Naturalism paintings by famous artists. Western European culture of the 19th century

Naturalism

Transformation specific to late XIX c., occurs with the realistic tradition - the degeneration of realism into naturalism.

Supporters of this direction proceeded from the idea of ​​complete predetermination of fate, will, spiritual world human social environment, everyday life, heredity, physiology. In the 80s of the XIX century. naturalism becomes an influential movement in French literature. The most prominent representative and theorist of this movement is Emile Zola (1840-1902). In his main work, the twenty-volume series of novels "Rougon-Macquart", Zola painted a broad panorama of French society, covering the life of all segments of the country's population. In his best novels “The Belly of Paris”, “The Trap”, “Germinal”, “Money”, “Destruction” the writer depicted with great realistic force social contradictions. However, the idea of ​​the laws of society as biological laws limited his realism.

Others well-known representatives naturalism in literature were: the French brothers Edmond (1822--1896) and Jules (1830--1876) Goncourt, the Germans Arno Holtz (1863--1929), Gerhart Hauptmann (1862--1946), the Belgian Camille Lemonnier (1844-- 1919).

In the novels of the Goncourt brothers ("Germinie Lacerte", "Rene Mauprin") the life of different strata of society is shown using both realistic and naturalistic methods. In 1879, after the death of his brother, Edmond Goncourt wrote the story "The Zemgano Brothers." According to the will of Edmond Goncourt, the Goncourt Academy was founded (1903), which annually awards a prize for the best novel of the year in France.

Arno Holtz is a naturalist theorist. He published a collection of poems, “The Book of Time,” as well as, together with I. Schlaf, a collection of short stories, “Papa Gamley,” and a drama, “The Zelike Family.”

The founder of German naturalism, G. Hauptmann, author of the dramas "Before Sunrise", "Rose Bernd", "Before Sunset", the comedy "Beaver Coat", in which social criticism is adjacent to the absolutization of biological laws, symbolism (fairy tale-drama "The Sunken Bell" "). Later, mystical tendencies appeared in his work. He is the author of the drama "The Weavers" about the Polish uprising of the Silesian weavers. Nobel Prize winner 1912

The naturalistic movement in art was heterogeneous. Along with realistic, democratic features, tendencies of decadence often dominated, with their inherent hopelessness, immoralism, and loss of spirit.

Impressionism

Influenced by representatives of painting critical realism(Courbet, Daumier) a new direction in art appeared - impressionism (from the French impression - impression). The aesthetic attitudes of this direction were characterized by the desire to combine cognitive tasks with the search for new forms of expression of the artist’s unique subjective world, to convey one’s fleeting perceptions, to capture real world in all its variability and mobility. Its history is relatively short - only 12 years (from the first exhibition of paintings in 1874 to the eighth in 1886).

Impressionism is represented in the works of such artists as Claude Monet, Pierre Auguste Renoir, Edgar Degas, Camille Pissarro and others, who united to fight for the renewal of art against official academicism in artistic creativity. After the eighth exhibition was held in 1886, these groups disbanded, having exhausted the possibilities of development within a single direction in painting.

Claude Monet (1840-1926) is a leading representative of impressionism, the author of landscapes that are subtle in color and filled with light and air. In the series of paintings "Haystacks", " Rouen Cathedral"he sought to capture fleeting, instantaneous states of the light-air environment at different times of the day. From the name of Monet's landscape "Impression. "Rising Sun" also gave birth to the name of the movement - impressionism. In a later period, features of decorativism appeared in the work of C. Monet.

Camille Pissarro (1830-1903) - representative of impressionism, author of light, pure-colored landscapes ("Plowed Ground"). His paintings are characterized by a soft, restrained palette. In the late period of creativity he turned to the image of the city - Rouen, Paris ("Boulevard Montmartre", " Opera passage in Paris"). In the second half of the 80s, he was influenced by neo-impressionism. He also worked as a graphic artist.

The creative handwriting of Edgar Degas (1834-1917) is characterized by impeccably precise observation, the strictest drawing, sparkling, exquisitely beautiful color. He became famous for his freely asymmetrical angular composition, knowledge of facial expressions, poses and gestures of people different professions, precise psychological characteristics: “Blue Dancers”, “Star”, “Toilet”, “Ironers”, “Dancers’ Rest”. Degas is an excellent master of portraiture. Under the influence of E. Manet, he moved to everyday genre, depicting the Parisian street crowd, restaurants, horse races, ballet dancers, laundresses, the rudeness of the smug bourgeois. If Manet's works are bright and cheerful, then in Degas they are colored with sadness and pessimism.

