Mythological story in different types of art. Mythological plots in works of art

The myths of Ancient Greece are exciting adventures of gods, heroes and evil creatures. They are interesting in every way.

This entertainment is worse than Hollywood blockbusters. And the opportunity to understand a completely different worldview of the people of the pre-Christian civilization.

We know about myths not only thanks to ancient authors.

Artists who lived before our era also actively created frescoes with mythological subjects. And some of them have survived to this day.

But for almost 1.5 thousand years, myths disappeared from art.

They reappeared in painting only in. In the 15th century, sculptures from the times of the Roman Empire (copies of the works of ancient Greek masters) began to be dug up in Rome. Interest in ancient Greece began to grow. It became fashionable, and then obligatory reading of ancient authors.

And already in the 16-17 centuries, myths were one of the most popular subjects in painting.

Mythological paintings for the modern viewer

When you are in a museum, you are unlikely to linger for a long time in front of paintings with mythological subjects. For one simple reason.

We are not familiar with the myths of Ancient Greece.

Yes, we know Hercules. Heard about Perseus and Andromeda. And let's name a couple of ancient gods like Zeus and Athena.

But who can now boast that he has even read Homer's Odyssey? I read it myself at the age of 30.

And if you do not understand the plot of the picture, it will be difficult to enjoy it. Because there will be a barrier in the form of bewilderment, “Who are all these people?”

But if the plot is clear, then the picturesque features of the picture, as it were, are immediately revealed before our clear eyes.

This article is a small collection of mythological paintings.

I will help you first understand their characters and symbols. And then together we will enjoy all the advantages of these masterpieces.

Botticelli was the first in the history of European painting (after the ancient Greeks and Romans) to depict mythological heroes.

Mythological paintings by Botticelli are sometimes unflatteringly called pictorial comics. Heroes stand in a row. They do not interact with each other. It remains only to add a cloud with their speech.

But it was Botticelli who was the first to depict myths after 1.5 thousand years. So he can.

In addition, such an arrangement in a row does not prevent the same “Spring” by Botticelli from being one of the most beautiful paintings in the world.

“Spring” is also one of the most mysterious canvases. There are many interpretations of it. I chose the one that personally seems to me the most plausible. And I added my own thoughts to it.

2. Titian. Bacchus and Ariadne

After Botticelli in the Renaissance, many artists depicted myths. But the most prolific was Titian.

His myths are completely different. These are already specific stories, like "The meeting of Bacchus and Andromeda on the island of Naxos."

These are also impetuous movements, like the jump of the god of winemaking from the chariot to the feet of the beauty. These are emotions expressed in postures, such as the surprise and fear of Andromeda. And also a realistic landscape, which is the background for the characters.

3. Rubens. Perseus and Andromeda

After Titian, mythological paintings finally came into vogue. Artists of the next generations learned all the lessons of the great master. But the compositions were greatly complicated.

The same Rubens literally "pushed" his heroes with their bodies. And before us is an incredible interweaving of arms, heads and legs.

That is why it is so difficult for us to enjoy the mythological paintings of the 17th century. Not only are the plots not always known, but all the characters need to be seen.

So, the golden age of mythological paintings is the 16th-17th centuries.

In the 18th century, they were slightly pressed by the quite earthy and sweetest Rococo beauties.

And by the end of the 19th century they were supplanted by realism and impressionism. Myths have finally gone out of fashion.

But mythological paintings still hang in museums. After all, they are a very important cultural layer. And only small gaps in our knowledge prevent us from fully enjoying them.

Send your good work in the knowledge base is simple. Use the form below

Students, graduate students, young scientists who use the knowledge base in their studies and work will be very grateful to you.

Posted on http://www.allbest.ru/

MOU "Lyceum No. 11 named. T.I. Alexandrova, Yoshkar-Ola"

Research

On the topic: "Mythological plots in painting"

Scientific adviser:

Kosova Svetlana Ivanovna, teacher

drawing and fine arts of the first qualification category.

Student 11 "A" class:

Shparber Xenia

Yoshkar-Ola 2015

Introduction

Myth is a legend in which the ideas of ancient peoples about the origin of the world and various natural phenomena are embodied. The myths tell about gods, spirits, deified heroes and ancestors. They arose in the days of primitive society, at the dawn of human existence. Ancient man could not understand the causes of various natural phenomena. Many questions arose in his head: how did people appear on earth? Why is there thunder and rain? why does the wind blow? etc. Not knowing how to approach these questions from a scientific point of view, a 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 assertion that myths are not an excised source of creativity of 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 "The Birth of Venus", Santi Raphael "The Vision of Izzekil", Nicolas Poussin "The Kingdom of Flora", Boucher Francois "Jupiter and Callisto", Karl Bryullov "The Last Day of Pompeii".

1. Main body

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

In parallel with the myth in the history of culture, art existed and acted. Art is an expression of a person's need for figurative and symbolic expression and experience of significant moments of his life. Art creates a “second reality” for a person. Introduction to this world, self-expression and self-knowledge in it are 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 began to depict mythological subjects on their canvases with great enthusiasm. In the modern era, against the background of general changes in the visual arts, interest in classical mythological subjects dried up somewhat, but interest in mythical monsters, whose images are actively used in contemporary art, revived. Russian painters traditionally turned to the theme of Slavic mythology, depicting in their paintings both epic heroes and mythical creatures of Slavic mythology.

To begin with, let's turn to a work of painting of the 15th century. The famous painting by the 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 Birth of Venus" the artist wrote 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 sea foam.

Venus, standing in a shell, swims, urged on by Zephyr and Chloris, and Ora, one of the companions of the goddess, who holds a veil to envelop her, goes towards her. The whimsical folds of the veil and clothes fluttering in the wind, the waves on the sea, the broken line of the coast, the “corrugated” shell flap, 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. Above the head of Venus, the hands of the characters almost close, and it seems as if an arch overshadows her, which is echoed by the rounded bottom of the shell. Thus, the figure of the goddess closes in an imaginary oval. Venus here is the center towards which everything aspires.

