Stylization and transformation of plant forms into ornamental motifs. Stylization of plant motifs when making an artistic panel 'Flowers' Plant motifs in fine arts

Flowers - a symbol of spring, the personification of the brightest and purest on earth, were sung in hoary antiquity. Artists have always been able to rejoice and be surprised by flowers. In Ancient Egypt, temple columns were made in the form of bunches of lotus or papyrus, and capitals were made in the form of ready-made painted buds. Ancient Chinese and Japanese scrolls have brought to this day the vibrant colors of peonies, wisteria, and lilies. Without flowers, decorative and applied art would be endlessly impoverished. (Appendix 6, Fig. 1, 2)

Russian art has repeatedly turned to floral motifs. Artists of various creative aspirations have addressed this topic. So, I.I. Levitan, being primarily a landscape artist, paid attention to floral still life.

In the master’s compositions, arrangements consisting of a large number of colors were common. Levitan attached great importance to the painting of flowers in mastering color and color relationships. Composition “Spring. White Lilac" is interesting from the point of view of technique and color scheme. Pastel with its velvety texture and especially the method of laying out large color planes, along which a different color is applied on top with pencil strokes, as if glazing - this technique made it easier for Levitan to generalize the forms and link them together. This achieved a more still life and decorative solution to the motif of a bouquet of lilac flowers in a pot. We find all this in an even more developed form in the still lifes “Bouquet of Cornflowers” ​​and “Coleus”. (Appendix 7, Fig. 1,2)

In Russia in the 90s. XIX century many artists K. Korovin, Z.E. Serebryakova, V.A. Serov, A.Ya. Golovin, N.E. Grabar turned to floral motifs. These artists create still lifes for a special analysis of color, shape, decorative composition, rhythm; flatness appears in pictorial solutions.

The incentive for K. Korovin to create works has always been a concrete reality, new and changeable at every moment. Therefore, for example, roses, painted at different times - “Flowers and Fruits”, “Roses and Violets”, “Roses”, “Still Life. Roses,” each time reflecting the uniqueness of the moment, a new mood. But the master always does it - glorifying the joy, multicolor, richness of earthly life. The canvas “Flowers and Fruits”, sparkling with the sun in every centimeter, is a true masterpiece of Russian impressionism. (Appendix 7, Fig. 3)

The master of theatrical and decorative art A. Golovin also addresses the theme of still life. In his still lifes “Porcelain and Flowers”, “Girl and Porcelain”, “Still Life. Phloxes”, the master’s characteristic style was revealed - graphic, clear contours, planar patterning, exquisite coloring of the image. The brushstroke is deliberately linear. In this decorative manner, marked by the influence of Art Nouveau, floral arrangements reminiscent of tapestries were created.

Golovin's still lifes are distinguished by their exquisite splendor. This also reflected the artist’s penchant for decorativeness. (Appendix 8, Fig. 1)

During his long creative life, Saryan painted many beautiful paintings. He surprisingly soulfully, lyrically and truthfully conveyed the majestic beauty and originality of the surrounding life and nature. He created images full of jubilant joy and revealed a kind, generous, sunny world to people.

Still lifes are “verbose”, spatial and close to nature. Instead of a few objects carefully selected by shape and color, the originality of each of which is emphasized by a neutral background, as was the case in “Grapes,” the artist fills the canvas with many things, flowers, fruits, enjoying this abundance.

Many of Saryan's works belong to the peaks of his creativity, combining the strength and energy of the brush with the subtlety and complexity of expression. (Appendix 8, Fig. 2)

Saryan's coloristic searches led the artist to the theme of still life. This genre gave the artist great freedom in handling shapes and colors, allowing them to be combined in any combination.

Lyricism and amazing picturesqueness are characteristic of S. Gerasimov’s still lifes.

“I love my native land so much that everything that is connected with it, that lives and grows on it is dear to me...” - this is what Gerasimov said, and these words can equally be applied to his magnificent still lifes. The traditions underlying the master’s art are easily traced in them. The artist’s best still lifes are characterized by vivid picturesqueness. At the same time, one cannot help but see the direct difference between Gerasimov’s rough painting and the poetic creations of A. Arkhipov or K. Korovin.

Painted with broad, textured strokes, Gerasimov’s still lifes well convey the richness of green leaves, the elegant brightness of flowers, all this with visible materiality, however, depriving nature of the reverent poetry. Undoubtedly, Gerasimov’s best works include the large “picture”, “landscape-still life” composition “After the Rain” (“Wet Terrace”). This work successfully embodied the painter’s interest in landscape, still life and interior design. As can be seen from the memoirs of the artist’s sister, he, literally shocked by the appearance of the garden after a stormy, torrential rain, painted the picture “with lightning speed” - within three hours.

