Still lifes of outstanding masters of Western Europe presentation. Presentation on the topic "Dutch still life"

MBOO "Novoobintsevskaya secondary school"

Presentation made by:

teacher primary school Kavylina Nadezhda Vasilievna

What is still life?

Still life (fr. nature morte -

"dead nature") - the image of inanimate objects in the visual arts, in contrast to the portrait, genre, historical and landscape subjects.

Still life finally takes shape as an independent genre of painting in the works of Dutch and Flemish artists of the 17th century. Items in still life painting of this period often contain a hidden allegory - either the transience of everything earthly and the inevitability of death (Vanitas), or - in a broader sense Passion of Christ and Resurrection. This value

is transmitted through the use of objects - in most cases familiar and encountered in everyday life, which are endowed with additional symbolic meaning.

flower still life

Starting from the 40s of the 17th century, still life in

Netherlandish painting became widespread as independent genre. One of

the very first flower still life stood out in

works by artists such as Ambrosius Bosschaert the Elder and Balthasar van der Ast, and

still lifes by Jan Davidsz de Heem and his

followers already in the second half of the 17th century. The reasons for the popularity of the flower still life can be

find in the features of the life of the Dutch society - the tradition of having gardens, country villas

or houseplants- as well as favorable natural conditions for the development of floriculture.

Scientist still life

Born in the university Leiden, the genre of "scholarly" still life, gets the name "vanity of vanities" or " memento mori"And is the most intellectual type of still life, requiring the viewer to know the Bible and the traditions of religious symbolism (pictures are typical Peter Stenwijk and David Bailey). Often in the still lifes of this direction there are illusionistic tricks that create a skillful optical illusion. In turn, the fascination with the illusionistic transmission of nature led to the emergence of a special type of still life - the so-called " tricks"(trompe l'œil). Such still lifes were especially common in the middle of the 17th century and gained incredible popularity in the country and abroad.

Netherlandish still life of the 17th century

The Dutch still life was

a unique cultural phenomenon of the 17th century that influenced the further development of the entire European

painting. "Small Dutch" reflected in their

works the world of objects living their quiet, frozen life. The term "frozen life"

(Dutch stilleven, German stilleben, English still-life) became

used to designate a genre in the middle of the XVII

century, initially in the Netherlands. Prior to this, artists called similar paintings, describing the plot:

"Little Breakfast", "Bouquet of Flowers", "Hunting Trophy", "Vanity of Vanities". The main translation of the specified

term found in the literature - "quiet, motionless life."

Still life in Russian painting 18th-20th centuries

Still life as an independent genre of painting appeared in Russia in early XVIII century. The idea of him was originally associated with the image of the gifts of the earth and the sea, the diverse world of things surrounding a person.

Until the end of the 19th century, still life, in contrast to the portrait and historical picture, was considered as an "inferior" genre. It existed mainly as an educational production and was allowed only in a limited sense as a painting of flowers and fruits.

The beginning of the 20th century was marked by the flourishing of Russian still life painting, which for the first time gained equality among other genres. The desire of artists to expand the possibilities of the pictorial language was accompanied by active searches in the field of color, form, and composition. All this is especially evident in the still life. Enriched with new themes, images and artistic techniques, Russian still life developed unusually rapidly: in a decade and a half, it goes from impressionism to abstract form creation.

In the 1930s and 1940s, this development stopped, but since the mid-1950s, still life has experienced a new upsurge in Soviet painting, and from that time on it finally and firmly stands on a par with other genres.

slide 2

What is still life?

Still life is a depiction of inanimate objects in painting or drawing.

slide 3

From the history of still life.