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

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

Next in line is a 17th-century canvas, 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 on the basis of an ancient legend told by the Roman poet Ovid. This is a poetic allegory of the origin of flowers, which depicts the 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 from 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 the images of ancient plastic arts. Logic and poetry harmoniously coexist on this canvas. Here he depicts his ideal - a man 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" belongs to the number of paintings by Poussin, distinguished by a subtle and rich development of color.

An example of mythological subjects in 18th-century painting is Francois Boucher's 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. The 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 work of Bush himself, nymphs and Venus now and then flicker. And the titles of the works speak for themselves - "Triumph of Venus", "Toilet of Venus", "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. Decorative, elegant intimacy, boudoir atmosphere, pastel colors - these are the main features of the artistic style of Francois Boucher.

And finally, one of the most famous paintings of the 19th century, the 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, draftsman. Studied at the St. Petersburg Academy of Arts. His work brought freshness of romance, vitality, 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 the view of Bryullov is the death of the entire ancient world, the symbol of which is 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 selflessness of these people, who do not lose their human dignity in the face of an inevitable catastrophe. In these terrible moments, they do not think about themselves, but try to help their loved ones, to protect them from danger. The artist also 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 keen observation of the artist does not leave him - he clearly sees human figures perfect in their plastic beauty in the brilliance of lightning. They are beautiful not only because of the extraordinary lighting, but also because they themselves 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 carried out of the studio more than once in a state of complete exhaustion.

Conclusion

myth art painting brull

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

List of information sources

http://citaty.su/

http://muzei-mira.com

http://jivopis.org

http://www.mifyrima.ru/

https://en.wikipedia.org

Hosted on Allbest.ru

Similar Documents

The place and significance of K. Bryullov in the development of Russian fine arts. The path of development of K. Bryullov as an artist, personality, intellectual. The history of the creation of the main canvas of the artist "The Last Day of Pompeii". Analysis of the artist's portraiture.

abstract, added 08/29/2011


Art by artist Karl Pavlovich Bryullov. Directions in the work of the artist. Genre scenes from Italian life. Painting "The Last Day of Pompeii". Karl Bryullov Gallery. Self-portrait 1848. Portrait of the writer Nestor Vasilyevich Kukolnik.

abstract, added 01/31/2012


The beginning of the creative path of the Italian Renaissance artist Sandro Botticelli. Study in the workshop of Fra Filippo Lippi, the influence of Andrea Verrocchio and the first works. Subjects of the artist's paintings: "Spring", "The Birth of Venus", "Madonna with a Pomegranate".

abstract, added 05/06/2009


Painting by Sandro Botticelli, subtlety and expressiveness of her style. Vigorous ocher shadows to convey skin color as a characteristic feature of the artist's style. Sensual beginning in three paintings depicting Venus, the glorification of purity and purity.

abstract, added 01/28/2011


Academic years and early works of Bryullov. Italian period of creativity. Features of genre painting and innovation in portrait art. Criticism of contemporaries on the painting "The Last Day of Pompeii". Artistic and pedagogical activity.

term paper, added 02/19/2010


The study of the life path and creative activity of Karl Pavlovich Bryullov - a remarkable Russian artist. The artist is particularly successful in realistic, psychological portraiture. "The Last Day of Pompeii" - the most significant work of Bryullov.

presentation, added 12/11/2011


"Musicality" of painting in the work of romantic painters. "The Last Day of Pompeii" as a consonance between the opera by D. Pacini and the painting by K. Bryullov. Musical and artistic activity of M.K. Chyurlionis. Displaying music in painting and paintings in symphonies.

abstract, added 09/29/2009


Analysis of the life path and creative activity of Sandro Botticelli, a famous Italian artist. The composition and features of the painting "Sleeping Venus", which is associated both with the Christian theme of Baptism, and with the plot of "The Crowning of the Virgin".

abstract, added 05/04/2011


Biographical information about the life and work of Sandro Botticelli, an Italian painter of the early Renaissance, a representative of the Florentine school. His most famous paintings are "Spring", "Healing of a leper and the temptation of Christ", "The Birth of Venus".

presentation, added 11/07/2014


Concept, structure and functions of myth. Cosmogonic myths and myths about the origin. Myths of renewal and the end of the world. Myths and time. Mythology, ontology, history. The greatness and decline of myths.