Written under the impression that completely captured its creator, “Wet Terrace,” however, does not seem to be a sketch that captures the bright, but fleeting state of nature. This is a completely finished picture, distinguished by the integrity and generalization of the artistic image. Its composition, full of dynamics, is, however, marked by strict thoughtfulness. The table, pushed towards the entrance to the terrace, reveals the depths of the old garden. The wet floorboards shine brightly, heavy raindrops sparkle on the lush greenery of the bushes, on the petals of peonies in a glass jug, on the edges of a glass overturned by the rain. The clouds have not yet parted, and therefore everything in nature, refreshed by a generous summer shower, is painted in cold and pure silvery tones. The combination of cold and ringing colors in which “Wet Terrace” was executed allowed Gerasimov to express his delight at the wealth and beauty of the world, to create a joyful mood, which the painter generously shares with the viewer. In another still life - “Roses” - one can discern the influence of K. Korovin, Gerasimov’s appeal to certain techniques of his painting. This is felt not only in the choice of subject, but also in the “deepening” of the space of the picture by including a mirror in the composition, in the general fragmentation of the still life.

The artist has an excellent command of color - the most important expressive means of painting, and in this still life this can be clearly felt in the way he paints the transparent greenery outside the window or the dark dense leaves of roses. And the roses themselves, all kinds of shades of red, are not in their image - from soft pink to deep lilac. His paintings “Gifts of Autumn”, “Bouquet” and others testify to how diverse the painter’s still lifes were. (Appendix 8, Fig. 3)

Great successes in the field of still life were achieved by such talented artists as P. Kuznetsov, M. Saryan (“Green Jug and Bouquet”, “Persian Still Life”), K. Petrov-Vodkin, P. Konchalovsky (“Still Life with Red Gladioli”), A. Kuprin (“Red-lilac bouquet on a pink background”), I. Mashkov (“Apples and pears on a white background”, “Still life with a fan”), R. Falk.

Color, its expressiveness, generalized interpretation of form - this is the language of these 20th century artists. They unusually expand the boundaries of still life as a visual genre. In a still life one can feel not only the specificity of the way of life, but also those unique features that are inherent in a certain individuality.

With the richness of shapes and colors, the concept of beauty in still life has become more diverse.

Flowers, it would seem, are not at all difficult to write, but this impression is deceptive. Flowers will help develop taste, master professional literacy, and give an understanding of the laws of form, light and shade, and color. “A flower cannot be painted “so-so,” says Konchalovsky, with simple strokes, it must be studied, and just as deeply as everything else.” Flowers are great teachers of artists: in order to comprehend and understand the structure of a rose, one must put in no less work than when studying a human face. Roses contain everything that exists in nature, only in more refined and complex forms, and in each flower, and especially in a bouquet of wild flowers, you need to understand it like some thicket in the forest, until you grasp the logic of construction, derive laws from combinations, seemingly random.

Flowers can be drawn and painted all year round. In winter - indoors, and in March and April - snowdrops. Then the yellow lights of marigolds, kupavnets, and dandelions light up. Not everyone prefers luxurious roses, lush peonies and dahlias, or exquisite gladioli. I. Shishkin, I. Levitan, S. Polenov most often depicted modest forest and wildflowers - cornflowers, daisies, dandelions.

Some people like huge, colorful bouquets, others small ones, with just a few plants.

The life of nature in art is transformed into artistic images and becomes interesting not only in itself, but also as an image of life processes interpreted by the artist, as his attitude to reality. In this relationship, mediated by the worldview and worldview of the individual, the author’s judgment about reality is expressed and the artistic concept is realized.

Flowers for artists are strict examiners. By the way he sees them, how he treats them, how he portrays them, one can judge his attitude towards people, nature, and life.

State budgetary educational institution

primary vocational education

Professional Lyceum No. 24, Sibay

Methodological development of a lesson in the discipline

“Fundamentals of composition and color science”

on the topic of: « Ornament. Types of ornaments"

Developed by: master of training I qualification category

G.K. Zainulina

EXPLANATORY NOTE

Modern world culture is the owner of a huge heritage in the field of all types of fine arts. While studying the greatest monuments of architecture, painting, sculpture and decorative and applied arts, one cannot ignore another area of ​​artistic creativity. We are talking about ornament. Using the role of a particular object, an ornament (Latin: Ornamentum - decoration) cannot exist separately outside a specific work of art; it has applied functions. A work of art is the object itself, decorated with ornaments.

Upon careful study of the role and function of the ornament, it becomes obvious that its significance in the system of expressive means of a work of art is much greater than the decorative function, and is not limited to its applied nature. Unlike color, texture, plasticity, which cannot exist outside a certain object without losing its imagery, an ornament can retain it even in fragments or when redrawn. In addition, a number of ornamental motifs are characterized by stability, which allows a certain motif to be used over a long period of time and on various objects, in different materials, without depriving it of the logic of its ornamental form.

