Examples of everyday genre in fine art. Examples of paintings by famous Russian artists in the nude genre

Everyday genre in painting, perhaps, in the most to a greater extent associated with prejudice and vicissitudes of interpretation. In it, as in literature, you can easily see the beginning of the plot, and sometimes against this background you can build a whole story. Paintings in this genre depict scenes from private and public life person. Unlike portrait and historical painting they are not addressing famous personalities or important historical events. They reflect the typical flow of time. The people depicted in the paintings of the everyday genre are not known to history, and the events are not of a global nature. To a greater extent, everyday painting gives detailed description established traditions.

Naturally, the everyday genre in painting is inextricably linked with other common genres. It is difficult to imagine it without detailed descriptions: home table setting, display of familiar dishes or the furnishings in the room closely border the genre of still life. Presence in household painting images of people have a lot in common with . And scenes from life in the lap of nature, by conveying colors and the smallest details, connect this genre with. However, the presence of a clear storyline in such paintings, the ability to understand and penetrate into the ongoing events depicted on the canvas, as well as special realism, distinguish this genre into a separate direction of painting.

The everyday genre of painting can rightfully be considered one of the oldest areas of fine art. Primitive drawings, depicting rituals, processions and hunting are the origins of the modern everyday genre. IN medieval times Genre scenes have become popular in art, reflecting the artist’s specific views on everyday life. Since the Renaissance religious paintings begin to become saturated with bright household details. This can be seen in the art of Hertgen, Sint Jans, Lorenzetti, Giotto. First famous images the life of the working people belongs to Schopenhauer and the Limburg brothers. In the 17th century, works in the everyday style were created by the brush of Rembrandt, Steen, and Brouwer.

The basis of this direction is the departure from mythology and the manifestation of the first interest in real life. The center of the work of the everyday genre is still the person. However, he is no longer surrounded by the luxury of palaces, but by simple furnishings, everyday street buildings and simple household items. For the most part, people are depicted doing their daily activities. Here a quiet home environment, permeated with extraordinary cordiality and warmth, or the backbreaking labor of the peasants, placed on their shoulders by this historical era. Here you can see both working everyday life and casual life events. The main features of the genre are everyday life, simplicity and realism. Often such paintings are small in size.

I especially liked the everyday genre Russian painting. Famous painting Repin’s “We Didn’t Expect” combines certain features of everyday life and historical genres. A simple family of intellectuals is shown in their everyday surroundings, into which vague confusion bursts in with the unexpected return of a revolutionary. The logical design of the painting, the display of details of the situation and the naturalness of the positions are signs of the artist’s everyday genre. Another well-known picture in the everyday genre is “ Fresh gentleman» P.A. Fedotova. An ordinary everyday situation from the life of an official is imbued with light humor - the mood of the progressive intelligentsia of that time is reflected here. The film reveals a fierce struggle against the idealization of old times about morals and man. Art is closely connected with reality. Thanks to these features, it was highly appreciated among critics and the artist’s contemporaries. In terms of its content, “Fresh Cavalier” can easily be compared to outstanding works literary classics that era.

Paintings of the genre "Household"

Expand your horizons, teach you to see the beauty in ordinary people and the events of everyday life.

• Expand your horizons, teach you to see the beauty in ordinary people and the events of everyday life.
• Give the concept of “everyday genre”.
• Introduce the works of Russian painters P.A. Fedotov. and Perova V.G., Reshetnikova P. and Plastova A.
• News moral education through the perception of paintings of the everyday genre.
• Activate thought processes and conversation skills.

• In fine arts, based on the subject of the image, there are -
• portrait, still life, landscape.

• EVERYDAY GENRE of fine art, dedicated to everyday (usually modern) private and public life. The tasks of the everyday genre include not only a reliable depiction of the relationships and behavior of people seen in life, but also the disclosure of the inner meaning and social content of everyday everyday phenomena.

• What artistic image did Perov want to convey in his paintings?
• What is the main idea of ​​these 2 paintings?
• It is through compositional plot the artist builds the right one plot because it's in the plot composition center(which directs the viewer’s gaze to the main event, subsequently expressing the idea of ​​the composition in it) and complementary parts that contribute to the definition of the compositional center.
• The law of subordination of the secondary to the main requires the artist to arrange objects in the picture in such a way that one object attracts attention to itself through others, so that all objects are turned to the main thing.