Municipal budgetary educational institution of additional education for children "Children's School of Arts" R. Rovnoe, Saratov Region All-Russian Competition of student essays "Krugozor" "STORIES OF ANCIENT GREEK MYTHS IN PAINTING" Abstract of a 8th grade student of the piano department of MBOU DOD "Children's School of Arts" r.p. Rivne Subject "Conversations about Art" Ermakova Nadezhda Alexandrovna Leader Maslennikova Irina Ivanovna 2013 Contents I. Introduction………………………………………………………………………....3 II. Myths of Ancient Greece and European fine arts……..5 2.1. Greek mythology……………………………………………………………………………………………………………………………………………………………………………………………………………5 2.2. Plots of ancient Greek myths in painting…………… ……………… 8 2.3. The role of ancient Greek myths in human life…………………… ........................ .........................................20 III.Conclusion………… …………………………………………………………22 IV. List of used literature……………………………………..24 V. Appendix……… ………………………………………………………….25 2 I. INTRODUCTION European culture, in the form in which modern people are familiar with it, owes its origin to Antiquity. We, at times, do not even suspect how deeply the heroes and images of ancient myths have penetrated into our lives. The achievements of the ancient Greeks are amazing in all areas, and on them all European civilization is based. Antiquity accompanies European humanity along its entire path. “We see through the eyes of the Greeks and speak with their figures of speech,” said Jakob Burckhardt, a Swiss cultural historian and philosopher. One of the earliest and most essential elements of ancient culture is myth. Myth (from the Greek muthos - word, legend) is a story about the origin of the world, gods, heroes, various peoples, events of natural and social history that arose in ancient times and were orally passed down from generation to generation. The myth is an extremely important step in the knowledge and understanding of the world around us, in the self-knowledge of man. The myth combines the real and the fictional, the rational and the emotional, the natural and the cultural. Myth is a universal generalization of human life, an integral property of all culture. Greek myths have deeply penetrated the way of thinking of modern man, and sometimes we don’t notice how we talk about panic fear, about Olympian calmness, we compare a fearless person with Hercules, and a determined woman with an Amazon. And the expressions "Trojan horse", "apple of discord", "Ariadne's thread" and many others are clear to almost everyone. For centuries, myths have accumulated the experience of peoples, their ideas about good and evil, about worthy and unworthy behavior. Passed down from generation to generation, they taught people how to live. 3 In modern life, we very often come across names and names from ancient Greek mythology. The myths of Ancient Greece have been inspiring poets, artists, sculptors and composers all over the world for many centuries, which means that without knowing the plots it is impossible to understand many works of art. The relevance and significance of this topic is also determined by the fact that ancient Greek mythology and religion played an invaluable role in the formation of European culture and its subsequent development. The purpose of this work is to comprehend the spiritual richness of ancient Greek mythology, the beauty of mythological plots and images that have been embodied in painting. To achieve this goal, it is necessary to consider the following tasks: - give a general description of ancient Greek mythology; - to identify the features of the interpretation of mythological plots and images in painting; - to show the role of ancient Greek myths in people's lives. The methodological basis of the work is the works of J. Burkhard, N.A. Kuna, E.I. Larionova, G.I. Chugunov. 4 II. Myths of Ancient Greece and European fine arts 2.1. Greek Mythology Greek mythology or the mythology of ancient Greece arose much later than most of the ancient ideas of the Greek people about the world. The Hellenes, like other peoples of antiquity, sought to somehow unravel the formidable and often incomprehensible natural phenomena, to know those mysterious unknown forces that govern human life. The fantasy of the ancient Greeks gave rise to ancient Greek mythology, populated the world around with good and evil fairy-tale creatures: dryads settled in groves and trees, nymphs in rivers, oreads in mountains, oceanids in oceans and seas. The image of nature, wild and rebellious, was personified by centaurs and satyrs. When studying Greek mythology, it becomes clear that the world at that time was ruled by immortal gods, kind and wise. They lived on the top of the huge Mount Olympus and were presented as beautiful and perfect beings, similar in appearance to people. They represented the Thunderer. a single family, the Humanization of the head of the divine beings Zeus was a characteristic feature of the Greek religion, which made it possible to make Greek mythology closer to ordinary people. External beauty was considered as the highest measure of perfection. So, the mighty forces of nature, previously beyond the control of man, let alone his influence, became understandable, more explicable for the imagination of an ordinary person. The Greek people became the creator of myths and legends, unique in their beauty, about the life of people, gods and heroes. In ancient Greek mythology, memories of a distant, long-forgotten past and poetic fiction merged into one. Greek mythology is a primitive attempt to comprehend reality, to give the whole natural picture expediency and harmony, to expand life experience. It is difficult to establish exactly when the first Greek myths and legends appeared, in which humanoid gods were revealed to the world, and whether they are the legacy of ancient Cretan (3000-1200 BC) or Mycenaean (before 1550 BC) cultures. Legends, traditions and tales were passed down from generation to generation by singers - Aeds and were not recorded in writing. Aed (from Greek - singer) - in ancient Greece, a professional performer of epic songs to the accompaniment of a plucked instrument forming (like a lyre). The Aeds could be wandering and in constant service with the kings and Greek communities, mainly until the 7th-6th centuries BC - later the Rhapsodes replaced the Aeds. The songs of the Aeds had an improvisational character and had a significant influence on the development of the Greek epic. The first recorded works that conveyed to us unique images and events were the brilliant poems of Homer's "Iliad" and "Odyssey". Their record dates back to the 6th century BC. According to the historian Herodotus, Homer could have lived three centuries earlier, that is, around the 9th-8th centuries BC. But, being an aed, he used the work of his predecessors, even more ancient singers, the earliest of which, Orpheus, according to a number of testimonies, lived approximately in the second half of the 2nd millennium BC. By this time, myths about the journey of the Argonauts for the Golden Fleece, among which was Orpheus, belong. Modern science believes that a great epic cannot appear unexpectedly and accidentally. Therefore, the Homeric poems are considered as the completion of a long development of the pre-Homeric, long-vanished 6 heroic songs, traces of which, however, can be found in the texts of the Iliad and the Odyssey themselves. The inaccessible example, which until now is the Homeric epic, not only conveyed to the descendants extensive knowledge about Hellenic life, but also