Ornament is part of the material culture of society. Careful study and mastery of the rich heritage of this component of world artistic culture contributes to the development of artistic taste, the formation of ideas in the field of cultural history, and makes the inner world more significant. The creative development of decorative and ornamental art of previous eras enriches the practice of modern artists and architects.

Lesson topic. Ornament. Types of ornaments.

Lesson objectives. 1. Familiarization of students with ornament and its types. Tell

about the structure of ornaments, about the diversity and unity of ornaments

tal motives of countries and peoples.

2. Formation of skills and knowledge. Develop analytical skills

work, establish connections and relationships. Develop skills

plan your activities, students' memory.

3. Cultivate affability and friendliness. Form a message

strikingness, responsibility and determination.

Lesson type. Lesson on communicating new material.

Educational and methodological support and technical support. Textbook by N.M. Sokolnikov “Fine Arts”, “Fundamentals of Composition”, illustrations, reproductions of great artists.

During the classes

1. Organizational moment.

a) checking the attendance of students according to the magazine;

b) checking appearance;

c) checking the availability of educational supplies.

2. Checking homework.

Frontal survey:

a) What is coloristics (color science)?

b) Tell us about the history of the development of color science.

c) What contribution did Leonardo da Vinci make to the history of color development?

d) Tell us about Leonardo da Vinci’s idea of ​​a six-color color scheme.

e) What contribution to the history of the development of color science did Newton, Roger de Pille, M.V. Lomonosov and Runge make?

3. Communication of new material.

Ornament is a pattern built on rhythmic alternation and organized arrangement of elements.

The term "ornament" is related to the word "decoration". Depending on the nature of the motifs, the following types of ornaments are distinguished: geometric, floral, zoomorphic, anthropomorphic and combined.

Rhythm in an ornament is the alternation of pattern elements in a certain sequence.

The pattern can be flat or voluminous. A flat pattern is created by completely or partially superimposing one shape on another by interpenetrating these shapes.

A flat pattern can be repeated many times. This repetition is called motive, or rapport.

The most common ornaments are ribbon, mesh and compositionally closed.

A ribbon (strip) ornament is constructed from identical, repeating or alternating elements located along a curve or straight line.

Repeating elements of the same size create monotony and uniformity of rhythm, alternating elements give rise to a more “live” composition with an increasing and wave-like rhythm.

Alternating or repeating elements can be different in size, that is, they are built on the contrast of shapes (large, medium, small) with their different movements. Contrast helps to identify the figurative characteristics of the forms used.

Contrast can also manifest itself in the distribution of black and white spots of tone, when some spots are strengthened and others are weakened.

The principle of light contrast is of great importance, which is expressed in the fact that any color darkens on light, and brightens on dark. This phenomenon applies to varying degrees to both achromatic (black and white) and chromatic colors.

The ribbon pattern can be in the form of a horizontal, vertical or inclined strip. This type of ornament is characterized by openness, that is, the importance of its continuation. Let us consistently trace how a striped pattern is constructed, located vertically, horizontally or in the form of an inclined strip. We draw a strip for the required width of the ornament, dividing it into squares and rectangles, respectively, and draw axes of symmetry in them. Then we place pre-stylized forms, taken, for example, from sketches of plants, on a plane, building alternating elements of the ornament.

After that, we see if we are satisfied with what happened. If not, add smaller or medium-sized forms (according to the three-component principle of these forms).

When completing the composition, you need to determine where the darkest and lightest spots will be, how they will be repeated on the plane, where the gray spots will be located and whether they will complement the dark or light elements of the ornament.

The basis of the mesh ornament is a cell with an ornamental motif inscribed in it - rapport. The cell size may vary.

Mesh patterns are more typical for fabrics. A cell can be repeated many times. The mesh pattern is constructed similarly to the strip pattern. The main task in its construction is to correctly apply the axes of symmetry.

Symmetry in art is the precise pattern of arrangement of objects or parts of an artistic whole.

