of the Early Renaissance

Beautiful, like an ancient Greek marble statue and with the face of the Madonna, Botticelli’s Venus is a symbol of ideal and spiritualized beauty. She emerged from the sea and is carried to the shore on a large shell by the breath of Zephyr and Chloe, while Ora, the personification of spring, approaches her to envelop her in a cover embroidered with flowers. As noted by some researchers, the relationship between the poses and gestures of the goddess and Ora refers us to the iconography of the baptism of Christ by John the Baptist and gives the mythological plot a symbolic meaning. Thus, Botticelli shows that he is intimately familiar with cultural environment of his era and, in particular, with Neoplatonism, which saw in ancient myths a foreshadowing of the ideas of Christianity. The most plausible hypothesis is that all four paintings were painted on the occasion of a wedding. They are the most remarkable surviving works of this genre of painting, which glorifies marriage and the virtues associated with the birth of love in the soul of an immaculate and beautiful bride. The same ideas are central to the four compositions illustrating the story by G. Boccaccio “Nastagio degli Onesti” (found in different collections), and two frescoes (Louvre), painted around 1486 on the occasion of the marriage of the son of one of the closest associates of the Medici.

With one hand slightly covering the chest and the other on the bosom, the pose of Venus resembles antique statue Venus Pudica (from Latin - modest, chaste, bashful), which is also known as the statue of Venus de Medici (Medicean), as it comes from the Medici collection. White dress Ora - a nymph who personifies spring here, the time of flowering and renewal - is covered with live and decorated with embroidered lilies, with a belt of roses, like Flora in “Spring”; around her neck is a garland of myrtle, a symbol dedicated to Venus eternal love. On the right in the picture are orange trees in bloom (orange is a symbol of the divine origin of Venus and the flower of marriage). In the picture, another attribute of Venus is pale pink flowers that fly in the wind: according to myth, white roses were colored red by drops of the blood of the goddess, who injured her legs while searching for her dead lover Adonis.

Although the painting is traditionally called “The Birth of Venus,” it does not show the birth itself. According to Greek myth, Venus arose from the foam of the sea, formed from the fall into the sea of ​​the genital organ of Uranus, cut off by Zeus. Most likely, Botticelli was inspired here by A. Poliziano’s contemporary poem “Dancing for the Tournament,” which says that Venus sailed to the shore on a large shell.

Spring

BOTTICELLI Sandro

The exact design of Botticelli's "Spring" (circa 1482) has always been the subject of an infinite number of hypotheses, although characters here are quite identifiable: on the right - Zephyr (warm western wind) pursues the nymph, the goddess of flowers Flora scatters flowers all over the earth; on the left, the three Graces, intertwining their hands, begin to dance; Mercury disperses the clouds with his winged rod; in the center of the picture - Venus and Cupid are watching what is happening. The subtle symbolic subtext in the picture is partly readable: here again there are orange trees in the background (a symbol of marriage), Flora is an image of the flowering and fruiting of nature, Mercury is the god of the planet of the same name, visible in the sky in the spring months, Graces are the nymphs of harmony, beauty, and feminine virtues , Venus is the true queen of the world, the law of which is love itself (Cupid throws arrows of love).

Perhaps the painting should be interpreted in the light of Neoplatonic philosophy. In this vein, Venus can be seen as the personification of humanistic thought, which distinguishes sensual love (Zephyrus persistently pursuing the nymph) from spiritual love, represented by the Graces and Mercury.

Mars and Venus

BOTTICELLI Sandro

Another painting from Botticelli’s mythological “series” - “Mars and Venus” (London, National Gallery) - perhaps the Vespucci family, close to the Medici, commissioned the artist, since several wasps are visible on the very edge on the right (“vespa” in Italian is wasp, it is the heraldic symbol of the family). The plot of the triumph of love was often played out in art, and such paintings were often given as gifts on the occasion of betrothal. While Mars is resting, little satyrs play with his weapons and armor - now they are completely safe. Perhaps this painting also adorned the head of the marriage bed or adorned the wall of the wedding cassone. One can also see an allegory in the picture: Venus (humanistic thought) has a beneficial effect on strife and uncontrollable elements, pacifying rough nature (Mars). In addition, in accordance with humanistic views, Harmony is born from the union of Venus and Mars - love and struggle.

Laocoon, El Greco. 1604-1614, Collection de Orléans Sanlúcar, Cadiz

Laocoön is a priest of Apollo in Troy. He objected and tried to prevent the Trojans from dragging the wooden horse left by the Achaeans into the city, since he foresaw the danger lurking in it. “I’m afraid of the Danaans who bring gifts!” exclaimed Laocoon. The gods sent two huge snakes across the sea, which strangled him along with his two sons Antiphantus and Fimbrey.