Pierre Auguste Renoir (1841-1919), together with C. Monet and A. Sisley, created the core of the impressionist movement. During this period, Renoir worked on the development of a vibrant, colorful artistic style with a "feathery brushstroke" (known as Renoir's rainbow style); creates many sensual nudes (“Bathers”). In the 80s, he increasingly gravitated towards the classical clarity of images in his work. Most of all, Renoir loved to paint children's and youthful images and peaceful scenes of Parisian life ("Umbrellas", "Moulin de la Galette", "J. Samary"). His work is characterized by light and transparent landscapes and portraits that glorify the sensual beauty and joy of being. But Renoir has the following idea."

For forty years I have been on a journey to discover that black is the queen of all colors.

The work of Henri Toulouse-Lautrec (1864-1901) is also closely related to impressionism. He worked in Paris, where he painted cabaret dancers and singers and prostitutes in his own special style, distinguished bright colors, boldness of composition and brilliant technique. His lithographic posters enjoyed great success.

Impressionism can be viewed much more broadly - as a style in which there is no clearly defined form, the subject is captured in fragmentary strokes that instantly capture every moment, revealing, however, a hidden unity and connection. In this broader sense, impressionism manifested itself not only in painting, but also in other forms of art, in particular, in sculpture.

Thus, the great French sculptor Auguste Rodin (1840-1917) was a contemporary and ally of the Impressionists. His dramatic, passionate, heroically sublime art glorifies the beauty and nobility of man, it is permeated with emotional impulse (the group “Kiss”, “Thinker”, etc.) He is characterized by the courage of realistic quests, the vitality of images, and energetic pictorial modeling. The sculpture has a fluid form, acquiring a seemingly unfinished character, which makes his work similar to impressionism and at the same time allows one to create the impression of the painful birth of forms from elemental amorphous matter. The sculptor combined these qualities with the drama of the plan, the desire for philosophical reflections ("Bronze Age", "Citizens of Calais"). The artist Claude Monet called him “the greatest of the greats.” Rodin wrote the words:

Sculpture is the art of indentations and convexities.

In the 19th century did things like this famous sculptors like Francois Rude (1784--1855) - creator of the bas-relief "Marseillaise" on Arc de Triomphe in Paris, depicting the figure of Liberty leading the revolutionaries; animalist Bari; master of realistic sculptural portrait Dolu.

But only Rodin introduced something new into the plastic art of modeling, expanded its range and enriched the language. Rodin's portrait busts are characterized by sharpness and integrity in conveying the character of the person depicted, his inner world(“J. Dolu”, “A. Rochefort”). Rodin's work was innovative, fruitful, it gave impetus to the artistic quest of many masters of European sculpture of the 20th century.

The influence of impressionism can be traced in the works of many writers, artists, composers representing various creative methods, in particular, the Goncourt brothers, K. Hamsun, R.M. Rilke, E. Zola, Guy de Maupassant, M. Ravel, C. Debussy and others.

Claude Debussy (1862-1918) - the founder of musical impressionism. He embodied in music fleeting impressions, the subtlest shades of human emotions and natural phenomena. Contemporaries considered the prelude to " Afternoon rest faun". Here the instability of moods, sophistication, sophistication, whimsical melody, colorful harmony were manifested. One of the most significant works Debussy - the opera "Pelléas et Mélisande" based on the drama by M. Maeterlinck. The composer creates the essence of an unclear, symbolically foggy poetic text. The largest symphonic work Debussy - three symphonic sketches "The Sea". In subsequent years, features of neoclassicism appeared in Debussy's works.

The French composer and pianist Maurice Ravel (1875-1937) continued and developed Debussy's search for impressionistic music.

His works are characterized by sensuality, exotic harmony and magnificent orchestral effects (ballet "Daphnis and Chloe", bolero for orchestra).

On the right are close friends and people who support the artist. In the foreground, on the table, is the poet Baudelaire, engrossed in reading. Not far from him, on a stool, sat the writer Chanfleury. A little further there is a group of five people, including the philosopher Proudhon and the philanthropist Bruillat. Behind the artist stands a naked...