made it possible to form an idea of ​​the views of the Greeks on the universe. Everything that exists was formed from Chaos, which was the struggle of the elements. The first to appear were Gaia - earth, Tartarus - hell and Eros - love. Uranus was born from Gaia, and then from Uranus and Gaia - Kronos, the Cyclopes and the Titans. Having defeated the titans, Zeus reigns on Olympus and becomes the ruler of the world and the guarantor of the universal order, which finally comes to the world after long upheavals. The ancient Greeks were the greatest myth-makers of Europe. It was they who came up with the word "myth" (translated from Greek "tradition", "tale"), which we today call amazing stories about gods, people and fantastic creatures. Myths were the basis of all the literary monuments of ancient Greece, including the poems of Homer, so loved by the people. And in our century, people are worried about the world-old story of Oedipus, the murderer of his father; the adventures of Jason, who crossed the Black Sea in search of the magic golden fleece; the fate of Helen, the most beautiful of women, who caused the Trojan War; the wanderings of the cunning Odysseus, one of the bravest Greek warriors; the amazing exploits of the mighty Hercules, the only hero who deserved immortality, as well as the stories of a great many other characters. The Romans, the heirs of the cultural traditions of the Aegean world, equated many Italic deities with the gods of the Greek pantheon. In general, the very creation of myths was the first step of a person towards creativity and self-knowledge. The ancient Greeks were an active, energetic people who were not afraid to explore the real world, although it was inhabited by creatures hostile to man, instilling fear in him. But the boundless thirst for knowledge of this world overcame the fear of an unknown danger. The adventures of Odysseus, the campaign of the Argonauts for the Golden Fleece - these are all the same aspirations captured in poetic form to learn as much as possible about the land on which man lives. In their search for protection from terrible elemental forces, the Greeks, like all ancient peoples, went through fetishism - a belief in the spirituality of dead nature (stones, wood, metal), which was then preserved in the worship of beautiful statues depicting their many gods. The ancient Greek gods were like people in everything: kind, generous and merciful, but at the same time often cruel, vengeful and insidious. Human life inevitably ended in death, the gods were immortal and knew no boundaries in fulfilling their desires, but above the gods was fate - Moira - a predestination that none of them could change. Thus, the Greeks, even in the fate of the immortal gods, saw their similarity with the fate of mortal people. The gods and heroes of Greek myth-making were living and full-blooded beings who communicated directly with ordinary mortals, entered into love alliances with them, and helped their favorites and chosen ones. And the ancient Greeks saw in the gods creatures in whom everything characteristic of man manifested itself in a more grandiose and sublime form. Of course, this helped the Greeks through the gods to better understand themselves, to comprehend their own intentions and actions, to adequately assess their strengths. 2.2. Plots of ancient Greek myths in painting. The plots and heroes of ancient Greek myths have always interested artists of different eras and trends. Each of them found his own interpretation of mythological images. 8 Renaissance painters did not stand aside, in particular Sandro Botticelli (Italian Sandro Botticelli, 1445 -1510) - the nickname of the Florentine artist Alessandro di Mariano di Vanni Filipepi (Italian Alessandro di Mariano di Vanni Filipepi). Born into a family of a wealthy city dweller, he received a good education. The nickname Botticelli ("keg") passed to Sandro from his broker brother, who was a fat man. He studied painting with the monk Filippo Lippi and took over from him that passion in depicting touching motifs that distinguishes Lippi's historical paintings. Then he worked for the famous sculptor Verrocchio. In 1470 he organized his own workshop. One of the famous paintings by Botticelli is The Birth of Venus (14841486). In The Birth of Venus, the artist depicted the image of Aphrodite Urania - the heavenly Venus, the daughter of Uranus, born from the sea without a mother. There are different legends about the origin of Aphrodite. The classical Aphrodite arose naked from an airy sea shell near Cyprus - hence the nickname "Cyprida" - and on the shell reached the shore. Ores in golden diadems crowned her with a golden crown, adorned her with a golden necklace and earrings, and the gods marveled at her charms and were inflamed with the desire to take her as a wife. The painting illustrates the myth of the birth of Venus (Greek Aphrodite). The naked goddess floats to the shore in an open shell, driven by the wind. On the left side of the picture Zephyr (west wind) in the arms of his wife Chlorida (Rom. Flora) blows on a shell, creating a wind filled with flowers. On the shore, the goddess is met by one of the graces. The picture depicts not the birth itself, but the moment that followed when, driven by the breath of the geniuses of the air, Venus reaches the shore. In addition to Venus, the painting depicts the nymph Ora, who is the embodiment of nature, she is ready to cover Venus with a cloak. Ora is one of the three Mountains, the nymphs of the seasons. This Mountain, judging by the flowers covering its clothes, patronizes spring, that time of the year when the power of 9 Venus reaches its peak. Perhaps this picture of the artist was inspired by one of the Homeric hymns, which describes how Zephyr, the god of the west wind, brought Venus to the island of Cyprus, where the Mountains accepted her. In the pose of Venus, one can note the influence of classical Greek sculpture (posture, support of the figure on one leg, hand gesture). Apparently, the proportions of the body are based on the canon of harmony and beauty, developed by Polykleitos and Praxiteles. The composition of the picture due to the frontal image of Venus in the center, symmetrically located figures on the right and left can be defined as static. Such a composition makes the picture calm and majestic. And the lines of Ora's veil and Zephyr's cape, the lines of their bodies, the hair of Venus, the falling flowers and the rhythm of the waves, fill the picture with internal movement, the movement of air. The coloring of the picture can be defined as soft, affectionate, even for Ora's cloak, the artist chose a muted red tone, which allows you to put an accent, but does not cause irritation. Important among Botticelli's innovations was the use of canvas, rather than board, for a work of such large size. He added a minimal amount of fat to the pigments, thanks to which the canvas remained strong and elastic for a long time, and the paint did not crack. It was also established that Botticelli applied a protective layer of egg yolk to the painting, thanks to which the "Birth of Venus" was well preserved. The plots of ancient Greek myths also affected the work of the Northern Renaissance artist Pieter Brueghel the Elder (1525-1569), a Flemish painter and graphic artist, the most famous and significant of the artists who bore this name. Master of landscape and genre scenes. In order not to confuse Pieter Brueghel with his son, also a painter, the Elder was later dubbed Brueghel Muzhitsky. Of all 10 