Sophocles wrote the tragedy Laocoon. The Rhodes sculptors Agesander, Polydorus and Athenodorus created famous group"Laocoon". Now this work is in the Vatican in the Pius Clement Museum.

1899, oil on canvas, 124x106
State Tretyakov Gallery, Moscow

This painting opens a series of Vrubel’s “nocturnes” (it also included “The Swan Princess”, “Lilac”, “Towards the Night”).

Pan is a character from ancient Greek mythology, but on the presented canvas he has noticeably “Russified”, and this is unusually characteristic of the then Vrubel, who fell in love with Russian folklore. At the same time, his night here becomes typically “symbolist” and in this sense is a “window” into the unknown, into other worlds inaccessible to daytime consciousness. Pan, the deity of forests and fields, is its symbol. Note that Vrubel himself, as main reason the appearance of this work, he called the impression made on him by A. France’s story “The Holy Satyr”.

Pan is painted against the background of a typical Russian landscape - a field, enchanting with its discreet beauty, a river and birches, as if asleep in the silence of the night. God himself in this context seems to grow before our eyes from a mossy stump.

The flute migrated into this work from Greek mythology. According to myths, it is a constant attribute of Pan - he acts as a judge in shepherd competitions in playing the flute.

Pan's face has a strange appeal. He is especially struck by the bottomless Blue eyes, glowing from the eye sockets.

The half-horn of the moon fills the space of the picture with fantastic light, simultaneously echoing the horns of the deity.

"Pipe"

Apollon Maikov

Here is a dry and ringing reed...
Good sir! bandage it
Carefully use a thin thread
And put it in a pipe!
Share art with me
To sort out the trills in it,
Revive them with thought, feeling,
Lower and raise
So that in the heat of half a golden day I
Groves, mountains to sleep
And from the waves of a forest stream
Lure the naiad into the grotto.

Pan (Faun) - god of forests, fields, herds. Son of Hermes and the nymph Dryope. Born with horns, a beard, a tail and goat hooves, all in hair. Seeing the child, the mother was horrified and abandoned him, and Hermes took Pan to Olympus. The gods were touched by the boy and named him Pan (i.e. “loved by everyone”). Pan was part of Dionysus's retinue, had fun, wandered through forests and mountains, played the pipe he invented, fell passionately in love and pursued nymphs.

Pan challenged Apollo to compete in playing the pipe. Midas awarded the victory to Pan and was punished for this by the angry Apollo: he grew donkey ears.

As the deity of elemental forces, Pan could instill strong fear in people without obvious reasons (i.e., panic fear).

PAN AND SCREENING

Nicolas Poussin

Pan fell in love with the beautiful nymph Syringa. But the proud nymph rejected his love. One day Pan saw Syringa and wanted to approach her. The nymph looked at Pan and fled in fear. Pan could barely keep up with her, trying to catch up with her. But then the river crossed the nymph’s path. Where to run? Siringa stretched out her hands to the river and began to pray to the god of the river to save her. The river god heeded the nymph's pleas and turned her into a reed. Pan ran up and wanted to hug Syringa, but he only hugged the flexible, quietly rustling reed. Pan stands, sighing sadly, and in the gentle rustling of the reeds he hears the farewell greetings of the beautiful Syringa. Pan cut several reeds and made a sweet-sounding pipe from them. In memory of the nymph, Pan named the pipe syringa. Since then, the great Pan loves to play the syringa pipe in the solitude of the forests, resounding with its gentle sounds in the surrounding mountains.

France Floris("Apollo and Pan")

Competition between Pan and Apollo. Pan was proud of his flute playing. One day he challenged Apollo himself to a competition. It was on the slopes of Mount Tmol. The judge was the god of this mountain. In a purple cloak, with a golden cithara in his hands and laurel wreath Apollo came to the competition. Pan was the first to start the competition. The simple sounds of his shepherd's pipe were heard, they rushed vaguely along the slopes of Tmol. Pan finished. When the echoes of his pipe fell silent, Apollo struck the golden strings of his cithara. Majestic sounds poured out. Everyone standing around, enchanted, listened to Apollo’s music. All nature plunged into deep silence, and in the midst of the silence a melody full of wondrous beauty flowed in a wide wave. Apollo finished, the last sounds of his lyre died away. The god of Mount Tmol awarded Apollo victory. Everyone praised the kifared god. Only Midas did not admire Apollo’s performance, but praised simple game Pana. Apollo became angry, grabbed Midas by the ears and pulled them out. Since then, Midas has donkey ears, which he diligently hides under a large turban. And the saddened Pan, defeated by Apollo, retired into the thicket of the forests; full of sadness is often heard there, gentle sounds his pipes are played, and the young nymphs listen to them with love.

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Municipal educational institution "Lyceum No. 11 named after. T.I.Alexandrova, Yoshkar-Ola"

Research

On the topic: “Mythological subjects in painting”

Scientific adviser:

Kosova Svetlana Ivanovna, teacher

drawing and fine arts of the first qualification category.

