Presentation on the topic "Art and spiritual life." Presentation on the topic “Art and spiritual life” “The morning of the Streltsy execution”
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Art Social studies lesson in 11th grade Prepared by: history and social studies teacher Yuricheva O.E. MBOU secondary school No. 3 of the city. TolyattiSlide 2
Art is usually called a specific form of social consciousness and human activity, which is a reflection of the surrounding reality in artistic images. Through the creation of works of art, this type of cognitive activity of people is realized as artistic cognition.
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Subject of art Man, his relationships with the outside world and other individuals, the life of people in certain historical conditions
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The specificity of art is, firstly, that it is figurative and visual. The subject of art - people's lives - is extremely diverse and is reflected in art in all its diversity in the form of artistic images. The latter, being the result of fiction, are nevertheless a reflection of reality and always bear the imprint of really existing objects, events and phenomena. An artistic image performs the same functions in art as a concept in science: with its help, the process of artistic generalization occurs, highlighting the essential features of cognizable objects. The created images constitute the cultural heritage of society and are capable, having become symbols of their society, to have a serious influence on public consciousness
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Secondly, artistic cognition is characterized by specific ways of reproducing the surrounding reality, as well as the means by which artistic images are created. In literature, such a means is the word, in painting - color, in music - sound, in sculpture - three-dimensional forms, etc. Specifics of art
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Thirdly, the imagination and fantasy of the cognizing subject plays a huge role in the process of understanding the world through art. Artistic invention, which is allowed in art, is completely unacceptable, for example, in the process of scientific knowledge. Unlike various social sciences, with other forms of cognitive activity it is a special form of knowledge of the surrounding reality. Specifics of art
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Functions of art Hedonic Compensatory Communicative Aesthetic Educational Cognitive Prognostic
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Features of art. For art, such qualities as sincerity, emotionality, depth of experience are important, and not accuracy, balance and validity. Sensory perception
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art does not strive for objectivity; Only by passing the world around him through the prism of his feelings can a person claim the title of creator. Features of art. Subjectivity of Pablo Picasso. Portrait of Jacqueline Rock 1955-1964
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The creation of an artistic image most of all distinguishes art from other types of human activity. Features of art Imagery
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"Every man to his own taste". Each person, generation, nation has its own aesthetic experience, on the basis of which judgments are formed. Features of art Individuality of perception
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paintings, sculptures, literary works remain for centuries the way the author presented them to the public. Features of art Completeness of author's works
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Types of art Painting Architecture Sculpture Literature Music Variety Ballet Theatrical performances Films Circus Arts and crafts
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Styles in the art of the West Romanesque, X-XIII centuries. The architecture is simple, austere and massive. Church Romanesque architecture was strongly influenced by local conditions, as well as by the influence of ancient, Syrian and Arabic Gothic, XIII-XVI centuries. The architecture is characterized by pointed vaults on the ribs, an abundance of stone carvings and sculptural decorations, the use of stained glass, as well as the subordination of architectural forms to the vertical rhythm of Baroque, con. XVI – mid. XVIII centuries The architecture has luxurious, whimsical plasticity, dynamism and unity of fluid, curvilinear forms; in ceremonial interiors it merges with multi-colored sculpture, combined with mirrors and paintings that illusorily expand the space, and ceiling paintings that carry the feeling of open Rococo vaults, per. XVIII century The architecture has a predominantly ornamental, decorative focus - lavishly decorated interiors with a relatively austere appearance, refined decoration; complex, curved surfaces, patterns, curls, exquisite frames, as well as numerous mirrors that enhance the effect of light movement
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Styles in the art of the West Classicism, XVII - early. XIX centuries Appeal to the images and forms of ancient literature and art as a standard; characterized by rationalism, normativity of creativity, gravitates towards completed forms, monumentality in simplicity, balance of composition Sentimentalism, second. Floor. XVIII-early XIX centuries In literature, music, fine arts; contrasting the cult of feelings with reason as the main thing in knowledge and creativity; manifested itself in art as a special state of mind: dreaminess, a tendency to solitude, reflection, sensitivity Romanticism, con. XVIII – beginning XIX centuries Characterized by lofty aspirations and ideals, dreaminess, a keen desire to create a perfect world and a sharp opposition to the everyday life and dullness of reality Empire, three lanes. decades of the 19th century Focused on ancient and ancient Egyptian images that embodied majestic power and military strength, the search for graceful simplicity and extreme expressiveness