Origin History

Ornament(Latin ornemantum - decoration) - a pattern based on repetition and alternation of its constituent elements; intended for decorating various objects. Ornament is one of the oldest types of human visual activity, which in the distant past carried symbolic and magical meaning and symbolism. In those days when people switched to a sedentary lifestyle and began to make tools and household items. The desire to decorate your home is common to people of any era. And yet, in ancient applied art, the magical element prevailed over the aesthetic, acting as a talisman against the elements and evil forces. Apparently, the very first ornament adorned a vessel made of clay, when the invention of the potter's wheel was still far away. And such an ornament consisted of a series of simple dents made on the neck with a finger at approximately an equal distance from each other... naturally, these dents could not make the vessel more convenient to use. However, they made it more interesting (pleasant to the eye) and, most importantly, “protected” it from the penetration of evil spirits through the neck. The same applies to decorating clothes. Magic signs on it protected the human body from evil forces. Therefore, it is not surprising that spell patterns were placed on the collar, sleeves, and hem. The emergence of ornament goes back centuries and, for the first time, its traces were recorded in the Paleolithic era (15-10 thousand years BC). In Neolithic culture, ornament had already reached a wide variety of forms and began to dominate. Over time, ornament loses its dominant position and cognitive significance, retaining, however, an important organizing and decorating role in the system of plastic creativity. Each era, style, and successively emerging national culture developed its own system; therefore, ornament is a reliable sign that works belong to a certain time, people, or country. The purpose of the ornament was determined - to decorate. Ornament reaches special development where conventional forms of reflecting reality predominate: in the Ancient East, in pre-Columbian America, in Asian cultures of antiquity and the Middle Ages, in the European Middle Ages. In folk art, since ancient times, stable principles and forms of ornament have been developing, which largely determine national artistic traditions. For example, in India, the ancient art of rangoli (alpona) - an ornamental design - prayer has been preserved.

Types and types of ornament

There are four types of ornaments:

Geometric ornament. Geometric pattern consists of dots, lines and geometric shapes.

Floral ornament. The floral ornament is made up of stylized leaves, flowers, fruits, branches, etc.

Zoomorphic ornament. Zoomorphic ornament includes stylized images of real or fantastic animals.

Anthropomorphic ornament. Anthropomorphic ornament uses male and female stylized figures or individual parts of the human body as motifs.

Types:

Ornament in a strip with linear vertical or horizontal alternation of motif (ribbon). This includes friezes, borders, frames, borders, etc.

Closed ornament. It is arranged in a rectangle, square or circle (rosette). The motif in it either does not have a repetition, or is repeated with a rotation on the plane (the so-called rotational symmetry).

TO geometric include ornaments whose motifs consist of various geometric shapes, lines and their combinations.
Geometric shapes do not exist in nature. Geometric correctness is an achievement of the human mind, a method of abstraction. Any geometrically correct forms look mechanical, dead. The fundamental basis of almost any geometric form is a really existing form, generalized and simplified to the limit. One of the main ways to create a geometric ornament is the gradual simplification and schematization (stylization) of motifs that were originally of a figurative nature.
Elements of geometric patterns: lines - straight, broken, curved; geometric shapes - triangles, squares, rectangles, circles, ellipses, as well as complex shapes obtained from combinations of simple shapes.

Fine is an ornament whose motifs reproduce specific objects and forms of the real world - plants (floral ornament), animals (zoomorphic motifs), humans (anthropomorphic motifs), etc. Real motifs of nature in the ornament are significantly processed, and not reproduced, as in painting or graphics. In ornamentation, natural forms require one or another measure of simplification, stylization, typification and, ultimately, geometrization. This is probably due to the repeated repetition of the ornamental motif.

Nature and the world around us lie at the heart of ornamental art. In the creative process of designing an ornament, one has to discard unimportant details and details of objects and leave only the general, most characteristic and distinctive features. For example, a chamomile or sunflower flower may look simplified in the ornament.
The natural form is transformed by the power of imagination with the help of conventional forms, lines, spots into something completely new. The existing form is simplified to an extremely generalized, familiar geometric form. This makes it possible to repeat the shape of the ornament many times. What was lost by the natural form during simplification and generalization returns to it through the use of artistic ornamental means: rhythmic turns, different scales, flatness of the image, coloristic solutions of forms in the ornament.

How does the transformation of natural forms into ornamental motifs occur? First, a sketch is made from life, conveying the similarities and details as accurately as possible (the “photography” stage). The meaning of transformation is the transition from a sketch to a conventional form. This is the second stage - transformation, stylization of the motif. Thus, stylization in ornament is the art of transformation. From one sketch you can extract various ornamental solutions.

The method of forming an ornament and the choice of ornamental forms, as a rule, are consistent with the capabilities of the visual medium.

Regularities of compositional constructions

THE CONCEPT OF ORNAMENT COMPOSITION

Composition(from Latin composito) - composition, arrangement, construction; the structure of a work of art, determined by its content, nature and purpose.
Creating a composition from scraps of fabric means choosing an ornamental and color theme, design, plot, determining the overall and internal dimensions of the work, as well as the relative position of its parts.
Ornamental composition- this is the composition, construction, structure of the pattern.
The elements of an ornamental composition and at the same time its means of expression include: point, spot, line, color, texture. These elements (means) of composition in the work are transformed into ornamental motifs.
Speaking about the patterns of ornamental compositions, first of all we need to talk about proportions. Proportions determine other patterns of constructing ornamental compositions (meaning rhythm, plasticity, symmetry and asymmetry, statics and dynamics.