surviving paintings by Brueghel, about a third are in the Kunsthistorisches Museum in Vienna. His painting "Landscape with the Fall of Icarus" (1555-1558, Museum of Fine Arts, Brussels) tells of the fearless Icarus, the son of Daedalus. According to an ancient legend, the builder Daedalus appeared on the island of Crete after he killed his nephew, whom he envied, in his homeland, in Attica. The latter was very talented and managed to create the tools necessary for mankind: a saw, a compass, a potter's wheel. On Crete, Daedalus built a huge palace with underground labyrinths for King Minos. A terrible monster lived in the labyrinth - the Minotaur. The inhabitants of Athens were forced to pay tribute to Minos - to send boys and girls for the gluttonous Minotaur. This lasted until Theseus, who got into the labyrinth, killed the Minotaur. Thanks to Daedalus, the hero fled from Crete. Enraged, Minos ordered Daedalus to be imprisoned, but he made wings from bird feathers for himself and his son Icarus. With the help of wings, father and son left the island. Daedalus warned his son not to fly too high, but Icarus did not obey his father and soared up to the very sun. From the heat of the sun's rays, the wax that held the feathers together melted, and the young man, devoid of wings, fell into the sea and drowned. In the 16th century, the warning of the legend to the proud about Icarus was perceived by the short-sighted as harsh upstarts who neglect their destiny. Of course, Brueghel also knew the ancient source of the legend - "Metamorphoses" by the ancient Roman poet Ovid, where the following is said about Daedalus and Icarus flying across the sky: Everyone who sees them is a fisherman with trembling milk, Or a shepherd with a club, or a plowman, on a plow, All were stupefied and they, sweeping freely across the sky, were taken for unearthly gods. 11 The artist introduced the figures of a shepherd, a plowman and a fisherman into his picture, but gave these images a completely different meaning. They do not see Icarus or do not want to see: for example, the fisherman calmly continues to fish, although the young man fell into the water right before his eyes. And the shepherd is looking at the sky, although his sheep are on the edge of the cliff, and the plowman and the fisherman are all busy with their work. "No plow stops when someone dies" is a Dutch proverb. The picture is full of peace and tranquility. Brueghel interprets the famous Greek myth quite unexpectedly. A human leg disappearing into the sea is all that remains of the fearless hero. No one noticed the death of Icarus: neither the shepherd, nor the peasant on the field, nor the fisherman on the shore. The author of the picture did everything possible so that the audience would be the last to see the so-called fall of Icarus. Two bright points attract our gaze - this is a peasant's shirt and a yellow sun over the water surface. After that, we begin to pay attention to small light details - white sheep, white mountains, a ship with white sails, and ... a floundering man next to this ship. The protagonist of the picture is the sun, and the man is a grain of sand that flashed in its rays. Another of the most beloved heroes of ancient Greek mythology, Apollo is the son of Zeus and the titanides Leto, the twin brother of Artemis, one of the main gods of the Olympic pantheon. Jealous Hera - the wife of Zeus forbade Leto to enter the solid land. Therefore, Apollo and his sister Artemis were born on the floating island of Asteria, which after the birth of the twins became known as Delos. One of the myths tells that in punishment for the murder of the Cyclopes, who forged thunderbolts for Apollo's father Zeus, Zeus made his son a shepherd. Apollo was supposed to graze the flock of King Admet, but he was careless about the assigned task, and the dexterous Mercury (Hermes) stole the flock from him. 12 However, Zeus ordered Mercury to return the stolen cows, after which he allowed Apollo to once again take his place among the gods. The plot of this myth was depicted in the painting "Landscape with Apollo and Mercury" by Claude Lorrain (1600 - 1682). Born into a peasant family, Lorrain was left an orphan at an early age. Having received initial knowledge in drawing from his older brother, a skilled wood engraver in Freiburg, in Breisgau, in 1613-14. he went with one of his relatives to Italy. Working as a servant in the house of the landscape painter Agostino Tassi, he learned some techniques and skills. At first, he performed custom-made decorative works, the so-called. "landscape frescoes", but later he managed to become a professional "landscape painter" and focus on easel works. In addition, Lorrain was an excellent etcher; he left etching only in 1642, finally choosing painting. With great skill, the artist depicted the play of the sun's rays at various hours of the day, the freshness of the morning, the midday heat, the melancholy shimmer of twilight, the cool shadows of warm nights, the brilliance of calm or slightly swaying waters, the transparency of clean air and the distance covered with a light fog. In his work, two manners can be distinguished: the paintings relating to the early period of his activity are painted strongly, thickly, in warm colors; later - more smoothly, in a chilly tone. The composition of the painting "Landscape with Apollo and Mercury" (c. 1645) is built in such a way that it draws the viewer's eye deep into the picture. To do this, the curved line of the coast goes into the distance. In the background, in the predawn haze, a beautiful idyllic landscape with a Roman aqueduct is visible. The coloring of the picture is typical of the late Lorrain and lies in the predominance of cold tones. The location of the trees on both sides of the picture in the foreground creates the effect of some theatricality of what is happening, the heroes of the myth appear as characters in the play, where the main character is nature, in all its splendor. This idea leads us to the scale of the depicted figures and the angle of their setting (half a turn to the viewer). According to the entry made by Lorrain in his "Book of Truth", this picture was painted for "Francesca Aberini". Apparently, this is a typo, and the work was ordered by the artist either the aristocrat Francesca Alberini, or the rich Roman Francesca Arberini. "Landscape with Apollo and Mercury" has been kept in Holkham Hall since 1750. It was then that it was bought by the owner of Holkham Hall, Thomas Coke, 1st Earl of Leicester. Another hero of ancient Greek mythology is Leander. Leander is a young man from Abydos in Troas who fell in love with Hero, a priestess of Aphrodite who lived in Sesta, located on the other side of the Hellespont. Every night, Hero waited for him to swim across the strait and, so that it would be lighter, she lit a fire on the tower. Leander swam to the lighthouse and made his way to shore. One day the fire went out and Leander could not swim. In the morning, his body was nailed to Hero's feet. Seeing him, Hero in despair threw herself into the sea from the tower. Hero's Tower was later shown in Sesta. The plot of this myth interested Etty William. Etty William (William Etty) (1787-1849) - English painter of the period of romanticism, a prominent representative of naturalism and the performance of the nude, William Etty occupies a worthy place among English artists. In the feeling and skill of the colorist, the artist had no equal in England in the first half of the 19th century. Born in York on March 10, 1787. His