Student 11 "A" class:

Shparber Ksenia

Yoshkar-Ola 2015

Introduction

A myth is a legend that embodies the ideas of ancient peoples about the origin of the world and various natural phenomena. Myths tell stories about gods, spirits, deified heroes and ancestors. They arose during primitive society, at dawn human existence. Ancient man could not understand the reasons for the occurrence of various natural phenomena. Many questions arose in his head: how did people appear on earth? why does thunder roar and it's raining? for what reason does the wind blow? etc. Not being able to approach these issues with scientific point vision, the person came up with his own answers that were understandable to him. These answers became myths.

This work is relevant because myths and art are an integral part of culture. The purpose of the work is to prove the statement that myths are an inexhaustible source of creativity for artists of different times and eras. Research objectives: to reveal the concept of myth, to show the history of the development of myth in art, to prove the hypothesis. Objects: Sandro Botticelli “Birth of Venus”, Santi Raphael “Vision of Izzekiel”, Nicolas Poussin “Kingdom of Flora”, Francois Boucher “Jupiter and Callisto”, Karl Bryullov “The Last Day of Pompeii”.

1. Main part

Myth is not only historically the first form of culture, but also changes mental life person. The essence of myth is that it represents the twinning of man with the forces of existence of nature or society. Everything becomes animated, and nature appears as a world of menacing, but akin to man mythological creatures- demons and gods.

In parallel with myth, art existed and operated in the history of culture. Art is an expression of a person’s need for figurative and symbolic expression and experiencing significant moments in his life. Art creates a “second reality” for a person. Involvement in this world, self-expression and self-knowledge in it constitute one of the most important needs of the human soul.

Artists different eras and styles did not ignore ancient Greek mythology. And although in the Middle Ages painting focused mainly on Christian subjects, during the Renaissance, painters with great enthusiasm began to depict mythological subjects on their canvases. In the modern era, against the backdrop of general changes in the fine arts, interest in classical mythological subjects has somewhat dried up, but interest in mythical monsters has revived, the images of which are actively used in contemporary art. Russian painters traditionally turned to the theme of Slavic mythology, depicting in their paintings how epic heroes, so mythical creatures Slavic mythology.

First, let's look at a painting from the 15th century. Famous painting artist Sandro Botticelli's "Birth of Venus". Botticelli - Italian painter of the era early Renaissance, representative of the Florentine school, one of the most bright artists Italian Renaissance. The artist wrote “The Birth of Venus” for Lorenzo di Pierfrancesco Medici. The plot of this picture is based on the myth of how the goddess of love was born from the foam of the sea.

Venus, standing in a shell, floats, urged on by Zephyr and Chloris, and Ora, one of the goddess’s companions, comes towards her, holding a veil to envelop her. The whimsical folds of bedspreads and clothes fluttering in the wind, the waves on the sea, the broken line of the shore, the “corrugated” shell of the shell, and finally the flying hair of Venus - all this sets off the smooth outlines of the goddess’s body and enhances the feeling of supreme harmony that her appearance evokes. The characters’ hands almost close above Venus’s head, and it seems as if an arch is overshadowing her, echoed by the rounded bottom of the shell. Thus, the figure of the goddess is closed into an imaginary oval. Venus here is the center to which everything strives.

The beautiful face of the heroine is reminiscent of the faces of Madonnas in Botticelli’s paintings, and therefore in this work the Christian theme sounds through the ancient theme, it was this combination of ancient humanism and Christianity that gave rise to the phenomenon Italian Renaissance.

The next painting by Raphael Santi, “The Vision of Ezekiel,” dates back to the 16th century. This small canvas was painted for a private client. The background of the picture fully corresponds to the biblical description of this vision: “...a stormy wind came from the north, a great cloud and swirling fire, and a brightness around it” (Ezekiel 1:4). In the vision itself, God is depicted floating through the air, supported by “the likenesses of four animals.” tradition with their four winged creatures: a man or angel, a lion, a bull and an eagle, which symbolize in the visual arts the four Evangelists. It was this Christian tradition, and not the actual description of Ezekiel’s vision, that Raphael followed when painting this picture. The painting is small in size, but it gives an idea of ​​Raphael’s skill in solving such complex composition. In it, the artist develops a task that is exceptional in its difficulty - to show rapid flight. The figure of the God of Hosts himself is given from a very complex perspective. The pictorial image of God is full of such titanic power, and the movement is conveyed so perfectly that it seems to the viewer as if “The Vision of Ezekiel” is a large canvas, and not a tiny painting, the dimensions of which are barely larger than a miniature. The picture is based on one of the most rich in mythical symbolism biblical subjects.

