The World of Childhood in the Works of Runge. F.O color theory

- (Runge) (1777-1810), German painter, graphic artist and art theorist. One of the founders of romanticism in German painting. He studied at the Academy of Arts in Copenhagen (1799-1801) and Dresden (1801-03). In the symbolic and allegorical compositions The times of the day ... ... Art Encyclopedia

Runge Philip Otto- (Runge) (1777 1810), German painter and graphic artist, art theorist. One of the founders of romanticism. He painted portraits, which are characterized by close attention to nature, combined with latent emotionality (“We Three”, 1805); V… … encyclopedic Dictionary

Runge, Philip Otto- Philipp Otto Runge. Portrait of children Huelsenbeck. RUNGE (Runge) Philip Otto (1777 1810), German painter and graphic artist, art theorist. representative of early romanticism. Sharp portraits (“We are three”, 1805), allegorical compositions ... ... Illustrated Encyclopedic Dictionary

Runge Philip Otto- Runge (Runge) Philipp Otto (23.7.1777, Wolgast, Mecklenburg, ‒ 2.12.1810, Hamburg), German painter, graphic artist and art theorist. He studied at the Copenhagen (1799‒1801) and Dresden (1801‒1803) Academy of Arts. One of the founders of romanticism in German ... ...

RUNGE (Runge) Philip Otto- (1777 1810) German painter and graphic artist, art theorist. representative of early romanticism. Truthful, pointed portraits (We three, 1805), allegorical composition Morning (1808) ... Big Encyclopedic Dictionary

Runge- Surname Runge, Karl (1856 1927) German mathematician and physicist Runge, Boris Vasilyevich (1925 1990) actor of the Moscow Theater of Satire Runge, Vladimir Fedorovich (born 1937) Soviet and Russian designer. Runge, Friedlib Ferdinand (1794 ... Wikipedia

Runge- Philipp Otto (Runge, Philipp Otto) 1777, Waolgast, Pomerania 1810, Hamburg. German painter, draftsman. He studied in 1799 1801 at the Copenhagen Academy of Arts under N. Albigor, then in Dresden (1801 1803). From 1804 he worked in Hamburg. In the early... ... European Art: Painting. Sculpture. Graphics: Encyclopedia

Runge- (runge) Philipp Otto (1777, Wolgast, Mecklenburg - 1810, Hamburg), German painter, graphic artist, poet and art theorist; representative of romanticism. He received a commercial education, then studied at the Copenhagen (1799-1801) and Dresden academies ... Art Encyclopedia

Runge- (Runge) Philipp Otto (7/23/1777, Wolgast, Mecklenburg, 12/2/1810, Hamburg), German painter, graphic artist and art theorist. He studied at the Copenhagen (1799 1801) and Dresden (1801 1803) Academy of Arts. One of the founders of Romanticism in German ... ... Great Soviet Encyclopedia

Runge F. O.- RUNGE (Runge) Philip Otto (17771810), German. painter and graphic artist, art theorist. One of the founders of romanticism. He painted portraits, in which close attention to nature was combined with latent emotionality (We three, 1805); V… … Biographical Dictionary

Books

• Classicism and Romanticism. Architecture. Sculpture. Painting. Drawing 1750 - 1848 , This book is dedicated to the fine arts and architecture of the era of classicism and romanticism. The richness and diversity of artistic creation in the period between Rococo and Realism, of course, ... Category: Culturology. art criticism Publisher:

German romantic painter, the largest - together with Caspar David Friedrich - representative of romanticism in German fine art

Biography

Born in a large family of shipbuilders in Western Pomerania, which was at that time under the control of Sweden. His school teacher was Ludwig Kosegarten. Since 1799, with the financial support of his brother (subsequently, articles, letters and notes of the artist were published through his work), he studied painting with Jens Yuel at the Copenhagen Academy. In 1801, in Dresden, he became close friends with K. D. Friedrich and Ludwig Tieck, delved into the mystical treatises of Boehme, to which Tieck drew his attention. In 1803, he met and became friends with Goethe, with whom he shared an interest in the problems of color - the natural-philosophical and natural-science searches of both, eating from different sources, went in a similar direction: Goethe, who was always more than reserved about romanticism, spoke with unchanging approval about creativity and theorizing Runge. In 1804 he married and moved to Hamburg. In 1810 he published a treatise on color separation and color classification The Color Sphere (Goethe's Doctrine of Color appeared in the same year). In recent years, he worked on a large mystical and philosophical pictorial idea Four times of the day, the work remained unfinished. Died of tuberculosis.