RHYTHM AND PLASTIC

Rhythm in an ornamental composition the pattern of alternation and repetition of motifs, figures and intervals between them is called. Rhythm is the main organizing principle of any ornamental composition. The most important characteristic of an ornament is the rhythmic repetition of motifs and elements of these motifs, their tilts and turns, the surfaces of the spots of the motifs and the intervals between them.
Rhythmic organization- this is the relative position of motifs on the compositional plane. Rhythm organizes a kind of movement in the ornament: transitions from small to large, from simple to complex, from light to dark, or repetition of the same shapes at equal or different intervals. Rhythm can be:

1) metric (uniform);

2) uneven.

Depending on the rhythm, the pattern becomes static or dynamic.
Rhythmic structure determines the rhythm of motives in vertical and horizontal rows, the number of motives, the plastic characteristics of the form of motives, the features of the arrangement of motives in rapport.
Motive- part of the ornament, its main forming element.
Ornamental compositions in which the motif is repeated at regular intervals are called rapport.

Rapport- minimal and simple in shape area occupied by the motif and the gap to the adjacent motif.

The regular repetition of rapport vertically and horizontally forms a rapport grid. The rapports are adjacent to each other, without overlapping each other and leaving no gaps.

Depending on the shape of the surface they decorate, the ornaments are: monorapport or closed; linear-rapport or tape; mesh-rapport or mesh.

Monoportrait ornaments represent final figures (for example, coat of arms, emblem, etc.).

In linear-rapport ornaments, the motif (rapport) is repeated along one straight line. A ribbon pattern is a pattern whose elements create a rhythmic sequence that fits into a two-way tape.

Mesh-rapport ornaments have two transfer axes - horizontal and vertical. A reticular pattern is a pattern whose elements are located along many axes of transfer and create movement in all directions. The simplest mesh-rapport ornament is a grid of parallelograms.

In complex ornaments, it is always possible to identify a grid, the nodes of which make up a certain system of ornamental points. Rapports of complex shape are constructed as follows. In one of the repeats of a rectangular grid, broken or curved lines are drawn from the outside to the right and top sides, and the same lines are drawn to the left and bottom, but inside the cell. Thus, a complex structure is obtained, the area of ​​which is equal to a rectangle.

These figures fill the area of ​​the ornament without gaps.
The composition of the mesh ornament is based on five systems (grids): square, rectangular, regular triangular, rhombic and oblique parallelogram.

In order to determine the type of grid, you need to connect repeating

ornamental elements.

A rhythmic row presupposes the presence of at least three or four ornamental elements, since a row that is too short cannot fulfill

organizing role in composition.

The novelty of the composition of the ornament, as noted by the famous expert in the field of the theory of ornament on fabric V.M. Shugaev, is manifested not in new motifs, but mainly in new rhythmic structures, new combinations of ornamental elements. Thus, rhythm in the composition of the ornament is given special importance. Rhythm, along with color, is the basis for the emotional expressiveness of an ornament.
Plastic in ornamental art it is customary to call smooth, continuous transitions from one form element to another. If during rhythmic movements the elements are at a certain distance from each other, then during plastic movement they merge.

Depending on the emotional impact, ornamental forms are conventionally divided into heavy and light. Heavy shapes include square, cube, circle, ball, light shapes include line, rectangle, ellipse.

SYMMETRY

Symmetry- this is the property of a figure (or ornamental motif) to be superimposed on itself in such a way that all points occupy their original position. Asymmetry is the absence or violation of symmetry.
In the visual arts, symmetry is one of the means of constructing an artistic form. Symmetry is usually present in any ornamental composition; it is one of the forms of manifestation of the rhythmic principle in the ornament.
Basic elements of symmetry: plane of symmetry, axis of symmetry, translation axis, plane of sliding reflection.
Plane of symmetry - an imaginary plane that divides a figure into two mirror equal parts

- figures with one plane of symmetry,

A figure with two planes of symmetry,

- with four planes of symmetry.

4. Rules for constructing an ornament.

Showing and explaining the construction of ornaments:

a) tape;

b) mesh.

5. Consolidation of the studied material.

1. Frontal survey:

What is the purpose of the ornament?

What types of ornaments depending on the structure do you know?

What types of ornaments, depending on the prevailing motifs in them, do you know?

Find signs of ornaments from different peoples of the world with the same motifs.

What types of ornaments do you know?

What is an ornament? What is the art of ornamentation?

What is rhythm in ornament? What is rapport?

What is called symmetry in art?

What is a plane of symmetry?