father was a miller and bread baker. The future painter at the age of eleven and a half was forced to leave his father's roof; at the insistence of his father, he was assigned as an apprentice to the printing house. After seven years of apprenticeship trials and dreary work in a print shop, Etty left for London. The help of an older brother and the patronage of a rich uncle helped William Etty to become an artist himself. Etty began his studies on 14 sketching landscapes, copying various images, print drawings and other illustrations; all this was William Etty's first art school. In Smithfield, Etty made a copy of the old painting "Cupid and Psyche", which became famous and thanks to which Etty was accepted in 1807 as a student of the academic school at Somerset House. Etty was obsessed with the nude, which he studied and painted throughout his creative life. His canvases often evoke the sensuous patterns and rich coloring of the works of Titian and Peter Paul Rubens. Etty often turned to classical mythology and allegorical subjects for inspiration. Eugene Delacroix and other Romantic painters admired his work. In the painting "Hero and Leander" (1828-1829), the heroes are shown at the moment of the last tragic embrace, when life has already left them. Against the background of the dark sea and storm clouds, naked bodies stand out, written in luminous sensual tones. Hero's black hair and attire seem to merge with the night shadow. Despite the tragedy of the plot, the composition of the picture is rather dynamic, as evidenced by the diagonal arrangement of the figures in the foreground, the line of oncoming waves and the agitated sky. The combination of red-brown, light, dark blue and black tones in the coloring of the picture enhances the tragic feeling of what happened. This plot was embodied in the works of other painters (P. Rubens "Hero and Leander", D. Fetti "Hero and Leander", I.K. Aivazovsky "View of the Leander Tower in Constantinople"), in literature (Museum "Hero and Leander" , Ovid "Leander's Message to Hero and her answer", F. Schiller "Hero and Leander", K. Marlo "Hero and Leander", A. Fet "Hero and Leander", A. Kuprin "Hero, Leander and the shepherd", M Pavić "The Inner Side of the Wind", J. Van Den Vondel "Hero and Leander"), in music (cantatas by G.F. Handel, A. 15 Scarlatti, opera by D. Bottesini, symphonic poem by A. Catalani, symphony No. 4 D . Hess). One of the frequently depicted Greek mythological characters is also Pandora. Pandora - (Greek) "all gifted." She was the first woman created at the behest of Zeus by Hephaestus as punishment for the fact that Prometheus stole fire from the sky for people. Pandora was supposed to be an instrument of revenge. Hephaestus fashioned Pandora from earth and water, gave his creation a look like a goddess, a human voice and beauty. Aphrodite endowed Pandora with beauty, Hermes - deceit, cunning, deceit and eloquence. Athena wove beautiful clothes for Pandora. Gifted Pandora and other gods. Zeus gave Pandora in marriage to Prometheus' brother Epithemus, to whom she gave birth to a daughter, Pyrrha. Epithemius, despite the warnings of Prometheus, accepted a box from Zeus as a gift, in which all human vices, misfortunes, and diseases were contained. Tormented by curiosity, Pandora opened it and unleashed the calamities that humanity has suffered ever since. Only hope remained at the bottom, as Pandora managed to slam the lid. Allegorically, Pandora's box is a container of troubles; gift fraught with trouble. The painting "Pandora Opening the Casket" (1896, private collection) was painted by the English artist John William Waterhouse (1849 - 1917). He was born in Rome, in the family of an artist. In the 1850s the family returned to England. Before entering the Royal Academic School in 1870, Waterhouse helped his father in his studio. Quite often he is attributed to the Pre-Raphaelites of English painters and writers who were guided by aesthetic middle ideals (a combination of the 19th century, which were the Middle Ages, international Gothic and the early Italian Renaissance of the Quattrocento period - art "before Raphael" and other artists of the "High Renaissance"), although he formally did not belong to this trend. 16 Waterhouse supported the idea of ​​the Pre-Raphaelites in borrowing stories from poetry and mythology. He conveyed the drama of the moment with particular accuracy, and also demonstrated a brilliant command of composition and painting technique. The artist owes his popularity to the charm and charm of his thoughtful models. Waterhouse's work was praised by critics, his reputation was high, and he was imitated by young artists. During his life, he painted about 200 paintings on mythological, historical and literary themes. In the foreground of the picture is a girl of extraordinary beauty. Her half-naked figure is located in the center of the picture, in a static pose, which, together with the absence of diagonal lines and the predominance of vertical and horizontal lines, creates a static composition that is necessary here to create a mood of hopelessness and irreversibility of what happened - the troubles flew out, and there is no turning back. To enhance the tragedy of what is happening, the artist used a specific color (shades of gray, brown, marsh) against which the naked body of Pandora attracts attention and seems touchingly unprotected against the broken lines of a gloomy forest in the background. Four reflections flickering in the distance create a mystical tension also by the fact that they give room for imagination, these can be windows, or maybe the eyes of monsters - the forest quite allows such an assumption. Pandora herself, being, undoubtedly, the plot and compositional center, highlighted in color, illumination, enlargement of the image, is depicted by the artist somewhat different from the myth, her posture suggests that she herself is surprised by what is happening and did it not out of malice, her face cannot belong a woman whom Hermes endowed with deceit, cunning, deceit. 17 The casket, depicted next to Pandora, is unusually beautiful, executed in gold, it would attract the attention of a woman who is not so weak (her appearance makes such an impression) as Pandora. By the way, its location on the left side of the picture fully corresponds to the peculiarities of our vision - we look at the picture from left to right and it enters our field of vision almost earlier than Pandora. Another element depicted in the picture requires reflection - a source that starts somewhere and flows, occupying approximately half the space, to the right of Pandora. Only he moves in the picture, apparently symbolizing the transience of life, despite which, the plan of Zeus perfected by Pandora is eternal. A favorite subject in the visual arts is the myth of the abduction of Europa. Europa was the daughter of the Phoenician king Agenor. Zeus, who fell in love with her, appeared to the princess and her friends, who were walking on the seashore, in the form of a beautiful bull. The girls had fun playing with the bull, decorating its horns with flower garlands. Finally, Europe decided to sit on the back of the bull Zeus - he rushed into the sea and took the princess to the island of Crete, where she became the wife of Zeus and subsequently gave birth to three sons-heroes. One of the artists who was inspired by this myth was Valentin Alexandrovich Serov (1865 - 1911) - a Russian artist (painter and graphic artist), a representative of Russian impressionism and modernism. Born in St. Petersburg on January 7 (19), 1865 in the family of the composer A.N. Serov and pianists V.S. Serova (née Bergman). In 1874-1875 1878-1882 took private lessons from I.E. Repin, who had a special influence on him; also attended classes at the St. Petersburg Academy of Arts (1880-1885). Serov sensitively learned both the experience of contemporary foreign art and the lessons of the masters of the Renaissance and Baroque (in particular, D. Velasquez). Lived in St. Petersburg and Moscow. He traveled a lot in Russia and Western Europe, in 1907 he visited Greece. He was a member of the "Association of the Wanderers" and the association "World of Art". 