Naturalism in painting Gustave Courbet (essay, coursework, diploma, test)

On the right are close friends and people who support the artist. In the foreground, on the table, is the poet Baudelaire, engrossed in reading. Not far from him, on a stool, sat the writer Chanfleury. A little further there is a group of five people, including the philosopher Proudhon and the philanthropist Bruillat. Behind the artist stands a naked model - a symbol of life-affirming creative energy, on the left are social allegories: a group of poor people, a pensive peasant woman, a little boy in tattered clothes and a hunting dog. The painting is designed in warm brownish-yellow tones. She is rightfully considered one of best works Courbet. The artist’s colleagues called this work a real artistic feat, since they considered it very personal, and, therefore, trampling on academic principles that prohibited elevating the personal to the level of a historical epic. Thus, we can conclude that starting from 1847, Courbet moved away from romanticism, which, in her opinion, became more and more academic. The artist learns a lot from the classics and romantics, and carefully analyzes not only their undoubted successes, but also annoying mistakes, and in the end decides, as he himself put it, “to raise the flag of realistic art.” Courbet contrasts the art of realism, first of all, with classical school and academicism. The artist often repeats: “Realism is the negation of the ideal.” He also rejects romanticism with its cult of imagination, considering “The Funeral at Oriana” to be the funeral of romanticism itself and asserting that of all creative heritage, left to the world by this direction in painting, it is worth preserving only the paintings of De Lacroix and Gericault. Emphasizing his loyalty to realism, Courbet burns all his bridges behind him. Meanwhile, he was a universal artist, which allowed him to go beyond the framework of exclusively realism, into which he initially confined himself. In 1855, when Courbet managed to organize his first independent exhibition, he showed even greater resourcefulness. On the one hand, he called his pavilion “Realism,” thereby excluding any discrepancies in the painting presented in it, and on the other, in the exhibition catalog he published a kind of manifesto, where we urge the public to forget as an annoying misunderstanding the fact that he, Gustave Courbet, once then the label of “realist artist” was stuck on him. “The name “realist” was imposed on me in the same way as in the 1830s the name “romantic” was imposed on artists. Such definitions never expressed anything. I don’t want to imitate anyone, copy anyone, and certainly don’t strive for “art for art’s sake”! No! I simply wanted to find, in a full knowledge of the tradition, a meaningful and independent sense of my own individuality. To know in order to be able, that’s how I reasoned. To be able to express the morals, ideas, appearance of the era in accordance with one’s own assessment.” Courbet’s naturalism did not allow such restrictions: he loved the harsh and rude, but not fictional, but existing in reality. The famous P. J. Proudhon, who dedicated on the interpretation of the meaning of Courbet, half of his book “Art" (in Russian - translation by Kurochkin), considers Courbet an idealist in realism. On the other hand, in terms of technique, Courbet does not satisfy everyone latest requirements, since after him she made (Manet, 1832−83) progress in depicting natural objects illuminated in the open air (plein airism, from the French “plein air”); Impressionism also contributed its share to painting technique, insisting on a generalization of tones and a reduction in detail. ConclusionIn the 19th century french painting was experiencing a special stage: its development clearly and consistently reflected new trends in artistic culture, which often met with opposition from the official direction. The most significant and original artistic movements arose not within the mainstream of the official school, but, as a rule, in the struggle with its norms and principles. French artists second half of the 19th century strived to capture life as it is, in a rapidly changing world, as well as to achieve the greatest authenticity in the depiction of nature and man. To obtain such a result, they were looking for a new one capable of truthfully reflecting reality, new means of expression, capable of reflecting modern life. The appeal to the changeable and transient in the surrounding world was combined with the artist’s need to express his personal impressions and moods in his work. Artists have brought to high perfection the art of capturing the fleeting, which before them had often eluded the attention of artists. In this context, a “naturalistic” painting can be compared to a film segment compressed into one frame or to a collage of many detailed photographs. By the way, a photo collage, in general, is no longer quite a photograph, but piece of art made using photographic means. In addition to the listed qualities, a painting by a naturalist artist, like a representative of any other direction of painting, must have a number of qualities. And first of all, to be harmonized, both compositionally and coloristically, not to mention the fact that the creator, by the hour, is required to have a filigree mastery of tools and painting techniques. In the picture of a naturalist there is no place for the accidents characteristic of photography, not to mention the emotional component and the search for aesthetics in things that are obviously not aesthetic, in any case, considered not aesthetic at the time of the emergence of naturalism as a movement in fine art at the end of the 19th century. Quickly fading away, naturalism gave way to photography, which “replaced” it, and the emergence of impressionism. Interestingly, this movement in painting, until it had its own name, was called by critics as naturalism. “The light that Courbet’s art emitted was so bright (...) that without it the outlines of all modern painting would have remained blurred,” - says Andre Breton. Many artists are in search of own style sooner or later they turned to the work of Courbet. Without him, we would not have had Monet’s wonderful marine paintings, at least not as we know them now, nor Cézanne’s “signature” brushstroke from his works of the sixties, nor the exquisite nudes in Renoir’s paintings. If it were not for the phenomenon of Courbet in art, most of the paintings of Manet, Whistler, Gauguin and Matisse would remain ununderstood. However, none of these artists expressed their admiration for Courbet’s talent to the extent that Picasso did, creating in 1950, in memory of the maestro, a soulful version of his “Girls Relaxing on the Banks of the Seine” and thereby demonstrating the main artistic principle Courbet: In art, innovation consists in the tireless recreation of traditions. List of used literatureEuropean art. Painting. Sculpture. Graphic arts. Encyclopedia. - T.2. - M.: White City, 2006. - S. 327 Yavorskaya N.V. Western European art of the 19th century" - Moscow: Publishing House of the Academy of Arts of the USSR, 1962 - 78. S. Razdolskaya V.I. Art of France of the second half of the 19th century. - L ., 1981. - 311 pp. Dmitrieva N. A. Short story arts Vol. 3. Countries Western Europe XIX century; Russia XIX century - M.: Art, 1993. - 348 p. Adams L. A History of Western Art.: McGraw-Hill Humanities., 2010. - 640 p. Nalivaiko, D. S. Art: directions, trends, styles / D. S. Nalivaiko. Kyiv: Mistetstvo, 1985. - 240 p. Revald J. History of impressionism, L. - M., 1959. - P. 185 French painting of the second half of the 19th century and its contemporary art culture: Sat. Art. / ed. I. E. Danilova. - M.: Soviet artist, 1972. - 205 p. Krivtsun, O.A. Art history in the light of cultural studies / O.A. Krivtsun // Modern art history: Methodological problems. M.: Nauka, 1994. - pp. 29−51. Studies on general history Arts / ed. I. E. Danilova. -M.: Soviet artist, 1979. - 305 p. Masters of art about art / under the general editorship of D. Arkin and B. Ternovets. T III. M.: Art, 1965. - 271 p., ill. Appendix: Album of illustrations Figure 1 - Gustave Courbet. Funeral in Ornans. 1849−1850, 315×668, Musée d'Orez, Paris Figure 2 - Gustave Courbet. Bathers. 1853 227×193. Fabre Museum, Montpellier Figure 3 - Gustave Courbet. Girls relaxing on the banks of the Seine. 1856−1857, 174×206, Petit Palais, Paris Figure 4 - Gustave Courbet. Workshop (“Real allegory characterizing the seven-year period of my life”), 1855, 359×598. Musee d'Orez, Paris