• Before us is a typical post-war apartment. This can happen in both Moscow and Vladivostok. The situation is not rich, probably all the family members are in front of us - the war left them without a father, the main breadwinner, and all the concern for supporting three children fell on the shoulders of the mother - a young woman who was pretty exhausted by life.

• The center of attention is the boy himself, and three “rays” are directed towards him, as it were, three different attitudes towards him. Of course, the biggest “aggressor,” so to speak, is the excellent student sister. She is a diligent student, she is a pioneer, she is very responsible about her studies and everything connected with it. We can see how neatly she is dressed, how neatly she puts her textbooks, everything is in its place. In her gaze, reproach and dissatisfaction are clearly visible. The sister treats the boy, rather, not as a brother, but as a student who does not fulfill his duties.

• Next to his mother, as if in contrast, the youngest son is depicted on a bicycle. Cheerful, full of energy, he looks at his brother with a grin and malice. Dog. She ran to the boy and jumped on him in a friendly manner, she was glad of his arrival, she loved him, and she had no idea what he got there. Everything can still be fixed, the main thing is that there is a desire. If we look at the boy’s face, we will see that it expresses sadness, bitterness, shame, he stands with his shoulders down, and he is even ashamed to look into the eyes of his family.

• Plastov's canvases are full of life-affirming power. Through color and thanks to color, he fills his paintings with a living, vibrant feeling. The artist says: “I love this life. And when you see it year after year... you think that you need to tell people about it... Our life is full and rich, there are so many amazingly interesting things in it that even the ordinary everyday affairs of our people attract attention and shake the soul. You have to be able to see it, notice it.”

• What genre of fine art were we talking about?
• Explain the concept of “everyday genre”.
• Name the artists who worked in this genre?
• Name the picture that made the most impression on you and explain why.

Everyday genre is a direction of fine art associated with the use of paintings and scenes as subjects. ordinary life of people. The peculiarity is that only contemporary events of the artist are chosen as themes for the works. The everyday genre is widespread in sculpture, painting, and graphics - works of fine art are distinguished by their small parameters and realistic rendering of objects.

It was formed as a separate genre in the Middle Ages, although the first representative works can be dated back to the time of its existence ancient civilizations. The everyday genre is dedicated to private, everyday events - best illustrated by the features of a historical period.

Emergence

The period of formation of the genre is the New Age, since then there was a sharp popularization realistic painting, democratic views on society. In the 17th-19th centuries, artists began to turn to life ordinary people as the central theme of the paintings. Thanks to the aggravation of social confrontation in society and the growing interest in everyday life, the everyday genre developed.

EVERYDAY GENRE, a genre of fine art that represents real, usually contemporary artist everyday life. The plots of the everyday genre reflect the existing way of life - work and rest, everyday life and holidays, morals and customs, relationships between people. Elements of the everyday genre were present in primitive images of hunting scenes and rituals, in art Ancient world, rich in everyday details, in the European medieval art, which often included allegorically interpreted everyday motifs (cycles on the themes of 12 months, seasons, where seasonal activities are depicted, etc.). As an independent type artistic creativity the everyday genre first emerged in the medieval art of countries Far East: in China and Japan (Ukiyo-e school), in reliefs and paintings of Indian temples, Persian miniatures. IN European art Proto-Renaissance and Renaissance (later among M. da Caravaggio and Caravaggist artists), the features of the everyday genre appeared in the interpretation of religious subjects as real events with signs modern life. At the same time, the everyday genre is closely related to parable or allegory (the cycles “Five Senses”, “Virtues and Vices”, etc.).

The everyday genre acquired autonomous significance in the 16th and 17th centuries. The plots of proverbs and sayings, games and riddles, as well as kitchens, shops, markets, and meals have been depicted since the 16th century in the Dutch everyday genre (P. Bruegel the Elder, P. Aartsen, I. Beikelar). Close to the everyday genre of bodegones in Spanish art (D. Velazquez and others). The heyday of the everyday genre comes in the Dutch and Flemish painting 17th century: burgher scenes (J. Wermer, G. Terborch) and peasant life(A. van Ostade), grotesque comic subjects by A. Brouwer and D. Teniers the Younger, “shops” by F. Snyders, scenes of folk festivals by J. Jordaens and P. P. Rubens. Thanks to the Dutchman P. van Laer, the comic genre of everyday life spread to Italy (bamboccianti). In the 18th century, A. Watteau wrote “gallant festivities” in the Rococo style; J. B. S. Chardin develops the tradition of the contemplative everyday genre, following his French predecessors the Lenain brothers.