Next up is a 17th century painting, namely “The Kingdom of Flora” by the famous French artist-Nicolas Poussin. The master depicted antiquity as he imagined it. On his canvases, the heroes of antiquity came to life again to perform feats, go against the will of the gods, or simply sing and have fun. Poussin's painting "The Kingdom of Flora" was created based on an ancient legend told by the Roman poet Ovid. This is a poetic allegory of the origin of flowers, which depicts heroes of ancient myths turned into flowers

Heroes who die in the prime of life turn into flowers after death and find themselves in the kingdom of Flora. Human life is interpreted in its inseparability with the life of nature. Strict order reigns in the universe, its laws are reasonable. This is also felt in Poussin’s painting, which is distinguished by the balance of the composition, the beauty of the characters, inspired by images antique plastic. Logic and poetry coexist harmoniously on this canvas. Here he depicts his ideal - a person living united happy life with nature.

In all his works, Poussin expressed the aesthetic ideal of classicism, which is based on the imitation of “decorated nature.” This means that the artist reflected only the sublime, beautiful and perfect in man and life, while ignoring the base, ugly and ugly.

"The Kingdom of Flora" is one of Poussin's paintings, distinguished by its subtle and rich development of color.

An example of mythological subjects in 18th century painting is Francois Boucher’s canvas “Jupiter and Callisto”. In the painting, the artist turned to the “Metamorphoses” of the Roman writer Ovid, who retold the myth of the god Jupiter, who, having fallen in love with the nymph Callisto and wanting to seduce her, took the form of the goddess Diana. The artist interpreted a sensual episode ancient mythology in a superficial, playful spirit. Graceful, graceful figures of his ancient heroines look like porcelain figurines. Boucher loved light painting and preferred elegant blue, pink and green tones. In the works of Boucher himself, nymphs and Venus appear every now and then. And the names of the works speak for themselves - “The Triumph of Venus”, “The Toilet of Venus”, “The Bathing of Diana”. He knew how to enjoy the beauty of life and encouraged others to do the same. The Rococo style was his native element, here he felt like a fish in water - naturally and organically. Decorativeness, graceful intimacy, boudoir atmosphere, pastel shades- these are the main features artistic style Francois Boucher.

And finally, one of famous paintings The 19th century painting by Karl Pavlovich Bryullov “The Last Day of Pompeii” also belongs to the mythological genre of painting. Karl Bryullov is a famous painter, watercolorist, and draftsman. Studied at the St. Petersburg Academy of Arts. His work introduced the freshness of romance, vitality, and passion for the beauty of reality into the painting of academic classicism, and this contributed to the development of realism in Russian painting. The painting “The Last Day of Pompeii” brought worldwide fame to the artist. The death of Pompeii in Bryullov’s view is the death of the entire ancient world, the symbol of which becomes central figure canvas -- a beautiful woman, who fell to her death from her chariot. Bryullov is shocked inner beauty and the dedication of these people who do not lose human dignity in the face of inevitable disaster. In these terrible moments, they do not think about themselves, but strive to help their loved ones, to protect them from danger. The artist sees himself among the inhabitants of Pompeii with a box of paints and brushes on his head. He is here next to them to help, to support their spirit. But even before his death, the artist’s keen observation does not leave him - he clearly sees human figures perfect in their plastic beauty in the flashes of lightning. They are beautiful not only because of the extraordinary lighting, but also because they themselves seem to radiate the light of spiritual nobility and greatness. Almost six years have passed since that memorable day when, on the streets of lifeless Pompeii, Bryullov had the idea to paint a picture about the death of this ancient city. IN Last year the artist worked so furiously that he was more than once carried out of the workshop in a state of complete exhaustion.

Conclusion

myth art painting Bryullov

The work we have done confirms the hypothesis that myths are an inexhaustible source for the creativity of artists of different centuries and eras. For this purpose, the works of masters from different centuries were examined. A survey was also conducted.

List of information sources

· http://citaty.su/

· http://muzei-mira.com

· http://jivopis.org

· http://www.mifyrima.ru/

· https://ru.wikipedia.org

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Introduction

A myth is a legend that embodies the ideas of ancient peoples about the origin of the world and various natural phenomena. Myths tell stories about gods, spirits, deified heroes and ancestors. They arose during primitive society, at the dawn of human existence. Ancient man could not understand the reasons for the occurrence of various natural phenomena. Many questions arose in his head: how did people appear on earth? Why does it thunder and rain? for what reason does the wind blow? etc. Not being able to approach these questions from a scientific point of view, people came up with their own answers that were understandable to him. These answers became myths.

This work is relevant because myths and art are an integral part of culture. The purpose of the work is to prove the statement that myths are an inexhaustible source of creativity for artists of different times and eras. Research objectives: to reveal the concept of myth, to show the history of the development of myth in art, to prove the hypothesis. Objects: Sandro Botticelli “Birth of Venus”, Santi Raphael “Vision of Izzekiel”, Nicolas Poussin “Kingdom of Flora”, Francois Boucher “Jupiter and Callisto”, Karl Bryullov “The Last Day of Pompeii”.