Bibliography

1. European art. Painting. Sculpture. Graphic arts. Encyclopedia. - T.2. - M.: White City, 2006. - P.327
2. Yavorskaya N.V. Western European Art of the 19th Century" - Moscow: Publishing House of the USSR Academy of Arts, 1962 - 78. P.
3. Razdolskaya V. I. Art of France in the second half of the 19th century. - L., 1981. - 311 p.
4. Dmitrieva N. A. A Brief History of Art. Vol. 3. Countries of Western Europe of the 19th century; Russia of the 19th century - M.: Art, 1993. - 348 p.
5. Adams L. A History of Western Art.: McGraw-Hill Humanities., 2010. - 640 p.
6. Nalivaiko, D. S. Art: directions, trends, styles / D. S. Nalivaiko. Kyiv: Mistetstvo, 1985. - 240 p.
7. Rewald J. History of impressionism, L. - M., 1959. - P.185
8. French painting of the second half of the 19th century and contemporary artistic culture: collection. Art. / ed. I. E. Danilova. - M.: Soviet artist, 1972. - 205 p.
9. Krivtsun, O.A. Art history in the light of cultural studies/O.A. Krivtsun // Modern art history: Methodological problems. M.: Nauka, 1994. - P. 29−51.
10. Sketches on the General History of Art / ed. I. E. Danilova. -M.: Soviet artist, 1979. - 305 p.
11. Masters of art about art / under the general editorship of D. Arkin and B. Ternovets. T III. M.: Art, 1965. - 271 p., ill.