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Styles in Western art Realism, XIX – XX centuries. Reliability in the reproduction of reality without distortion and embellishment, careful study of reality, affirmation of the aesthetic value of everyday life Impressionism, second half. XIX century (1874-1876) In painting and sculpture; the desire to convey a direct impression of the environment by pictorial means (through the illusion of light and air, the dissolution of color in light and air, the use of pure colors and optical perception of the eye, depriving the object of the materiality of form) and to cover only its external visible side Modern, 1892-1914. (art nouveau) The desire for external decorativeness with an abundance of curved lines and a pile of decorative elements; artistic interaction of different arts, mixing techniques and genres, the desire for a large monumental form Avant-garde, or avant-garde (modernism), 20th century. An artistic direction that unites all the latest, experimental views, concepts, movements, schools that break with existing traditions. The search for new forms and ways of creativity turns into an end in itself
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Styles in the art of the West Symbolism, con. XIX - early XX centuries Mystery, unusualness, mysticism, the desire to discover new highest values with the help of symbols and allegories. Solitude in the world of one's own images, visions created by the power of fantasy Fauvism, early. XX century Conventionality of form and space, clear silhouette and laconic lines. Creating artistic images exclusively using bright, open color Expressionism, first quarter. XX century The only reality for the artist is the subjective spiritual world of man. External increased expressiveness, emotionality, almost repulsive deformation. The desire to express the dramatic depression and alienation of a person in a hostile world. Constructivism, the turn of the 19th – 20th centuries. The main goal: the rapprochement of art with the practice of industrial life along the line of form, geometrization of contours and exposure of the technical basis of construction in architecture, functionally justified design in applied art, stylization of documents and reproduction of production rhythms in poetry
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Styles in Western art Primitivism, con. XIX - early XX century Following the norms of “primitive” art (primitive and folk art, “traditional” art of culturally backward peoples). Flatness, graphicity, locality of color relationships, the determining role of symmetry and rhythm, “openness,” humor, narrative composition Cubism, early. XX century Simplification of objects to geometric shapes - ball, cylinder, cone, prism, cube. The dissection of real objects and creatures into parts in accordance with their internal structure and arranging them in a different order, the image of the same object from different sides at the same time, from many angles and sections, which led to a rhythmic play of shapes, planes, volumes Orphism, early . XX century Expression of the dynamics of movement and musical rhythms using patterns and the interpenetration of the primary colors of the spectrum and the intersection of curved surfaces Purism, early. XX century Ultimate “purification” of objective forms from sensory concreteness. Emphasized laconicism of expressive means
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Styles in Western art Dadaism, early. XX century Artistic creativity relies on random processes, mental automatism of actions, improvisation, photomontage. The compositions are deliberately similar, sometimes abstract, sometimes made up of real everyday objects Futurism, early. XX century Denial of the artistic heritage and achievements of the past, destruction of conventional forms of art. Excessive praise of technology, urbanism, industrial spirit, cult of the artist’s strength and personality Abstract art, 20th century. Non-objective art, an extreme refusal of consciousness, of reproducing the forms of real objects, extreme formalization of compositions. The desire to express the escape of the individual from banal and illusory reality Op art, ser. XX century The use of visual illusions created by the effect of spatial movement, merging, sharp color contrasts, writhing lines, the intersection of lattice and spiral contrasts. Creating on a plane the impression of moving away and approaching plans, the dynamics of abstract space
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Styles in Western art Suprematism, early. XX century Search for rationally organized forms, creation of logically ordered structures from volumes and lines; combinations of the simplest geometric elements (square, rectangle, cross, circle), among which the square is the most common element, i.e. completely cleared of all meaningful associations. Tachisme, ser. XX century The desire to express spontaneity, the unconsciousness of creativity in the impetuosity, impulsiveness of the actions of the debtor, in the dynamics of spots, volumes, lines Surrealism, trans. floor. XX century Perception of the modern world as absurd, paradoxical, crazy. Reflection of “superreal” analogous connections between objects of the real world, manifesting only in the human subconscious or in a state of sleep, hypnosis, or illness. An irrational combination of purely objective fragments of reality, in their natural form or paradoxically deformed. The desire to portray a confused person in a mysterious and unknowable world
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Styles in Western Art Pop Art, ser. XX century This is popular, public art. Depiction of the rough world of material things. A deliberately random combination of ready-made household items, mechanical copies, and fragments of mass printed publications. The desire to portray the de-ideologized personality of a society of “mass consumption” Hyperrealism, second. floor. XX century Accurate reproduction of individual fragments of reality (color photography, dummy) in order to achieve illusionistic effects that stop the viewer’s attention. Imitation of documentary accuracy. The desire to depict an impersonal living system in a hard and rough world Neorealism, ser. XX Century (modification of critical realism) Showing natural life, “unmade up.” The desire for social justice, democracy, protest against the cruelty of bourgeois society. In the center of the work is invariably the fate of the common man, people's life without embellishment. Personal striving and overcoming egocentrism
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Historical theme in art. Creativity of V.I. Surikov Art lesson in 7th grade Teacher: Sizonenko L.A.