The everyday genre of the Enlightenment is moralizing (J. B. Greuze, W. Hogarth); in the era of romanticism, exotic oriental motifs penetrated it (E. Delacroix, O. Vernet). The everyday genre of the Biedermeier period is distinguished by poeticization or anecdotal interpretation privacy(F. Waldmuller, K. Spitzweg). French realist artists, on the contrary, turn to the harsh and pious life of the province (F. Millet, G. Courbet); satire and social criticism are characteristic of the everyday genre of O. Daumier. The daily life of townspeople, their work and leisure is at the center of the everyday genre of the masters of impressionism. In the mid-2nd half of the 19th century, the life of industrial workers was sympathetically depicted in the works of F. M. Brown, A. von Menzel and C. Meunier; the theme of labor is also represented in the works of F. Brangwin, W. Van Gogh, H. von Mare, G. Segantini, F. Hodler, and in Italian verismo. The underbelly of life in the 20th century metropolis is shown by Berlin graphic artists G. Gross, K. Kollwitz and G. Zille, painters of the New York “Garbage Pail School”, the national way of life is shown by representatives of US regionalism, costumbrism and muralism Latin America, Italian neorealism.

In Russia, the everyday genre took shape only in the 18th century. Engravings are saturated with everyday episodes (A.F. Zubov), in painting of the 2nd half of the 18th century they are created as individual works on everyday topics (I. I. Firsov, I. I. Belsky), and entire series with scenes peasant life(I. A. Ermenev, I. M. Tankov and M. Shibanov). Poeticized everyday life in painting by V. A. Tropinin, A. G. Venetsianov and Venetsianov artists; satirical interpretation of everyday themes prevails in the works of P. A. Fedotov and the graphics of P. M. Shmelkov. In the 2nd half of the 19th century, the everyday genre occupied a leading place in the system of genres and influenced the structure historical genre, portrait and landscape. The development of the Itinerant genre is associated with the everyday genre of critical realism V Russian art(V. G. Perov, I. E. Repin, V. E. Makovsky, N. A. Kasatkin, N. A. Yaroshenko, A. E. Arkhipov, etc.). At the same time, the salon genre of everyday life is developing, in which the idealized life of both the past and the present is presented (F. A. Bronnikov, K. E. Makovsky). The way of provincial Rus' was glorified by B. M. Kustodiev and M. V. Nesterov. In sculpture, the everyday genre is represented by M. M. Antokolsky, E. A. Lansere and M. A. Chizhov, then by V. A. Beklemishev, P. P. Trubetskoy and S. T. Konenkov.

In Soviet art, special forms of everyday genre have developed: official pomp (V.P. Efanov), satirical ridicule of the “old way of life” and its remnants (Kukryniksy), heroism (painters of a harsh style), idyllic depiction “ happy life"new society (S.V. Gerasimov). A number of exhibitions at the Academy of Arts of the Republic of Russia were entirely dedicated to household topic. Artists recreate the life of a village (A. A. Plastov), ​​a city (Yu. I. Pimenov), and a family (P. P. Konchalovsky). Industrial life is reflected in the paintings of P. I. Kotov, various aspects children's themes were covered by F. S. Bogorodsky and F. P. Reshetnikov, youth sports - by A. A. Deineka and S. A. Luchishkin. The tragedy of wartime everyday life is presented in the paintings of T. G. Gaponenko, the graphics of N. I. Dormidontov and others; optimism post-war decade found reflection in the works of A. I. Laktionov, V. G. Odintsov and V. N. Yakovlev. The everyday genre is widely represented in sculpture (N. Ya. Danko, V. V. Lishev, G. I. Motovilov). The idealization of Soviet life since the 1960s has been countered by an ironic tendency in works of underground and social art.

Lit.: Russian genre painting. M., 1961; Langdon N. Everyday-life painting. Oxf., 1979; Brook Y. V. At the origins of the Russian genre. XVIII century. M., 1990; Sokolov M. N. Everyday images in Western European painting XV-XVII centuries. Reality and symbolism. M., .