Creation

• Triumph des Amor (1800)
• Die Heimkehr der Sühne (1800)
• Die Zeiten (1803)
• Die Lehrstunde der Nachtigall (1803)
• Die Mutter und Kind an der Quelle (1804)
• Pauline im grönen Kleid (1804)
• Wir drei (1805)
• Die Ruhe auf der Flucht (1805-1806)
• Die Hölsenbeckschen Kinder (1805-1806)
• Der kleine Morgen (1808)
• Der gro?e Morgen (1808)
• Arions Meerfahrt (1809)

In addition to portraiture and visionary painting, book illustrations for the works of L. Tick (1803), he acted as a poet and prose writer, processed folk tales (two of these processings were included in the Fairy Tales of the Brothers Grimm). Runge's letters to his brother Daniel, Goethe, Tiek, Clemens Brentano and other recipients are of great historical and cultural interest.

posthumous fate

Much of Runge's legacy was destroyed in a fire

I will have no man in my boat who is not afraid of a whale.

German romantic painter, graphic artist, worked in watercolor, also known as a talented poet and art theorist.

Born in Wolgast (Mecklenburg). He received his primary art education in Hamburg.
From 1799 to 1801 he studied at the Copenhagen Academy with N. Abilgor. In the early 1800s worked under the influence of a teacher. It is felt especially strongly in the painting “The Triumph of Love” (1801, Kunsthalle, Hamburg), written in a strict academic manner. This canvas is characterized by the monotony of the composition. At this time, the artist became close to the circle of romantics, headed by L. Tieck and F. Schlegel. From 1801 to 1803 he continued his education in Dresden. He closely communicated with the Dresden romantics. During this period, the artist seriously studied copies of the illustrations by J. Flaxman to the works of Homer and Aeschylus, got acquainted with the article dedicated to them by A. V. Schlegel, published in the journal "Athenium" in 1799. Later, under the influence of these drawings and illustrations of Cornelius to "Faust" Goethe (1808) Runge made a series of pictures for Homer's Iliad. The individual style of the author manifested itself here in a special play of light and shadow.
Runge had a peculiar manner of writing, in which the influence of Biedermeier art is felt. In his work, he was close to Jena romanticism. The desire for a romantic presentation of the world was embodied in Runge's portraiture, especially in such portraits as "The Three of Us" (1805, not preserved, formerly - Kunsthalle, Hamburg), "Self-Portrait" (1805, 1806, Kunsthalle, Hamburg), "Portrait of a son , Otto Sigismund Runge" (1805, Kunsthalle, Hamburg), "Children of Huelsenbeck" (1805-1806, Kunsthalle, Hamburg), "My Parents" (1806, Kunsthalle, Hamburg). The heroes of the portraits harmoniously appear against the background of the landscape, which helps to reveal their mental, emotional state: anxiety, excitement, melancholy, sadness, thoughtfulness. The artist's creative manner is characterized by sincerity, spontaneity and realism in depicting models and landscapes. The motto formulated by the artist: “Everything gravitates toward the landscape that comprehends the universe” reflects his attitude to the landscape.
Being a romantic artist, Runge often turns to the form of a paired portrait, which gives him the opportunity to show the complex world of human emotions and feelings intertwined with a variety of characters and temperaments.
In 1804, Runge moved to Hamburg, wrote a number of theoretical works on art.
The most famous was the composition "Color Sphere", in which the interpretation of the symbolic meaning of colors is given.
The late period of Runge's work is characterized by the appearance of a special coloristic symbolism and a harmonious combination of music and color, which were due to the artist's strong passion for the teachings of the German mystic J. Boehme. The idea of ​​the cycle, consisting of four canvases, belongs to this time: “Morning”, “Noon”, “Evening”, “Night”. According to the author, they should have been perceived with music and poetry reading. This cycle is a continuous movement, development, harmonious fusion of human life and nature. For example, in the painting "Morning" (small version, 1808; large version, 1808-1809, both in the Kunsthalle, Hamburg), blue, white and pink colors symbolize the awakening of nature. Women, surrounded by angels and flowers, as if floating in the air, create a sense of dance.
F. O. Runge influenced the subsequent development of German and European art.