2. Performing exercises:

a) construction of a ribbon ornament;

b) construction of a mesh ornament.

6. Summing up.

7. Homework.

Come up with your own ornaments in a circle, square and stripe, using geometric shapes or vegetation.

Location

Chairman's office (Main building), Krasnaya sq., 1

Exhibition opening hours

Tickets:

Participants:

General information partner:

Innovation information partner:

Information support for the project:

Project partners:

Theater "Blot"

For the first time, the State Historical Museum presents a unique collection of beaded works, as well as other objects of decorative, applied and fine art of the first half of the 19th century. with floral and plant motifs and their symbolism. The exhibition displays about 100 exhibits with interesting history.

Despite the relative chronological proximity and the abundance of documentary and other evidence, the culture of the first half of the 19th century remains poorly studied. One of the most interesting and complex aspects of this culture is the symbolism of flowers, based on reflections of baroque emblems, empire images, as well as the fashion for oriental selam (the language of flowers) that penetrated at the end of the 18th century. Echoes of floral symbolism still exist today. Thus, a red rose is considered a sign of love, a lily - purity and purity. However, the richness of this cultural phenomenon remains largely hidden. The exhibition is intended to demonstrate its diversity to the modern viewer.
In the first hall of the exhibition you can see an individual experience of turning to floral motifs, which will be represented by the personal belongings of Empress Alexandra Feodorovna. This is the handwritten Blumensprache (language of flowers) that she used, diaries with flower sketches, a herbarium, letters from the Empress to her father and sheets from the album “Description of the holiday “The Magic of the White Rose”, which was dedicated to the celebration of Alexandra Feodorovna’s birthday in Potsdam in 1829 year. This part of the exhibition also presents magazines and manuals that show the popularity of such a phenomenon as the language of flowers.

A video is shown in the hall, the material for which was the poems and poems of Jacques Delisle, Zhukovsky, Pushkin, Karamzin, in which, of course, the language of flowers and floral symbolism was reflected.

The second hall is organized according to the principle of complicating the compositions of objects of decorative, applied and fine art and consists of several sections.

The first section reveals the meaning of individual plants, flowers and the use of these meanings in decorative and applied arts. Here are objects with solo motifs and accompanying explanations: roses, a symbol of love; the ear of corn, associated with the fashion for the image of the ancient goddess Ceres; forget-me-nots, violets, the meanings of which were deeply woven into the culture of the noble album; oak, which had masculine overtones, etc.
The second section demonstrates objects with floral arrangements in the design and reveals the image and meaning of a garland, bouquet, wreath as symbols of good wishes. Acrograms are also presented here - encrypted floral messages in wreaths and bouquets.
The third section includes objects of decorative and applied art, the design of which uses a combination of colors and various attributes - lyres, arrows, cornucopias, which complement the floral meanings and introduce various variations into them.
The last section demonstrates a combination of flowers, plants and mythological characters, zoomorphic, anthropomorphic subjects.
The exhibition also presents works by the modern jewelry house Anna Nova, based on the traditions of 19th-century art, as well as items from the private collections of Yu.D. Zhuravitsky (things are shown for the first time) and E.A. Malinko.

The ornamental principle, which subordinated all the elements of the composition to its rhythms, prevailed in the visual range of Art Nouveau stained glass. As we can see, the circle of motifs is a material from organic nature: animals, birds, leaves, trees, flowers, used by the style, can most naturally find a place for themselves in the ornament.

Equally, in the Art Nouveau style there were all kinds of ornamental decoration, from simple to the most complex. Surprisingly subtle and complete ornamental compositions attracted the viewer's eye and added charm to the object for which they were conceived.

With all the variety of ornamental variations, which depended entirely on the will and imagination of the artist, the Art Nouveau style retained a single ideological orientation and artistic integrity.

Art, having brought to light romantic artists who turned to mythological images, motifs of the Middle Ages, at first only glorifying the beauty and naturalness of nature, gradually acquired a mystical orientation, trying to establish a connection between visible phenomena and ideal ideas, invisible reality. The language of signs and symbols has received a new round of development.

The symbol came into the ornament from the entire artistic culture of the turn of the century. The decorative essence of the ornamental pattern seemed to fade into the background, thanks to symbolism a new semantics appeared. New semantics could only be provided by a symbolic image, a conventional sign of reality, and not a fragment taken directly from reality. A figure, an object, a fragment of an object turned into a plastic symbol, into a plastic metaphor. So, for example, one of the leading masters of the style, F. Shekhtel, subtly felt the new place occupied by ornament, which often had formative significance and played an important role in the sensory perception of works of art, expressing tension or weakness, rise or decline.

The line in the ornament of this era tried to lead the main theme, it was that important particle that serves as the basis for the future appearance of the object. In fact, the Art Nouveau style made it possible to re-evaluate the importance of ornament and determine its place in all types of art.