18 The painting "The Rape of Europe" (1910, State Tretyakov Gallery, Moscow) is decorative; it is written in large color planes, which are rhythmically coordinated with a lively, flexible line, leading to harmony of volume and plane. Serov makes a high horizon line, which allows him to interpret space as a plane. The boundless sea is written conditionally, and at the same time, the master achieves a feeling of the thickness of the infinite depth of water, which is cut diagonally across the canvas by the powerful figure of the bull - Zeus. In contrast to Zeus, the figure of Europa seems small and helpless, as if she timidly resigned herself to fate. Her face resembles the face of the bark of the Greek archaic times; it is like a mask with an unseeing gaze. At the same time, the figure of Europe is given in a complex perspective and in a lively, expressive movement, as if all her strength is directed towards staying on the back of a bull. The unexpectedly lively and meaningful look of the bull-Zeus emphasizes the stiffness of the motionless face-face of Europe - the mask of the archaic bark, a kind of symbol of all Greek art. One of the meanings of the name "Europe" is "wide-eyed", which is surprisingly consonant with the image of the face of Europe, which Serov gives. Serov, the first of the artists who depicted the myth of the abduction of Europe, deviated from the original source, which tells about a white bull with golden horns - a brown bull reminds of the paintings of red-figure vases. This plot was embodied in the work of V. Titian, P. Veronese, K. Lorrain, F. Boucher and other artists. Thus, starting from the Renaissance, after centuries of oblivion, the monuments and literary works of ancient culture, and with them the images of ancient Greek mythology, again attracted the attention of authors of all genres. Writers, artists and musicians from various European countries again began to take episodes from ancient Greek mythology as the plots of their works. In the XVII - XIX centuries. 19 The borrowing of stories from ancient Greek mythology by figures of European art has also become widespread. Antiquity was and remains the eternal school of artists. 2.3. The role of ancient Greek myths in human life. Myth is the most ancient system of values. It is believed that, in general, culture is moving from myth to logos, that is, from fiction and convention to knowledge, to law. Myths arose from the urgent need of people to explain the origin of nature, people, the structure of the world, to predict the fate of mankind. The very method of explanation has a specific character and is fundamentally different from the scientific form of explanation and analysis of the world. What features distinguish mythological consciousness? In myth, man and society do not distinguish themselves from the surrounding natural elements: nature, society and man are merged into a single whole, inseparable, united. There are no abstract concepts in the myth, everything in it is very concrete, personified, animated. Mythological consciousness thinks in symbols: each image, hero, character denotes the phenomenon or concept behind it. The myth lives in its own, special time - the time of "original beginning", "original creation", to which human ideas about the flow of time are inapplicable. Myth thinks in images, lives with emotions, arguments of reason are alien to it, it explains the world, proceeding not from knowledge, but from faith. What role did myths and myth-making play in the history of human society and human culture? They explained the world, nature, society, man in their own way, they established a connection between the past, present and future of mankind in a peculiar, very concrete form. 20 Myths were a channel through which one generation passed on to another the accumulated experience, knowledge, knowledge. 21 III. CONCLUSION Thus, summing up the above, we can draw the following conclusions. Ancient Greece made an invaluable contribution to European culture. Literature, architecture, philosophy, science, state system, laws, art and myths of Ancient Greece laid the foundation of modern European civilization. Ancient culture had a strong influence on the development of modern European peoples. The plots of ancient Greek myths were widely represented in painting. Despite the fact that ancient Greek myths tell about bygone days, artists turn to them in order to reflect contemporary reality through well-known subjects. Since the Renaissance, after centuries of oblivion, the monuments and literary works of ancient culture, and with them the images of ancient Greek mythology, again attracted the attention of authors of all genres. Writers, artists and musicians from various European countries again began to take episodes from ancient Greek mythology as the plots of their works. In the XVII - XIX centuries. the borrowing of plots from ancient Greek mythology by figures of European art also became widespread. Antiquity was and remains the eternal school of artists. Millennia pass, and humanity still lives in the same political systems that appeared in Ancient Greece, scientists use the laws first formulated by the ancient Greeks, architects are equal to the classical canons of ancient temples. Modern sculptors and artists learn from the masterpieces of ancient Greek masters, and modern theater again and again opens the eyes of the audience of the XXI century to the eternal problems that both ancient Greek playwrights and philosophers thought about. We, modern people, learn from the myths of Ancient Greece to be like strong, persistent, 22 dexterous and enduring heroes and gods. We are trying to achieve heights in creative activity. We are trying to develop in ourselves the gift that, as the ancient Greeks believed, the gods endowed man, so that the world becomes brighter, cleaner and better. 23 IV. LIST OF USED LITERATURE 1. Burchard J. Culture of Italy in the Renaissance. M: Intrada, 2001. 2. Gershenzon - Chegodaeva N.M. Brueghel. M: Sovremennik, 1983. 3. Kun N.A. Legends and myths of Ancient Greece. M: Education, 1975. 4. Larionova E.I. C. Lorren. Album. M: Art. 1979. 5. Legends and tales of Ancient Greece and Ancient Rome. Ed. A.A. Neihardt. M: Pravda, 1987. 6. Losev A.F. Philosophy, mythology, culture. M: Enlightenment, 1993. 7. Popular art encyclopedia. Ed. V.M. Field. M: Soviet Encyclopedia, 1986 8. Rose - Marie Hagen R. Pieter Brueghel senior. M: Art - spring, 2000. 9. Rosenwasser V.B. Valentin Serov. M: Veche, 1990. 10. Chugunov G.I. Valentin Serov in St. Petersburg. M: Nauka, 1990. 24 V. APPENDIX 1. S. Botticelli. "The Birth of Venus". (1484 -1486) 2. P. Brueghel. "Landscape with the Fall of Icarus". (1555-1558) 3. C. Lorrain. "Landscape with Apollo and Mercury". (c. 1645) 4. E. William. Hero and Leander. (1828 -1829) 5. D. Waterhouse. "Pandora Opening the Casket" (1896) 6. V. Serov. "The Abduction of Europe". (1910) 25