The color body of O. Runge is a globe, along the equator of which there is a 12-part color circle.

F.O.Runge Runge's family home in Wolgast, now a museum.

Born in a large family of shipbuilders in Western Pomerania, which was at that time under the control of Sweden. His school teacher was Ludwig Kosegarten. Since 1799, with the financial support of his brother (subsequently, articles, letters and notes of the artist were published through his efforts), he studied painting with Jens Yuel at the Copenhagen Academy. In 1801, in Dresden, he became close friends with K. D. Friedrich and Ludwig Tieck, delved into the mystical treatises of Boehme, to which Tieck drew his attention. In 1803, he met and became friends with Goethe, with whom he shared an interest in the problems of color - the natural-philosophical and natural-science searches of both, eating from different sources, went in a similar direction: Goethe, who was always more than reserved about romanticism, spoke with unchanging approval about creativity and theorizing Runge. In 1804 he married and moved to Hamburg. In 1810 he published a treatise on color separation and color classification The Color Sphere (Goethe's Doctrine of Color appeared in the same year). In recent years, he worked on a large mystical and philosophical pictorial idea Four times of the day, the work remained unfinished. Died of tuberculosis.

Philipp Otto Runge (1777-1810), an outstanding painter of the Romantic school, was a contemporary of Goethe. He made a significant contribution to the doctrine of color. He understood that the whole variety of colors could not be represented as a color wheel or a strip of the spectrum and proposed a system for arranging colors that resembled a globe in appearance.

Runge color ball.

On the equator line, Runge applied the pure colors of the color wheel. At the north pole, he placed white, and at the south - black. On the meridians (using degrees of longitude) he was able to represent all the colors that result from mixing pure colors with white and black. All cloudy colors were systematically located inside the ball. Runge for the first time in history linked the arrangement of colors in space with their aesthetic and artistic use.

Schematic representation of the Runge color body

As an artist, he was interested in the use of low-saturated colors (with a more or less significant admixture of gray) when depicting color perspective. He used in his system as typical color ranges the so-called ranges of colors for the background. These are transverse lines that run along the longitudinal section of the color globe from pure colors on the surface of the ball to gray colors in the region of the achromatic axis. The placement of colors in space, proposed by Runge, subsequently underwent a number of improvements, but the basic principle of placing the entire variety of colors in a three-dimensional system was recognized as correct and borrowed by all his followers.

From the correspondence between Runge and Goethe, it can be seen that their views on the effect of color on a person coincided.

A contemporary of Goethe, the artist Otto Runge was the first to build a color body. I know that his theory appeared simultaneously with Goethe's, that they corresponded and discussed a number of issues. I can’t say for what reason Runge included a circle based on blue-red-yellow in the basis of his model. Interestingly, according to the Runge scheme, a mixture of these three colors also gives gray. My own mixing experience is similar, as is the production of gray from cyan-magenta-yellow. But Runge assigns a completely different role to black and white colors, turning a flat color circle into a three-dimensional ball.

The model is no longer built on six colors, but on 12, i.e. Runge uses 3 primary colors, their mixtures of the 1st order and pairwise mixtures of 6 colors of the already familiar circle, which form new 6 colors of the 2nd order. The Runge ball is sometimes referred to as the "globe".

If in the spherical Runge body the color wheel is the “equator”, then the black and white points are two poles, in the directions towards which new shades of spectral colors are obtained. Moving towards the white pole, the colors gradually lighten, whiten, losing their original brightness (upper left ball). Approaching black, they thicken, darken (upper right ball).

The lower figures illustrate what is happening in the center of the ball. To do this, it is cut along the equator, as a result of which we again fall into a flat circle. In a horizontal section along the equator, pairs of opposite (complementary, complementary) colors, rushing towards each other (mixing in different proportions), lose their color saturation and in the center, with equal proportions in the mixture, form gray. If you cut the ball vertically, from pole to pole, then the polar colors (black and white), approaching (or mixing), will give the same gray in the center. The model thus reflects a universal principle and can be considered as a sufficiently holistic law of color harmony.