1. Main part

Myth is not only historically the first form of culture, but also changes the mental life of a person. The essence of myth is that it represents the twinning of man with the forces of existence of nature or society. Everything becomes animated, and nature appears as a world of formidable, but related to man, mythological creatures - demons and gods.

In parallel with myth, art existed and operated in the history of culture. Art is an expression of a person’s need for figurative and symbolic expression and experiencing significant moments in his life. Art creates a “second reality” for a person. Involvement in this world, self-expression and self-knowledge in it constitute one of the most important needs of the human soul.

Artists of different eras and styles did not ignore ancient Greek mythology. And although in the Middle Ages painting focused mainly on Christian subjects, during the Renaissance, painters with great enthusiasm began to depict mythological subjects on their canvases. In the modern era, against the backdrop of general changes in the fine arts, interest in classical mythological subjects somewhat dried up, but interest in mythical monsters, whose images are actively used in modern art, has revived. Russian painters traditionally turned to the theme of Slavic mythology, depicting in their paintings both epic heroes and mythical creatures of Slavic mythology.

First, let's look at a painting from the 15th century. The famous painting by artist Sandro Botticelli “The Birth of Venus”. Botticelli is an Italian painter of the early Renaissance, a representative of the Florentine school, one of the most prominent artists of the Italian Renaissance. The artist wrote “The Birth of Venus” for Lorenzo di Pierfrancesco Medici. The plot of this picture is based on the myth of how the goddess of love was born from the foam of the sea.

Venus, standing in a shell, floats, urged on by Zephyr and Chloris, and Ora, one of the goddess’s companions, comes towards her, holding a veil to envelop her. The whimsical folds of bedspreads and clothes fluttering in the wind, the waves on the sea, the broken line of the shore, the “corrugated” shell of the shell, and finally the flying hair of Venus - all this sets off the smooth outlines of the goddess’s body and enhances the feeling of supreme harmony that her appearance evokes. The characters’ hands almost close above Venus’s head, and it seems as if an arch is overshadowing her, echoed by the rounded bottom of the shell. Thus, the figure of the goddess is closed into an imaginary oval. Venus here is the center to which everything strives.

The beautiful face of the heroine is reminiscent of the faces of Madonnas in Botticelli’s paintings, and therefore in this work the Christian theme sounds through the ancient theme, it was this combination of ancient humanism and Christianity that gave rise to the phenomenon of the Italian Renaissance.

The next painting by Raphael Santi, “The Vision of Ezekiel,” dates back to the 16th century. This small canvas was painted for a private client. The background of the picture fully corresponds to the biblical description of this vision: “...a stormy wind came from the north, a great cloud and swirling fire, and a brightness around it” (Ezekiel 1:4). In the vision itself, God is depicted floating through the air, supported by “the likenesses of four animals.” tradition with their four winged creatures: a man or angel, a lion, a bull and an eagle, which symbolize in the visual arts the four Evangelists. It was this Christian tradition, and not the actual description of Ezekiel’s vision, that Raphael followed when painting this picture. The painting is small in size, but it gives an idea of ​​Raphael’s skill in solving such a complex composition. In it, the artist develops a task that is exceptional in its difficulty - to show rapid flight. The figure of the God of Hosts himself is given from a very complex perspective. The pictorial image of God is full of such titanic power, and the movement is conveyed so perfectly that it seems to the viewer as if “The Vision of Ezekiel” is a large canvas, and not a tiny painting, the dimensions of which are barely larger than a miniature. The picture is based on one of the most rich in mythical symbolism biblical subjects.

Next up is a 17th century painting, namely “The Kingdom of Flora” by the famous French artist Nicolas Poussin. The master depicted antiquity as he imagined it. On his canvases, the heroes of antiquity came to life again to perform feats, go against the will of the gods, or simply sing and have fun. Poussin's painting "The Kingdom of Flora" was created based on an ancient legend told by the Roman poet Ovid. This is a poetic allegory of the origin of flowers, which depicts heroes of ancient myths turned into flowers

Heroes who die in the prime of life turn into flowers after death and find themselves in the kingdom of Flora. Human life is interpreted in its inseparability with the life of nature. Strict order reigns in the universe, its laws are reasonable. This is also felt in Poussin’s painting, which is distinguished by the balance of its composition and the beauty of its characters, inspired by images of ancient sculpture. Logic and poetry coexist harmoniously on this canvas. Here he depicts his ideal - a person living a single happy life with nature.

In all his works, Poussin expressed the aesthetic ideal of classicism, which is based on the imitation of “decorated nature.” This means that the artist reflected only the sublime, beautiful and perfect in man and life, while ignoring the base, ugly and ugly.

"The Kingdom of Flora" is one of Poussin's paintings, distinguished by its subtle and rich development of color.