1. Romanticism(Romanticism), ideological and artistic direction, which arose in European and American culture of the late 18th century - the first half of the 19th century, as a reaction to the aesthetics of classicism. It initially developed (1790s) in philosophy and poetry in Germany, and later (1820s) spread to England, France and other countries. He predetermined the latest development of art, even those directions that opposed it.

New criteria in art have become freedom of expression, increased attention to the individual, unique features of a person, naturalness, sincerity and relaxedness, which have replaced imitation classic designs 18th century. The Romantics rejected the rationalism and practicalism of the Enlightenment as mechanistic, impersonal and artificial. Instead, they prioritized emotional expression and inspiration. Feeling free from the decaying system of aristocratic rule, they sought to express their new views and the truth they had discovered. Their place in society has changed. They found their readership among the growing middle class, ready to emotionally support and even worship the artist - a genius and prophet. Restraint and humility were rejected. They were replaced by strong emotions, often reaching extremes.

Some romantics turned to mysterious, enigmatic, even terrible, folk beliefs and fairy tales. Romanticism was partly associated with democratic, national and revolutionary movements, although the "classical" culture of the French Revolution actually slowed the arrival of Romanticism in France. At this time, several literary movements emerged, the most important of which were Sturm und Drang in Germany, primitivism in France, led by Jean-Jacques Rousseau, the Gothic novel, and an increased interest in the sublime, ballads and old romances (from which The term "Romanticism" originated. Inspiration for German writers, theorists of the Jena school (the Schlegel brothers, Novalis and others), who declared themselves romantics, was the transcendental philosophy of Kant and Fichte, which prioritized the creative possibilities of the mind. These new ideas, thanks to Coleridge, penetrated into England and France, and also determined the development of American transcendentalism.

Thus, Romanticism began as literary movement, but had a significant influence on music and less on painting. IN fine arts Romanticism manifested itself most clearly in painting and graphics, less so in architecture. In the 18th century, the favorite motifs of artists were mountain landscapes and picturesque ruins. Its main features are dynamic composition, volumetric spatiality, rich color, chiaroscuro (for example, works by Turner, Géricault and Delacroix). Other romantic artists include Fuseli and Martin. The creativity of the Pre-Raphaelites and the neo-Gothic style in architecture can also be considered as a manifestation of Romanticism.

Artists of Romanticism: Turner, Delacroix, Martin, Bryullov

2. Realism(realism, from Latin realis - real, real) - a concept that characterizes cognitive function art: the truth of life, embodied by the specific means of art, the measure of its penetration into reality, the depth and completeness of its artistic knowledge.

Realism, understood as the main tendency historical development art, suggests stylistic diversity and has its own specific historical forms: the realism of ancient folklore, the art of antiquity and late Gothic. The prologue of realism as an independent movement was the art of the Renaissance (“Renaissance realism”), from which, through European painting 17th century, “enlightenment realism” 18th century. The threads stretch back to the realism of the 19th century, when the concept of realism arose and was formulated in literature and fine arts.

Realism 19th century was a form of response to romantic and classical idealization, as well as to the denial of generally accepted academic norms. Marked by a sharp social orientation, it received the name of critical realism, becoming a reflection in the art of acute social problems and desires to evaluate phenomena public life. The leading principles of realism of the 19th century. became an objective reflection of the essential aspects of life, combined with the height and truth of the author’s ideal; reproduction of typical characters and situations with the completeness of their artistic individualization; preference in ways of depicting “forms of life itself” with a predominant interest in the problem of “individuality and society”.

Realism in 20th century culture. characterized by the search for new connections with reality, original creative solutions and means artistic expression. He does not always appear in pure form, often intertwined in a complex knot with opposite currents - symbolism, religious mysticism, modernism.

Masters of Realism: Gustave Courbet, Honoré Daumier, Jean-Francois Millet, Ilya Repin, Vasily Perov, Ivan Kramskoy, Vasily Surikov, Rockwell Kent, Diego Rivera, Andre Fougeron, Boris Taslitsky.