The same equatorial dissection operation can be performed using the CMY computer model with the same result:

Sections of the color ball along the equator

In the picture there are two projections of the ball, from which quarters are cut out. On the left is the view from above (from the side of the white pole), on the right is the view from below (from the side of the black), which is fixed in the left semicircles of both projections. The right semicircles in black frames are sections, "insides" of the ball, where you can see a gray "dot" in the very center and a gradual "fading" (loss of chromaticity) of color from the equator to this core. All mixtures are actually obtained mathematically, since the possibilities of computer color modeling are fully used in this process.

Both in the Runge ball and in the computer model, the spectral pairs, mixing with each other, form gray. It should also be taken into account that in the computer model the colors practically coincide with the spectral ones, in contrast to the colors used by Goethe, Runge, and many other color researchers. And if this is taken into account, then -

In my opinion, two conclusions can be drawn:

Or computer CMY was created in such a way that “by design” mixtures of primary colors add up to gray, and not to black. Then, however, it is not clear why a widely used model should obviously contradict the theory on which it is built?

Or black of the three primary colors cannot be obtained at all, and the theory still does not quite correspond to practice. And this version sounds much more convincing to me.

PHILIP OTTO RUNGE (Philipp Otto Runge)

Self-portrait, 1802-1803

German artist and theorist, one of the leaders of romanticism in German fine arts.
Born in Wolgast (a city on the territory of modern Poland) in the family of a merchant-ship owner. At the age of eighteen, he came to Hamburg to study trading, but soon (in 1897) he felt a penchant for painting and began to take private drawing lessons.
In 1799-1801 he studied at the Academy of Fine Arts in Copenhagen with the famous Danish painter and draftsman N. A. Abilgor, then in Dresden (1801-1803), where he met the poet and thinker Johann Wolfgang Goethe.
During these years, the Dane N. Abilgor had a special influence on him with his clear classic style of drawing. I also experienced a noticeable impact of J. Flaxman.

Under the influence of Abilgor, who lived in Italy, Runge's interest in antiquity and classical painting was formed. In an early work - the painting "The Triumph of Love" (1801, Kunsthalle, Hamburg) - the composition with putti figures in the form of a relief is executed in monochrome. The strict classical construction of the composition testifies to the influence of the academic tradition, in particular Abilgor. In 1800, the artist got acquainted with the drawings by J. Flaxman for the works of Homer and Aeschylus, read articles about them by A. V. Schlegel in the Ateneum magazine (1799). The influence of the English artist's linear drawing was manifested in Runge's illustrations for the Iliad and on the themes of the Songs of Ossian, popular among European masters of the pre-romantic era. However, Runge creates his own style of drawing with pen and brush, which is built on a thin ephemeral line, but the effects of light and shadow play a significant role in it. Runge's drawings reflected pre-romantic moods in European art of the late 18th century.
In 1802-03 R. worked on the allegorical composition The Times of the Day.
Returning to Hamburg in 1803, he painted and at the same time worked in the trading company of his older brother Daniel. From 1804 he lived mainly in Hamburg.
Throughout his life, the artist turned to the portrait, which became a favorite genre of romantics.
In the canvas “We Three” (1805, died in a fire in 1931) and two self-portraits of the artist (1805, 1806, all from the Kunsthalle, Hamburg), the concept of a European romantic portrait is clearly expressed. Runge depicts himself in moments of various spiritual movements - agitation, melancholy, immersed in thought. The canvas “The Three of Us” is also a self-portrait, where the artist depicted himself with his brother Daniel and his wife Polina (the picture has not been preserved). The feeling of melancholic harmony of the general mood of the portrayed enhances the mountain landscape, against which the figures are depicted.