An example of mythological subjects in 18th century painting is Francois Boucher’s canvas “Jupiter and Callisto”. In the painting, the artist turned to the “Metamorphoses” of the Roman writer Ovid, who retold the myth of the god Jupiter, who, having fallen in love with the nymph Callisto and wanting to seduce her, took the form of the goddess Diana. The artist interpreted a sensual episode of ancient mythology in a superficial, playful spirit. Graceful, graceful figures of his ancient heroines look like porcelain figurines. Boucher loved light painting and preferred elegant blue, pink and green tones. In the works of Boucher himself, nymphs and Venus appear every now and then. And the names of the works speak for themselves - “The Triumph of Venus”, “The Toilet of Venus”, “The Bathing of Diana”. He knew how to enjoy the beauty of life and encouraged others to do the same. The Rococo style was his native element, here he felt like a fish in water - naturally and organically. Decorativeness, graceful intimacy, a boudoir atmosphere, pastel colors - these are the main features of Francois Boucher's artistic style.

And finally, one of the most famous paintings of the 19th century, Karl Pavlovich Bryullov’s painting “The Last Day of Pompeii”, also belongs to the mythological genre of painting. Karl Bryullov is a famous painter, watercolorist, and draftsman. Studied at the St. Petersburg Academy of Arts. His work introduced the freshness of romance, vitality, and passion for the beauty of reality into the painting of academic classicism, and this contributed to the development of realism in Russian painting. The painting “The Last Day of Pompeii” brought worldwide fame to the artist. The death of Pompeii in Bryullov’s view is the death of the entire ancient world, the symbol of which becomes the most central figure of the canvas - a beautiful woman who fell to her death by falling from a chariot. Bryullov is shocked by the inner beauty and dedication of these people, who do not lose human dignity in the face of an inevitable catastrophe. In these terrible moments, they do not think about themselves, but strive to help their loved ones, to protect them from danger. The artist sees himself among the inhabitants of Pompeii with a box of paints and brushes on his head. He is here next to them to help, to support their spirit. But even before his death, the artist’s keen observation does not leave him - he clearly sees human figures perfect in their plastic beauty in the flashes of lightning. They are beautiful not only because of the extraordinary lighting, but also because they themselves seem to radiate the light of spiritual nobility and greatness. Almost six years have passed since that memorable day when, on the streets of lifeless Pompeii, Bryullov had the idea to paint a picture about the death of this ancient city. In the last year, the artist worked so furiously that he was more than once carried out of the studio in a state of complete exhaustion.

Conclusion

myth art painting Bryullov

The work we have done confirms the hypothesis that myths are an inexhaustible source for the creativity of artists of different centuries and eras. For this purpose, the works of masters from different centuries were examined. A survey was also conducted.

List of information sources

• · http://citaty.su/
• · http://muzei-mira.com
• · http://jivopis.org
• · http://www.mifyrima.ru/
• · https://ru.wikipedia.org

Mythological genre of painting - a variety historical direction fine arts, the main themes of the works are epics, myths, fairy tales, and the sacred history of the people. The narration is not about events contemporary to the artist, not about phenomena that actually took place, but about the legends on which the mythological system of a particular people is based:

Story

It differs from the religious genre in the absence of a biblical element in the themes of the paintings. Epic and fairy-tale plots were present in the works of artists from Western Europe, Russia, and the USA. Most examples of paintings from the medieval period belong to the mythological or religious movements of history painting. real stories fabulous, mythological details.

Pastoral in painting

Renaissance

During the Renaissance, painting acquired an allegorical meaning, and religious and epic subjects became symbolic. Representatives of the Renaissance put in first place certain moral and ethical problems, which they tried to solve with the help of painting, made attempts to explain the essence of phenomena and processes, using the epic themes of their works and mythological heroes. Myth during the Renaissance turns from fabulous, literary work, into a meaningful narrative designed to enhance morality.

In the 18th – 19th centuries

It is characteristic that during the 18th and 19th centuries there was a sharp increase in interest in the history of antiquity, especially the Roman Empire. The fairy-tale-mythological genre acquires political overtones and becomes part of the ideology of the ruler of a certain state. For example, during the Third Reich, Teutonic legends and myths were popular. Napoleon was fond of the exploits of Alexander the Great and the art of war Ancient Rome. Therefore, painting acquired an appropriate theme.

Allegory as a genre in painting

In 20th century

At the beginning of the 20th century there was a renewed interest in folk art, ethnic motifs, nuances national cultures, so the epic genre is becoming popular. At the turn of the 19th and 20th centuries, new motifs appeared - the culture of indigenous peoples. The artists were interested in the culture of the Indians and Africans.

Symbolists and avant-garde artists of the early 20th century sought to rethink the movement, abandon dogmatism and academicism in favor of individualism and modernity.