Certain elements, according to the new artistic direction, could be easily transferred from one object to another. At the same time, there was no place for the same type of ornamental motifs in the Art Nouveau style. In each new case, the pattern acquired a different sound and plastic expressiveness. Despite the fact that artists attached great importance to oriental motifs, traditional elements known throughout Europe were changed beyond recognition. Peach flowers, carnations, cherries, bamboo stems - all this was reworked and acquired a new meaning. Stylized natural forms were used as an independent decorative element and were used with the condition that one created the impression of admiring their unique beauty - color, shape, structure.

The flora becomes the subject of special attention of artists, graphic artists, and craftsmen. In this case, we are not dealing with a traditional animalistic genre, which cannot be found in Art Nouveau, nor with a traditional landscape or still life. The artist is not interested in nature as a whole, but in its individual parts or objects: a flower, a leaf, a stem. All these “characters” perform not in an ordinary environment, not in a natural environment, but on their own. As an isolated object or as an object whose conditions of existence do not concern the artist. 7*

A variety of flowers and plant motifs were favorite subjects for depiction on glass, mainly exotic plants with softly curved stems, expressive silhouettes, whimsically writhing and asymmetrical contours: fancy flowers, sea rarities, waves are fully present in stained glass windows. Countless times we can find motifs of irises, poppies, water lilies, lilies, berries, pine cones and many other plant forms. All this is found in the works of leading masters: Emile Luxfer and Arsene Herbinier “Spring Flowers”, the window “Poppies” by the artist Pizzagalli, the stained glass window “Water Lilies” by Arnold Liongrün and similar “Water Lilies” by Wilhelm Mewes, the “floral” windows of Wilhelm Haas, incomparable stained glass windows with water lilies and poppies by A. Khrenov in an apartment building on Znamenskaya (St. Petersburg) ill. No., as well as unforgettable compositions by L.K. Tiffany “Blooming magnolias and irises”, “Clematis on a trellis”, “Four seasons. Spring. Summer”, “Landscape with lake and irises”. ill. from to

Iris

In most cases, the iris appeared in the ornamental frames of central large glass windows, and in the picturesque scenes of stained glass windows, which is most often found in patterns of interweaving geometric and floral motifs. This flower has become the emblem of Art Nouveau. The combination of the strict straight lines of its leaves and stems with the smooth outline of the flower, as well as the restrained color scheme of the flowers, completely coincided with the concept of the new style. He is depicted on the facade of F. Shekhtel’s house, M. Vrubel loved him, A. Blok wrote poems about him, romances were dedicated to him. Iris is eminently worthy of its fame. In Europe, the iris symbolizes trust, wisdom and hope. Irises began to appear not only in stained glass art, but also in paintings on vases, fans, screens, on postcards and pictures.

In most stained glass compositions, the iris is depicted powerfully, like a king sitting on a throne, surrounded by his forget-me-not servants, such as the stained glass window in the Capital Chocolate House on Shelkovichnaya Il. No.

or a stained glass window in the White Hall of the St. Petersburg building, ill. No.

In the work of Tiffany (USA) "Blooming magnolias and irises" 1905. il no.

this flower, filling the entire lower “earthly” part of the stained glass composition, personifies, in my opinion, cohesion, a friendly family that does not lose heart, expecting that there is a lot of beauty beyond the mountains.

Having examined the illustrations depicting this beautiful flower, we can say that it can act as the only hero of the main composition of the stained glass window, as well as its addition.

Rose

The rose flower carried a different symbolic meaning. Perceived as the flower of Venus, the rose served as a symbol of the most beautiful things in a person’s life - love, beauty and happiness. We can find this beautiful flower in the works of: Giovanni Beltrami (Italy) stained glass "Peacocks" 1900. ill. No.

Jacques Grube, (France) stained glass "Roses and Seagulls" 1905 ill. No.

Mansion Casa Navas, Reus stained glass on the stairs (Spain) ill. No.

Jacques Grube (Netherlands) stained glass window Les Roses 1906) ill. No.

Stained glass Chapelle. Modern ill. No.

In many stained glass compositions, roses descended in garlands along the window from just under the ceiling, like transparent curtains

Often, for large compositions, the artist used the image of a Tree, symbolizing eternal paradise life. The sunflower, as the flower most adequate to the image of the sun, was identified with the beauty and festivity of life.

Art Nouveau turned simple geometric patterns into a real riot of shapes, colors, lines, and even brought large subject scenes into glass art.

Northern nature made us dream of the tropics - and then windows appeared with images of lush palm leaves and bamboo, unexpectedly and exotically “growing up” in the gray gloomy front doors. But most often, familiar and beloved flowers were imprinted in the glass, delighting the eye of the passerby with their bright stained glass colors.