This portrait, like the paired portraits often found among romantics, symbolizes fraternal friendship, spiritual closeness, but it also emphasizes internal spiritual differences, the individuality of natures. Runge often refers to the form of a paired portrait (My Parents, 1806, Kunsthalle, Hamburg), which makes it possible to convey the world of human feelings in a juxtaposition of characters and moods. Portraits depicting children (“Children Huelsenbeck”, 1805-1806; “Portrait of a Son”, 1805; both - Kunsthalle, Hamburg) sincere immediacy in the reproduction of nature anticipate the work of the masters of early realism - Biedermeier.

In line with the romantic aspirations of the era and the artist's appeal to the national tradition, themes from the national history. For German churches, he creates canvases "Rest on the Flight into Egypt" (1805-1806) and "Christ Walking on the Waters" (1806-1807; both - Kunsthalle, Hamburg). In the smooth outline of the figures, the reproduction of the details of a bright landscape background with fantastic plants, the deep spiritual concentration of the characters, one can feel the influence of the masters of the Northern Renaissance, the study of Dürer's works.

The sum of the mystical moods of the master, on the one hand, inspired by the teachings of J. Boehme, and on the other hand, associated with the search for an aesthetic absolute, characteristic of romanticism in general, was intended to be the four-part cycle The Times of the Day, symbolizing the merging of man with nature, it was supposed to be shown in the form wall panels to music and poetry reading, with special lighting. The preparatory drawings for the cycle, with their ornamental-rhythmic emblems, as well as the enchantingly fabulous Morning in color (the only pictorial sketch, carried out in 1808-1809) belong to the number of original anticipations of symbolism and modernity.
Back in 1802, Runge conceived a pictorial cycle depicting the times of the day. Morning, afternoon, evening and night, replacing each other, were for the romantics a symbol of both human life and earthly history; they embodied the eternal law, according to which everything in the world is born, grows, grows old and goes into oblivion - to be reborn again. Runge deeply felt this universal unity, as well as the inner kinship of different types of art: he intended to exhibit The Times of the Day in a specially designed building, accompanied by music and poetic text. Runge did not have enough life to realize his plan: out of four paintings, only one, “Morning”, was completed. She is naive and bright, like a fairy tale. A baby lying on a yellow-green meadow symbolizes the dawning day; a female figure against the background of a golden sky and lilac distances - the ancient Roman goddess of the morning dawn, Aurora. In terms of freshness of colors and lightness of tonal transitions, this picture is much superior to the previous works of the artist. “Sometimes,” wrote Runge, “color excites with its pallor, and sometimes it attracts with its depth. When does the green of a meadow, the richness of the color of dewy grass, the delicate foliage of a young beech forest, or a transparent green wave attract you more? Then, when they are in the sparkling rays of the sun or in the peace of the shade? In the variety of colors, in the complex relationships of color, light and shadow, the artist saw the key to the secrets of the Universe, the revelation of the World Spirit - this is how some romantics called God, who seemed to them dissolved in nature. “We are not able to express how each color touches us,” said Runge’s friend, the German romantic writer Ludwig Tieck, “because colors speak to us in a more gentle language. This is the World Spirit, and he rejoices that he can give an idea of ​​himself in a thousand ways, while hiding from us ... But a secret magical joy embraces us, we come to know ourselves and remember some ancient, immeasurably blissful spiritual union.

The Great Morning, 1809-10, Kunsthalle, Hamburg

The Small Morning, 1809-10, Kunsthalle, Hamburg

Considering the optics of colors as the key to the art of the future, Runge corresponded with Goethe about this. Having singled out three primary colors (yellow, red, blue) and three derivatives (orange, violet and green), he summarized his thoughts and experiments in the book “The Ball of Colors, or the Construction of Relationships between All Mutual Mixtures of Colors and Their Total Affinity” (Farbenkugel oder Construction des Verhältnisses aller Mischungen der Farben zu einander und ihrer vollstandigen Affinität, 1810), which was a remarkable stage in the development of post-Newtonian optics, still retaining artistic and practical interest.

The book was published in 1810, the year of Runge's death.

Runge died young, remaining true to the Protestant principle that fine art should have a spiritual purpose.

In 1840-1841, two volumes of his writings were published (along with the Ball of Flowers - two fairy tales composed by Runge in Plattdeutsch, a Low German dialect, and included in the Grimm's Tales: About a Fisherman and His Wife and Juniper, both 1806, together with an epistolary legacy).

Runge made several self-portraits