Purpose of the lesson: To introduce students to the work of the great chronicler of Russian history V.I. Surikov. Objectives: To form an idea of the historical genre in painting. Creating an atmosphere for the perception of the works of V.I. Surikov, to give basic information about the history of the creation of the most famous paintings about the artist’s work, some moments of his life. Cultivating in students a sense of understanding of the special content of art preserved by the artistic culture of mankind.
Historical genre, one of the main genres of fine art, dedicated to historical events and figures, socially significant phenomena in the history of society. Focused primarily on the past, the historical genre also includes depictions of recent events whose historical significance is recognized by contemporaries.
The main types of works of the historical genre are historical paintings, murals, reliefs, monumental and easel sculpture, miniatures, book and easel graphics. The historical genre is often intertwined with other genres - the everyday genre (historical-everyday images), portrait (images of figures of the past, portrait-historical compositions), landscape ("historical landscape"). The battle genre is especially closely related to the historical genre when it reveals the historical meaning of military events. The evolution of the historical genre is largely determined by the development of historical views, socio-political views, and periods of its rise are associated with the intensification of social conflicts, the emergence of social and revolutionary movements, the growth of class and national consciousness, with the desire to embody advanced social ideals in art and convey to the viewer. In the historical genre, dramatic clashes of historical forces, events of the class and national liberation struggle, and a view of the people as an active driving force of history often found artistic expression.
Vasily Ivanovich Surikov Surikov Vasily Ivanovich (1848–1916), Russian artist, master of Russian historical painting; combined the traditions of historical romanticism with pictorial innovation. Born in Krasnoyarsk on January 12 (24), 1848 in the family of a clerical employee, a descendant of an old Cossack family. He received his first drawing lessons from school teacher N.V. Grebnev. In 1868 he went to St. Petersburg, where in 1869 he entered the Academy of Arts; Having graduated from the Academy in 1875, he lived in Moscow from 1877.
In 1876–1877 he created sketches on the theme of four ecumenical councils to decorate the Cathedral of Christ the Savior. The young artist’s move to Moscow and his impressions of the ancient architecture of the “first throne” played an important role in the formation of his first masterpiece in a series of paintings on a historical theme, “The Morning of the Streltsy Execution,” completed in 1881 (Tretyakov Gallery, Moscow). Choosing the theme of the tragic outcome of the first Streltsy revolt of 1698 - the execution of rebels on Red Square under the personal supervision of Peter I, Surikov essentially showed the great conflict of the Russian Middle Ages and the Russian Modern Age, from which neither side emerges victorious.
"MORNING OF THE STRELETSKY EXECUTION"
Surikov confirmed his gift as an outstanding historical painter in the canvases “Menshikov in Berezovo” (1883) and “Boyaryna Feodosia Morozova” (1887; both paintings in the Tretyakov Gallery), also a kind of complex and at the same time impressively holistic visual novels - about the distant Siberian exile of the once powerful Peter the Great's courtier Alexander Danilovich Menshikov and the removal to prison of the palace noblewoman and Old Believer ascetic Feodosia Prokopyevna Morozova. The colorful expressiveness of the details is combined with the virtuosity of the overall direction.