3. Symbolism- direction in literature and fine arts of Europe at the end of the 19th century - beginning of the 20th century. Symbolism arose as an alternative to exhausted and artistic practice realism and naturalism, turning to an anti-materialist, anti-rationalist way of thinking and approaching art. The basis of his ideological concept was the idea of ​​the existence behind the world of visible, real things of another, real reality, a vague reflection of which our world is. The symbolists considered everything that happens to us and around us to be the product of a chain of causes hidden from ordinary consciousness, and the only way to achieve truth, the moment of insight - creative process. The artist becomes a mediator between our illusory world and supersensible reality, expressing in visual images “an idea in the form of feelings.”

Symbolism in the fine arts - a complex and heterogeneous phenomenon that has not been formed into a single system and has not developed its own artistic language. Following the symbolist poets, artists sought inspiration in the same images and subjects: themes of death, love, vice, sin, illness and suffering, eroticism attracted them. Characteristic feature The movement had a strong mystical-religious feeling. Symbolist artists often turned to allegory, mythological and biblical subjects.

The features of symbolism are clearly visible in the works of a variety of masters - from Puvis de Chavannes, G. Moreau, O. Redon and the Pre-Raphaelites to the post-impressionists (P. Gauguin, Van Gogh, the “Nabids”, etc.) who worked in France (the birthplace of symbolism), Belgium, Germany, Norway and Russia. All representatives of this movement are characterized by the search for their own visual language: some paid special attention to decorativeness and exotic details, others strived for an almost primitive simplicity of the image, clear contours of figures interspersed with blurry outlines of silhouettes, lost in a foggy haze. Such stylistic diversity, coupled with the liberation of painting “from the shackles of authenticity,” created the preconditions for the formation of many artistic trends of the 20th century.

Masters of Symbolism: Gustave Moreau, Pierre Puvis de Chavannes, Odilon Redon, Félicien Rops, Edward Burne-Jones, Dante Gabriel, Rossetti, John Everett Millais, William Holman Hunt, Viktor Borisov-Musatov, Mikhail Vrubel.

4. Impressionism- a movement in painting that originated in France in the 1860s. and largely determined the development of art in the 19th century. Central figures This movement included Cezanne, Degas, Manet, Monet, Pissarro, Renoir and Sisley, and the contribution of each of them to its development is unique. The impressionists opposed the conventions of classicism, romanticism and academicism, affirmed the beauty of everyday reality, simple, democratic motives, achieved living authenticity of the image, and tried to capture the “impression” of what the eye sees at a particular moment.

The most typical theme for the Impressionists is landscape, but they also touched on many other themes in their work. Degas, for example, depicted horse races, ballerinas and laundresses, and Renoir - charming women and children. In impressionistic landscapes created outdoors, a simple, everyday motif is often transformed by pervasive moving light, bringing a sense of festivity to the picture. In certain techniques of impressionistic construction of composition and space, the influence of Japanese prints and partly photographs. The Impressionists were the first to create a multifaceted picture of everyday life modern city, captured the originality of its landscape and the appearance of the people inhabiting it, their life, work and entertainment.

The name “Impressionism” arose after the 1874 exhibition in Paris, at which Monet’s painting “Impression. The Rising Sun” (1872; stolen from the Marmottan Museum in Paris in 1985 and today is listed on Interpol lists) was exhibited. More than seven Impressionist exhibitions were held between 1876 and 1886; upon completion of the latter, only Monet continued to strictly follow the ideals of Impressionism. “Impressionists” are also called artists outside of France who wrote under the influence of French Impressionism (for example, the Englishman F.W. Steer).

Impressionist artists: Manet, Monet, Pissarro, Renoir

5. Naturalism- (French naturalisme, from Latin natura - nature) - a direction in literature and art that developed in the latter thirds of the XIX century in Europe and the USA. Under the influence of the ideas of positivism, the main representatives of which were O. Comte and G. Spencer, this movement strove for an objective and dispassionate depiction of reality, likening artistic knowledge to scientific knowledge, and proceeded from the idea of ​​the complete predetermination of fate, the dependence of the spiritual world of man on the social environment, heredity and physiology.

In the field of art naturalism developed primarily in creativity French writers- brothers E. and J. Goncourt and Emile Zola, who believed that the artist should reflect the world without any embellishment, conventions and taboos, with maximum objectivity, positivist truth. In an effort to tell “all the ins and outs” about a person, naturalists showed a special interest in the biological aspects of life. Naturalism in literature and painting manifests itself in a consciously frank display of the physiological manifestations of man, his pathologies, depiction of scenes of violence and cruelty, cruelty, dispassionately observed and described by the artist. Photographicity, de-aestheticization artistic form become the leading signs of this direction.