Features of the genre

Fairy-tale and mythological motifs are an important theme in fine art. Characteristic features of the paintings:

• Dynamic plot;
• Realism of image transmission;
• Brightness, attention to detail;
• Rich plot, variety of images;
• Particular attention to perspective, three-dimensionality of the image.

Most bright works genre are represented by the works of Raphael, Botticelli, Mantegna, Giorgione. Thanks to Poussin, Rubens, Velazquez, the movement actively developed in the 17th – 19th centuries. Each master emphasized a certain aspect of image transmission:

• Rubens and Poussin tried to embody the idealized image of a hero, a winner, a god.
• Velazquez and Rembrandt placed emphasis on attempts to bring together the mythological, fairy-tale image with real life. Mythological and epic images are not ideal.
• Boucher focuses on the pomp, richness, and solemnity of the event depicted on the canvas.

Portrait in painting

The basis of the direction is considered to be the idealization of images. The mythological genre is a sublime art, primarily observing the norms of ancient aesthetics.

Famous artists

A.-T. Lawrence

Painter from Holland, worked in Great Britain. Received a good education V home country. Features and character traits his works were influenced Italian painting. The main theme of paintings in the mythological genre is culture and myths Ancient Greece and Rome. In addition to painting, Lawrence had knowledge in archaeology. Thanks to his knowledge of history and archeology, the artist accurately conveyed the clothing of the Greeks and Romans, myths, and weapons. Paintings: “Scapulas and sponges”, “In the atrium of the sauna”.

Representative of Rococo and Neoclassicism from Italy. The peculiarities of his painting are detail, high level attention to detail. Batoni is known for paintings in allegorical and mythological directions: “Voluptuousness”, “Diana and Cupid”.

Types of landscape in painting

E. Burne-Jones

English artist who worked according to the Renaissance. Religion and mythology are the main areas of interest of the painter. Works: “The Story of Perseus”, “The Story of Pygmalion”, “The Battle of Perseus with the Dragon”.

V.A. Bouguereau

Academic artist from France. He had a good education and was influenced by Italian painting. He was engaged in the execution of paintings to order. Bouguereau's paintings received consistently high marks from critics: “The Youth of Bacchus”, “Nymphs and Satyrs”.

Master of Russian realistic painting, worked in an epic direction. Fairy-tale plots and themes from myths dominate in his work: “Sirin and Alkonost”, “Ivan Tsarevich and Gray wolf", "The Knight at the Crossroads". The epics that became the basis for the painter’s works are famous examples Slavic mythology and legends.

Ge N.

Russian artist, realist, portrait painter, master of religious and mythological painting. His work combined academic features and symbolist influences. Paintings: “The Court of King Solomon”¸ “Garden of the Hesperides”.

Battle painting

G. Moreau

Famous painter from France, his works are best example fine art of the late 19th century Western Europe. Works: “Venus Born from Foam”, “Oedipus the Wanderer”.

, MHC and ISO

SUBJECT: literature + history + MHC + Fine Arts.

LESSON OBJECTIVE: to summarize the knowledge on the culture, art and history of Ancient Greece acquired in history and literature lessons, and to trace the connection between ancient Greek culture and modern culture.

LESSON OBJECTIVES:

• promote the development of interdisciplinary connections;
• introduce students to works of art created on mythological subjects;
• remember and repeat the myths of Ancient Greece;
• activate fantasy and creative imagination;
• to cultivate moral and aesthetic responsiveness to the beautiful in life and art.

LESSON EQUIPMENT FOR THE TEACHER: presentation on the topic “Mythological subjects in works of art”, computer, multimedia projector, screen or interactive board, handouts for students ( application No. 2 And application No. 3).

LESSON EQUIPMENT FOR STUDENTS: literature workbooks, phraseological dictionaries.

NUMBER OF LESSONS: 1.

Today we will summarize our knowledge of the culture, art and history of Ancient Greece, and remember the myths of Ancient Greece.

The ancient culture of the Mediterranean is considered the greatest creation of mankind. Limited by space (mainly the coast and islands of the Aegean and Ionian seas) and time (from the 2nd millennium BC to the first centuries of Christianity) ancient culture expanded the boundaries of historical existence. Destroyed by natural disasters, fires, barbarian raids, buried along with statues of pagan gods, ancient culture became one of the foundations of the culture of modern humanity.

We will try to draw a conclusion about how the culture of Ancient Greece is connected with modern culture. For this:

– We will remember ancient Greek myths.

– Let’s get acquainted with works of art created on mythological subjects.

– You will also be offered creative homework of your choice.

We open our literature notebooks and write down the topic of today’s lesson: “Mythological subjects in works of art” (slide number 3).