Water lilies and egg capsules, made of unevenly colored “opal” glass, played in the light, as if in reflections on the water of their native lakes.

Noble lilies rose before my eyes along the glass of the window, surrounded by solemn ribbons and garlands.

The scarlet poppies of the stained glass windows beckoned to the land of dreams - these flowers in the Silver Age of Russian culture symbolized a magical dream.

Of course, most often stained glass windows were made with collective images of plants - cute wildflowers, bindweed, flowers of fruit trees. Or simply in the form of stylized flowers in the spirit of children's drawings: a small glass hemisphere (cabochon) in the center, and symmetrical round petals around.

A master of elemental, spontaneous line, the Moscow architect F. Shekhtel was one of the first to move away from the recognizable concrete ornamentation of natural forms and turned to an abstract, rhythmically organized ornament of lines and colored spots.

The geometric world of crystals, stones, and minerals sometimes turns out to be a prototype for the masters of late modernism. But here geometricism appears in a more complicated form and acquires a “natural character.” Later works, such as the stained glass window of L. Kekushev in the mansion of I.A. Mindovsky, the stained glass window in the banquet hall of the Metropol Hotel by V. Walkot, the stained glass windows in the second floor hall and dining room of the Mokrheide Hunting Castle or the stained glass window in a residential building on Vinogradsky Prospekt in Prague are striking examples of this trend.

The range of motifs used by the style hardly gives complete priority to the fine arts over ornament; here we are dealing with objects that can most naturally find a place in the ornament. I repeat once again, this is material from organic nature: animals, birds, leaves, trees, flowers.

Even a simple line, a combination of lines that does not have any real object prototype behind it, but often forms the basis of an ornamental pattern, has acquired a figurative meaning.

A linear combination could create the impression of tension or relaxation, rising or falling.

Even in geometric motifs, Art Nouveau knows how to introduce its characteristic features of restless tension. Regular circles are placed one inside the other, breaking the usual symmetry. The regularity in the grid of triangles or squares is disrupted; they seem to grasp the surface unevenly and jerkily. ill.no. symmetry

Decorative stained glass with floral and geometric compositions was an integral attribute of Art Nouveau architecture, including in Russia, which did not lag behind other countries at the turn of the 19th-20th centuries. Mansions and large apartment buildings for residents of different incomes, banks, train stations and other public buildings were unthinkable without stained glass windows.

Most art historians who have studied the Art Nouveau style are of the opinion that ornament plays a significant role in the formation and development of the style. Madsen calls ornament a “symbolic structure,” giving this type of figurative thinking a purely meaningful meaning. 8*

“Ornament composition” - Rules for constructing an ornamental composition. Rhythmic construction of an ornamental composition. Axial symmetry. The artist's ability to think abstractly. Composition. Chess rhythmic structure. Ornamental composition. Types of symmetry. Asymmetrical arrangement. Structural elements of the ornament.

“Ornaments and patterns” - Oriental ornaments. Zoomorphic ornament. Russian folk costume. Shawls from Pavlovsky Posad. Golden Khokhloma. The main eras of the development of ornament. Renaissance. Geometric ornament. Zhostovo trays. Review questions. The nature of the composition on the surface to be decorated. Main motives. XVII-XVIII centuries (Europe).

“Ornaments of Nations” - Zoomorphic ornament. Oriental ornaments. Khanty and Mansi ornaments. Matryoshka. The ancient art of rangoli. Ornament on scarves. Ornament on fabrics. Alternation. Indian ornament. Small bordering patterns. Ornament. Types of ornaments. Arrangement of ornamental elements on fabric. Kazakh ornament. Ornaments of the East.

“Beautiful ornaments” - Turkmenistan. Ornaments in dishes. China. Patterns and ornaments. Application of ornament. The source of the creation of the ornament was nature. What types of ornaments are there? Different countries give their own meaning to ornaments. Arabs. Symmetrical ornament. Curbs. Ornaments of the peoples of the world. Ornament. Mongolia Kazakhstan. Ornaments in architecture.

“Turkish Cucumber Ornament” - Persian Cypress. Oriental motifs in the Russian national pattern. Tear of Allah. Turkish cucumber motif in design. “Turkish cucumber” has gained popularity in Russia. Motives of the “Turkish Cucumber” in Russia. Persia is considered the birthplace of the ornament. Circle. Palette "Turkish Cucumber". The sequence of painting.

“Classification of Ornaments” - Origin. Contents of the subject ornament. Symbolic ornament. Geometric ornament. Epigraphic (calligraphic) ornament. Floral ornament. Classification of ornaments. Motives. Animal ornament. Types of ornament. Landscape ornament. Fantastic ornament.

There are 12 presentations in total