"BOYARYAN MOROZOV"
"Menshikov in Berezovo"
Surikov’s canvas “The Capture of a Snow Town” is not inferior to all these three paintings by the artist. The painting “The Capture of the Snowy Town” (1891, Russian Museum) is entirely dedicated to modern folk life - the Maslenitsa game, presented as a cheerful and yet crushingly menacing element.
"TAKE OF SNOW TOWN"
Subsequent “choral” paintings (“Conquest of Siberia by Ermak”, 1895; “Suvorov’s Crossing of the Alps”, 1899; “Stepan Razin”, 1903–1907; all paintings in the Russian Museum) already represent a certain kind of decline. Epic scenes of Russian expansion in Siberia, the anti-French campaign in the Swiss Alps and, finally, an episode from the life of the beloved hero of folk songs are written masterfully, but without the complex and polyphonic drama that distinguishes the best works of the master.
"CONQUEST OF SIBERIA BY ERMAK"
"SUVOROV'S TRANSITION THROUGH THE ALPS"
"Stepan Razin"
You can use this design to create your own presentations, but in your presentation you must indicate the source of the template: Lidiya Petrovna Fokina, primary school teacher at MCOU “Secondary School Art. Evsino" Iskitimsky district of the Novosibirsk region Website http://linda6035.ucoz.ru/ THANKS TO THE AUTHORS OF BACKGROUND AND PICTURES Internet resources: Flowers http://img-fotki.yandex.ru/get/9260/16969765.208/0_8d29a_f23ca638_orig.png Lawn with paint http://img-fotki.yandex.ru/get/9814/134091466.18a/0_fadf2_4216466e_S
In an effort to achieve maximum convincingness of the figurative action, in his later works Surikov reduces the number of figures, while simultaneously increasing the expressiveness of the colorful texture ("Visit of the Princess to the Nunnery", 1912, Russian Museum; "Annunciation", 1914, Art Gallery, Krasnoyarsk). In the latter case, the master completely adheres to the Art Nouveau style in its religious version. Surikov’s best works always stood out for their remarkable – highly constructive, and not just decorative – color. The artist’s later watercolors are impressive with their color expression, especially those created in Spain, where Surikov traveled with his son-in-law, artist Pyotr Petrovich Konchalovsky, in 1910. Here Surikov acts as a forerunner of new trends in art. In his later years, the artist painted a number of his best portraits (Self-Portrait, 1913, and other paintings). Vasily Ivanovich Surikov died in Moscow on March 6 (19), 1916.
Literature used Voloshin Maximilian “Surikov” Yakov Minchenkov “Surikov Vasily Ivanovich” https://ru.wikipedia.org/wiki / https://yandex.ru/search/?text
“Types of fine arts” - Relief. The sculpture depicts mainly humans, less often animals. Architecture (Architekthon - builder) - the art of designing and constructing buildings, etc. Fine arts. Stained glass window of the Cathedral of Chartres. Lithography. Art is a mediator of what cannot be expressed. Painting. Sculpture. Graphic arts.
"Art Project" - Grading Criteria for PowerPoint Presentation. What is the wisdom of arranging the living environment of a Russian hut? Evaluation criteria. What elements does Russian folk costume consist of? Developmental: develop creative and cognitive activity. What is interesting about the design and decoration of household items?
"History of Art" - Literature. Educational plan: History of art. Western European art. Relevance:
"Art Park" - Keifenhof. The Kingdom of the Netherlands occupies an area of 41.5 thousand square meters. km, 40% of which is below sea level. Holland Lisse. Stunning colors and smells leave an unforgettable impression. The place of departure and arrival is the mill in the Keukenhof park. The population of the entire country is 15.3 million people. The journey lasts 1 hour and guarantees you the most beautiful views for filming.
“Art in the 20th century” - Alexandre Benois. Gustav Klimt The Kiss, 1907-1908. The artists are Fauves. Carousel. 1921. Expressionist artists. Cubist artists. 10/25/1881 - 04/08/1973 - Spanish artist, sculptor, graphic artist, ceramist and designer. Dance of life. 1899-1900. Toulouse-Lautrec A. (France). Modernism. Head + Light + Surroundings.
“Types of arts” - Photography. What arts are considered synthetic? Graphic arts. A type of artistic and design professional activity that arose in the 20th century. Ballet. All types of art serve the greatest - the art of living on earth B. Brecht. The art of designing and building. What three types can all arts be divided into?