The essence of myth is the unity of man and nature. Nature acts as a world of formidable, but mythological creatures related to man - demons and gods.

And art is an expression of a person's need for a figurative and symbolic embodiment of significant moments of his life. This is the second reality, one of the most important needs of the human soul.

In the Renaissance, painters enthusiastically began to depict mythological subjects on their canvases. In the modern era, against the background of general changes in the visual arts, interest in classical mythological subjects dried up somewhat, but interest in mythical monsters, whose images are actively used in contemporary art, revived. Russian painters traditionally turned to the theme of Slavic mythology, depicting in their paintings both epic heroes and mythical creatures of Slavic mythology.

15th century famous painting by the 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 Birth of Venus" the artist wrote 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 sea foam.

Venus, standing in a shell, swims, urged on by Zephyr and Chloris, and Ora, one of the companions of the goddess, who holds a veil to envelop her, goes towards her. The whimsical folds of the veil and clothes fluttering in the wind, the waves on the sea, the broken line of the coast, the “corrugated” shell flap, 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. Above the head of Venus, the hands of the characters almost close, and it seems as if an arch overshadows her, which is echoed by the rounded bottom of the shell. Thus, the figure of the goddess closes in an imaginary oval. Venus here is the center towards which everything aspires.

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

16th century Painting Raphael Santi "Vision of Ezekiel".

This small canvas was painted for a private customer. The background of the picture is fully consistent with the biblical description of this vision: "...a stormy wind came from the north, a great cloud and swirling fire, and a radiance around it" (Ezekiel 1:4). In the vision itself, God is depicted floating through the air, supported by "the likeness of four animals." tradition with them with four winged creatures: a man or an angel, a lion, a bull and an eagle, which symbolize the four Evangelists in the visual arts. It was this Christian tradition, and not the actual description of the vision of Ezekiel, that Raphael followed when writing this picture. The picture is small in size, but it gives an idea of ​​Raphael's skill in solving such a complex composition. In it, the artist develops an exceptional task in its difficulty - to show a swift flight. The figure of the God of Hosts himself is given in a very complex perspective. The picturesque image of God is full of such titanic power, and the movement is conveyed so perfectly that it seems to the viewer that the “Vision of Ezekiel” is a large canvas, and not a tiny picture, the dimensions of which barely exceed the miniature. The picture is written on one of the most saturated with mythical symbolism of biblical scenes.

17th century "The kingdom of flora" famous french artist Nicolas Poussin.

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 on the basis of an ancient legend told by the Roman poet Ovid. This is a poetic allegory of the origin of flowers, which depicts the 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 from 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 the images of ancient plastic arts. Logic and poetry harmoniously coexist on this canvas. Here he depicts his ideal - a man 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 painting of the 18th century is canvas François Boucher "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. The 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 work of Bush himself, nymphs and Venus now and then flicker. And the titles of the works speak for themselves - "Triumph of Venus", "Toilet of Venus", "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. Decorative, elegant intimacy, boudoir atmosphere, pastel colors - these are the main features of the artistic style of Francois Boucher.

19th century. Painting by Karl Pavlovich Bryullov "The Last Day of Pompeii"

The death of Pompeii in the view of Bryullov is the death of the entire ancient world, the symbol of which is 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 selflessness of these people, who do not lose their human dignity in the face of an inevitable catastrophe. In these terrible moments, they do not think about themselves, but try to help their loved ones, to protect them from danger. The artist also 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 keen observation of the artist does not leave him - he clearly sees human figures perfect in their plastic beauty in the brilliance of lightning. They are beautiful not only because of the extraordinary lighting, but also because they themselves 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 carried out of the studio more than once in a state of complete exhaustion.

"Civilization of Crete" - Probably in Crete there was a state similar to the ancient Eastern despotisms. Antiquity. Since the 11th century, a strip of dark ages. Cretan civilization. Palaces were the centers of life. She died in the 15th century BC. from a volcanic eruption. Crete. The palaces were supplied with running water and sewerage. Dark Ages 11-9 centuries BC

"Game of Ancient Greece" - Olympic Games 30 points. Sparta 30 points. What do goats and theater have in common? Winged expressions 20 points. I round. Greco-Persian Wars Answer: Battle of Marathon. Odysseus. 50 points. Explain your choice.

"Antique Greece" - Phraseological turns. 8. About 540 BC Ancient Greece. Gorgon Medusa. Sandro Botticelli. Less important parts of the vase - the stem and the neck - were decorated with an ornament. Augean stables Gordian knot Ariadne's thread Achilles' heel. Alabaster. Crater Circle of Master Antimenes Circa 500 B.C. Legend of the Minotaur.

"The birth of democracy in Athens" - SOLO - elected archon in 594 BC. Changes in the government of Athens. "DEMOS" + "KRATOS" = DEMOCRACY (people) (power) (power of the people). Elected from the nobility and from the demos Consists of the nobility and the demos Shares power with the demos The people participate in governance. The birth of democracy in Athens. Demo requirements. Salon reforms.

"Athens Democracy" - People's Assembly. merchant ships. Black-figure painting. Golden bracelets. The history resource for the 5th grade was prepared by Tamara Petrovna Schrader. Acropolis. Sparta. The schools taught to read and write, count and draw. Athens Acropolis. Amphora. THINK: Why did the Athenians love their city? Crater. Modern look.

"Democracy in Athens" - Oath of the judges: By the majority of votes. Democracy is “the power of the demos” (the power of the people). Consolidation of the material: Giving the saline great power. Solon on his reform: All the citizens of Athens participated in the assembly. Demos rebels against the nobility! The birth of democracy in Athens. For the first time in history, a PEOPLE'S COURT was established.

In total there are 29 presentations in the topic