There has always been attention to everyday life in art.
Each era in art seemed to be somehow separate, general images, exciting the minds of artists, poets and musicians. But the everyday genre cannot be described so easily with the help of images, since each artist saw everyday life in his own way.
It is interesting that since the Middle Ages people have been interested in everyday motives, but then it was not so obvious and telling, since the humanism that flourished in those times set a new framework. For this reason, the everyday genre in art acquired a humanistic overtones. So when did this trend begin?
Back in the primitive rock paintings everyday moments were depicted, for example, a buffalo hunt, and in ancient Eastern painting in reliefs and stucco moldings they were shown with a completely ordinary human side kings, nobles and other court officials. But everyday scenes took official shape during the formation of bourgeois society, that is, again, the trends of that time themselves set new genre in art. The genre of everyday life flourished in connection with the need of artists for realism, depiction social issues standing at that time.
These questions could be narrow, reflecting only one side of life, for example, housework, the activities of cooks, conversation, trying on outfits, etc. (Velasquez), but could be filled with hidden, deliberately laid meaning. Here, Caravaggio, painted unpleasant figures that any of us necessarily strives to avoid: fortune tellers, cheaters, deceivers and gamblers, but he depicted them, most often, in detail, conveying the meaning to the viewer with their help. Each of them could be interpreted differently, some would see the problem of poverty, some would see lies, and others, perhaps, would see the desire to somehow earn a living in dishonest card players.
Each work of the author, executed in the everyday genre, reflects his understanding of the word “life” itself; for example, for Caravaggio (Italy) life is living by deception, in China – nobility and the idea of ​​​​an honest husband, which is mainly associated with Confucianism, which presupposed these questions; in Japan and Korea, everyday life is the humor with which people approach life. But this is only at the very beginning of the development of this genre in art.
In the heyday of the Renaissance, scenes of everyday life begin to really resemble everyday life, even if the artist depicts something sublime, for example, the Madonna, the interior and surroundings are saturated with everyday objects. The Dutch brothers Jan and Hubert Van Eyck, Ambrogio Lorenzetti, and Hertgen tot Sint-Jans wrote on religious and everyday topics between the 14th and 15th centuries. These authors gave impetus to the development of a new everyday genre that seemed more familiar to modern humanity. Their work was continued in France and Germany, and mainly in Venice, where from under the brush of Giorgione and Carpaccio came ordinary, rich, measured human life, works.
It is worth paying attention to the unadorned paintings of Pieter Bruegel the Elder, among them the seemingly mythical, but so vital plot of “The Fall of Icarus.” This is not an ordinary depiction of the myth of Icarus, redrawn many times, it is truly filled deep meaning work, life goes on and no one notices any individual events that do not concern themselves. That is why Icarus himself is depicted as a small, almost imperceptible dot. What can we say about Bruegel’s “ Flemish proverbs"? Every centimeter of the canvas tells the viewer some a separate story: here, someone throws pancakes on the roof of the house, someone hits their head against the wall, others bury a pig with all seriousness, and what’s most interesting is that each of the heroes treats their senseless, ridiculous actions without any sense of humor.
Having overcome many changes along the way of its formation, the everyday genre in art was finally finally formed in the 17th century. The authors deliberately belittled the structure of everyday life familiar to everyone and showed the life of the lower social classes. Then the artists “got over” this period and combined reality and fiction, specifics and poetic perception in their works.
As for Russia, the genre of everyday life began to emerge here later, its heyday occurred in the 18th century. Artists paid special attention to the ordinary peasant; Russian artists contrasted the romantic idyll of foreign paintings with the terrible reality of peasant life, here there is poverty, and truthfulness, and dullness, and fatigue (Eremenev and Shibanov).
The issues of the peasantry did not remain in the 18th century, they smoothly flowed into the 19th, but the artists no longer wanted to expose anyone, so in the first half of this century they painted pictures of peasant painting embellished with humor, its cloudless times. In Russia at that time Ventsianov was working, in the USA Bingham and Mount, Kersting and Spitzberg in Germany. Only the French did not follow the layered canons; they introduced a spirit of protest into art, which survived until the 50-60s, when the theme of peasants tired of eternal meaningless labor became key.
The twentieth century completely changed the worldview of the people, and, accordingly, their way of life. The development of new technologies, war, industry - all this is reflected in the everyday genre. In art, sharpness, impulsiveness, and a focus on exploring all corners of the human “I” began to reign (Steilen, Riviera, Derkovich and Bolkanski). The authors sought to express through art the suffering of a particular segment of the population and its resilience, readiness to fight against power, foundations, and innovations.
The everyday orientation in art sought to show the life of the people, as a genre it was created to capture individuals who have no historical value, events. Naturally, what kind of large-scale value can we talk about if at all times the lives of ordinary people did not have of great importance. The artists who depicted everyday, everyday, village moments wanted to fix them in history.