Despite all the limitations creative method, refusal of generalizations and analysis of socio-economic problems of society, naturalism, by introducing new themes into art, interest in depicting the “social bottom”, new means of depicting reality, contributed to the development of artistic vision and the formation of critical realism in the 19th century (such as E. Manet, E. Degas, M. Lieberman, C. Meunier, verist artists in Italy, etc.), however, in painting naturalism did not take shape into a holistic, consistent phenomenon, as in literature.

In Soviet criticism of the 1930-1970s. naturalism was seen as artistic method, the opposite of realism and characterized by an asocial, biological approach to man, copying life without artistic generalization, and increased attention to its dark sides.

Masters of naturalism: Théophile Steinlen, Constantin Meunier, Max Liebermann, Käthe Kollwitz, Francesco Paolo Michetti, Vincenzo Vela, Lucian Freud, Philip Pearlstein.

- “Good News”, 1644, art. Philippe de Champaigne, Metropolitan Museum of Art, NY Baroque painting or baroque painting pictorial works of the baroque period in culture XVI XVII centuries, while in political terms... ... Wikipedia

In a word R. French critics named the direction in painting that Courbet chose (1819 77) in opposition not only to the idealistic direction, but also to any other, which chose subjects for paintings not from the surrounding modern society and... ... encyclopedic Dictionary F. Brockhaus and I.A. Ephron

Petrus Christus. Portrait of a young lady. Around 1450. Berlin Art Gallery. Berlin Early Netherlandish painting (rarely Old Netherlandish... Wikipedia

This term has other meanings, see Realism. Edouard Manet. "Breakfast in the Workshop" (1868) Realism aesthetic position, with... Wikipedia

- (Japanese Nippon, Nihon) I. General information Ya state located on the Pacific Islands, near the coast East Asia. The territory of Japan includes about 4 thousand islands, stretching from the northeast to the southwest for almost 3.5 thousand... ...

Sandro Botticelli. "Portrait of a young man with a medal of Cosimo de' Medici." 1470 1477. Uffizi, Florence Portrait of an Italian ... Wikipedia

- (USA) (United States of America, USA). I. General information The USA is a state in North America. Area 9.4 million km2. Population 216 million people. (1976, assessment). The capital is Washington. Administratively, the territory of the United States... Great Soviet Encyclopedia

Portrait of John Henry, Margrave of Moravia. Peter Parler and the workshop. Between 1379 1386, St. Vitus Cathedral, Prague Portrait of the Middle Ages, portrait art of the Middle Ages, a stage of a certain decline in the history of development ... Wikipedia

Covers the period of the 9th century. BC e. Contents... Wikipedia

V. Favorsky (photo from the 1920s) ... Wikipedia

Books

• Creation. Man-beast. Articles , Emile Zola , The volume is widely represented famous works classic French literature Emile Zola... Category: Classic and modern prose Series: Golden Fund of World Classics Publisher: AST, AST Moscow, Neoclassic,
• Naturalismus, Hamann R., Hermand J., Naturalistic painting, or rather, naturalism in painting, as an art direction of the late 19th century, is not limited to creating an image visually similar to nature. He is completely immersed in... Category:

Who strove to capture modern reality as accurately as possible, photographically, in particular, daily life peasantry and working class.

In comparison with the works of Courbet, the social-critical and satirical components in the works of naturalists faded into the background. Before the term “impressionism” appeared, its representatives were classified as naturalists (as, for example, Zola does in his 1868 essay “The Naturalists”). As the Impressionists gained more recognition, interest in naturalism waned. The tasks of dispassionately recording reality, which the artists of this movement set for themselves, were successfully fulfilled by photography.

The naturalistic approach to art should not be confused with literary naturalism - a movement in literature of the late 19th and early 20th centuries, which, in addition to Zola, was represented by Guy de Maupassant and Theodore Dreiser.

Knight Danie Hailing the Ferryman.jpg

D. R. Knight. "Hailing to the Ferryman"

Alphonse Moutte Déchargement d"un brick à Marseille.jpg

A. Mutt. "Unloading the brig in Marseille"

Lhermitte La Paye des moissonneurs.jpg

L. Lhermit. "Paying the Reapers"

Pelez Grimaces.jpg

F. Pelez. "Traveling circus"

see also

Write a review about the article "Naturalism (painting)"

An excerpt characterizing Naturalism (painting)