But before we start talking about mythological subjects, let's remember WHAT IS A MYTH? (legend, legend about gods and heroes)

What role did myths play in the life of ancient man? (Ancient man could not explain the appearance of life on earth, name the reasons causing spontaneous natural phenomena, over which he was powerless. The consequence of this was the humanization of all nature. The very creation of myths was man’s first step towards creativity and self-knowledge).

Hellas, this beautiful and enchanting world, where the sun always shines and the grapes ripen. The earth and air here are ruled by Zeus the Thunderer, the seas and oceans are ruled by Poseidon, and the kingdom of the dead is ruled by Hades. Beautiful gods live on Mount Olympus, river nymphs live in the rivers, dryads live in the trees in the forests, Nereids live in the seas, and strange animals are scattered all over the world: Cerberus, Minotaur, Hydra, Scylla and Charybdis, pegasi, cyclops, centaurs, fauns , satyrs, bacchantes, furies, harpies... The titans are still alive, demigods are born...

Folk tales were passed down from generation to generation, and colorful legends were formed about the gods and heroes of the ancient world. The creators of ancient myths imagined the gods like people, endowed them with human traits. The characters of myths were good and evil, courageous and cowardly, noble and treacherous. They loved and hated, committed exploits and atrocities.

Guys, what ancient Greek gods and heroes do you remember? (students name gods and heroes)

The myths and legends of Ancient Greece inspired many outstanding artists to create paintings ( slide number 4). Now I will show you paintings by Renaissance artists, as well as contemporary artists, and you find the heroes you know and remember the mythological plot.

(Show slides No. 5-14 with pictures, the guys remember mythological stories, briefly retell them, if necessary, refer to the handouts on the tables - myths of Ancient Greece).

Many mythological stories have been preserved in stable phrases and popular expressions that can be heard every day in communication. Let's, guys, use phraseological dictionaries to find the interpretation of some phraseological units.

(Phraseological units are shown on the screen; the guys, using dictionaries, must find an interpretation catchphrases and write it down in your notebook, slide number 15).

Images of ancient heroes and gods are reproduced in numerous works of ancient, especially ancient Greek art. In the IV-V centuries. BC. The art of artists who decorated clay (ceramic) vases reached the greatest perfection. ( Slide No. 16). Ceramics accompanied the Greek throughout his entire life. life path. Magnificent Panathenaic amphorae were presented to the winners of sports competitions, slender lekythos were placed on graves, olive oil, wine and grain were stored in pithoi and amphorae, and wine and water were mixed in large craters. Let's take a look at this variety of ceramic vessels and tell you what they served for ( slide number 17).

(Slide No. 18) Athenian ceramics dominated the antique market for more than 200 years. The first style of Athenian vase painting was black-figure style – traditionally black figures against the background of the natural color of baked clay. A design was applied to the still damp vessel using paint made from clay, water and wood ash. Lines that were supposed to remain red (folds of clothing, tree branches) were scratched with a stylus. Then the vessel was placed in the oven. At a certain point, all the holes in the furnace were closed, a reaction occurred, and the entire vessel turned black. Then the temperature in the furnace was lowered and the holes were opened. Painted areas remained black, while unpainted areas became red. This is how the paint was fixed on the surface of the vessel.

Around the 6th century BC. In Athens, a whole galaxy of brilliant vase painters appeared (Euphronius, Euthymides, etc.), who began to work in the new, red-figure style, in which the figures are left in the color of clay, and the background is covered with black varnish: on a black background it is easier to convey the volume and depth of space.

Let's look at examples of vase paintings in the red-figure and black-figure styles ( slides No. 19-21).

On ancient Greek vases it is customary to highlight the ornament and subject composition. The most common patterns are meander, palmette, wave, lotus buds.

(Slide No. 22) Let's look at the most common vessels and, using handouts, determine the shapes of the vessels and the styles of ancient vase painting (slides No. 23-27).

(Using the handouts, the guys determine the shapes of vessels and styles of ancient vase painting).

Summarizing:

Today in the lesson we summarized our knowledge of the culture, art and history of Ancient Greece, recalled the plots of some ancient Greek myths, got acquainted with paintings created on mythological subjects, and traced the connection between ancient Greek culture and modern art.

Recording homework:

I offer homework to choose from: for those who know how and like to draw - depict a mythological plot you like. And for guys who want to try themselves as authors, I suggest you come up with your own myth.

A map is drawn on a large sheet of paper depicting emotional “islands”: o. Joy, oh. Sadness, oh. Confusion, oh. Anxiety, oh. Expectations, oh. Enlightenment, oh. Inspiration, oh. Pleasures, oh. Pleasures, the Bermuda Triangle, etc. The children are given boats with double-sided tape on the back of them.

A map of the islands is hung on the board and each student is asked to place his boat in the appropriate area of ​​the map, which reflects the mental, emotional and sensory state after the lesson.

The student has the right to draw on the map and any new island with its own name, if it is not completely satisfied with the existing ones. Once completed, the card is analyzed along with all children.