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Presentation on the topic: “Pure art” Prepared by: student of 10th grade “D” MOBU “Secondary School No. 73” Lavrenchuk Yulia
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“ISKU SSTVO FOR ISKU SSTVA” (“pure art”) is a term used to designate a number of aesthetic concepts based on the assertion of the intrinsic value of artistic creativity and its independence from social and political demands.
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The position of the supporters of “pure art” was not to tear art away from life, but to protect its truly creative principles, poetic originality and the purity of its ideals. They did not strive for isolation from public life (this is impossible for anyone to achieve), but for creative freedom in the name of establishing the principles of the perfect ideal of art, “pure”, which means independent of petty needs and political predilections.
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History In France, the theory of "Art for art's sake" became widespread in the 1830s. and is most clearly revealed in the 50s. among representatives of the so-called literary school Parnassians led by critic T. Gautier. In Great Britain in the 50s-80s. - in the work of the Pre-Raphaelites, which developed under the influence of the artistic theorist J. Ruskin, as well as writers A. Swinburne and others.
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In Russia, the slogan “Art for art’s sake” in the mid-19th century. was polemically opposed to the natural school, or the “Gogolian direction,” i.e., realistic art, and was criticized by the Russian revolutionary democrats V. G. Belinsky, N. G. Chernyshevsky, N. A. Dobrolyubov, who saw the source of beauty in reality, affirming the ideas of civic art. The aesthetics of the revolutionary democrats, their struggle against the concept of “Art for art’s sake” had a significant influence on the flourishing of realism in Russian literature and art of the second half of the 19th century. At the turn of the 19th and 20th centuries. the ideas of “Art for Art’s sake” were partly manifested in the work of other artistic figures, representatives of the “World of Art” association, headed by A. N. Benois and S. P. Diaghilev.
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Some representatives Afanasy Afanasyevich Fet (Fet) (November 23, 1820, Novoselki estate, Mtsensk district, Oryol province - November 21, 1892, Moscow) - Russian lyric poet, translator, memoirist, as well as the most prominent representative of his movement (“In the steppe wilderness , above the silent moisture", "Autumn").
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Whisper, timid breathing, The trill of a nightingale Silver and the swaying of the Sleepy stream Night light, night shadows Shadows without end, A series of magical changes of a sweet face, In the smoky clouds the purple of a rose, A reflection of amber, And kisses, and tears, And dawn, dawn!.. 1850
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Fyodor Ivanovich Tyutchev (November 23, 1803, August, Bryansk district, Oryol province - July 15, 1873, Tsarskoe Selo) - Russian poet, diplomat, conservative publicist, corresponding member of the St. Petersburg Academy of Sciences since 1857 (“Leaves”, “On the Neva”) .
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December morning There is a month in the sky - and the shadow of the night has not yet moved, Reigns itself, not realizing that the day has already started, - That even though lazily and timidly Beam appears after ray, And the sky is still completely shining with triumph at night. But not two or three moments will pass, the night will evaporate over the earth, and in the full splendor of manifestations suddenly the world of daylight will embrace us.
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Apollo Nikolaevich Maikov (May 23, 1821, Moscow - March 8, 1897, St. Petersburg) - Russian poet, corresponding member of the St. Petersburg Academy of Sciences (1853) (“Spring”, “Thunderstorm”).
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MOUNTAINS I love mountain peaks. Among the heavenly emptiness Their strange ruins burn, How unfinished are the dreams and thoughts of the Architect of nature. There are unfinished vaults, There is a giant's head and an unsculpted body, There is the gaping mouth of a lion, There is a numb profile of a maiden...
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Yakov Petrovich Polonsky (December 6, 1819, Ryazan - October 18, 1898, St. Petersburg) - Russian poet and prose writer (“Bird”, “Moonlight”).
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EVENING The dying flames scattered sparks across the sky, the radiant sea shines through; Along the coastal road, the jingle bells' discordant talk died down, the driver's ringing song got lost in the dense forest, and a noisy seagull flashed and disappeared in the transparent fog. White foam sways near a gray stone, like in a cradle A child has fallen asleep. Like pearls, refreshing drops of dew hung on the leaves of the chestnut tree, And in every dewdrop the dying flame of dawn flutters.