Still life arose in the era of antiquity, but as an independent genre it began to develop only in the 17th century. Its heyday began in Holland, where the Reformation, forbidding artists to paint on religious themes, forced them to look for new directions. Frans Snyders. Flemish school. Fish shop.

slide 4

Dutch still life

In still lifes dating back to the beginning of the 17th century, objects are arranged in a strict order, like exhibits in a museum showcase. In such paintings, the details are endowed with symbolic meaning. Apples are reminiscent of the fall of Adam, and grapes are reminiscent of the atoning sacrifice of Christ. The shell is a shell left by a creature that once lived in it, wilted flowers are a symbol of death. A butterfly born from a cocoon means resurrection. Such, for example, are the canvases of Balthasar van der Ast. Balthasar van der Ast. Still life with apple flowers

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Dutch still life of the 17th century. strikes with the richness of themes. In every artistic center of the country, painters preferred their compositions: in Utrecht - from flowers and fruits, in The Hague - from fish. Modest breakfasts were written in Haarlem, sumptuous desserts were written in Amsterdam, and books and other objects for science or traditional symbols of worldly fuss - a skull, a candle, an hourglass - were written in Leiden University. Peter Klas. Breakfast with ham.

slide 6

For artists of the next generation, things no longer remind of abstract truths, but serve to create independent artistic images. In their paintings, familiar objects acquire a special, previously unnoticed beauty. Pieter Klas subtly and skillfully emphasizes the uniqueness of each dish, glass, pot, finding the perfect neighborhood for any of them. In the still lifes of his fellow countryman Willem Claesz Heda, a picturesque mess reigns. Most of all, he wrote "interrupted breakfasts." A crumpled tablecloth, mixed up serving items, barely touched food - everything here is reminiscent of the recent presence of a person. The paintings are enlivened by diverse light spots and multicolored shadows on glass, metal, and canvas. Willem Claesz Heda. Crab breakfast.

Slide 7

In the second half of the XVII century. Dutch still life, like a landscape, became more spectacular, complex and multicolored. The paintings by Abraham van Beijern and Willem Kalf depict grandiose pyramids made of expensive crockery and exotic fruits. Willem Kalf. Dessert. About 1659

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Flemish school of painting

The manner of the Flemish artist Jan Veit is more refined than that of his teacher Snyders. Emphatically modest in composition and size, Feit's works are interesting for the harmony of discreet light, subtle shades of brown, greenish and light gray tones. This incomparable sensitivity of the painter brings him closer to the Dutch masters. Jan Fate. Still life with a dog.

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Jean Calvin Jean Calvin(1509-1564) - church reformer and founder of one of the currents of pro-testantism. The basis of the Calvinist church is the so-called congregations - autonomous communities managed by a pastor, a deacon and elders chosen from the laity. Calvinism was very popular in the Netherlands in the 16th century. taught that everyday things have a hidden meaning, and behind every image there should be a moral lesson. The objects depicted in the still life are ambiguous: they were endowed with edifying, religious or other overtones. For example, oysters were considered an erotic symbol, and this was obvious to contemporaries: oysters allegedly stimulated sexual potency, and Venus, the goddess of love, was born from a shell of guilt. On the one hand, oysters hinted at worldly temptations, on the other hand, an open shell meant a soul ready to leave the body, that is, it promised salvation. Of course, there were no strict rules on how to read a still life, and the viewer guessed exactly those symbols on the canvas that he wanted to see. In addition, we must not forget that each object was part of the composition and could be read in different ways - depending on the context and the overall message of the still life.

flower still life

Until the 18th century, a bouquet of flowers, as a rule, symbolized frailty, because earthly joys are as transient as the beauty of a flower. The symbolism of plants is especially complex and ambiguous, and books of emblems, popular in Europe in the 16th-17th centuries, where allegorical illustrations and mottos were accompanied by explanatory texts, helped to catch the meaning. flower arrangements it was not easy to interpret: the same flower had many meanings, sometimes directly opposite. For example, the narcissus indicated self-love and at the same time was considered a symbol of the Mother of God. In still lifes, as a rule, both meanings of the image were preserved, and the viewer was free to choose one of the two meanings or combine them.

Flower compositions were often supplemented with fruits, small objects, images of animals. These images expressed the main idea of the work, emphasizing the motive of transience, withering, the sinfulness of everything earthly and the imperishability of virtue.

Jan Davids de Heem. Flowers in a vase. Between 1606 and 1684 State Hermitage

Pictured by Jan Davidsz de Heem Jan Davids de Heem(1606-1684) Dutch painter known for his flower still lifes. at the base of the vase, the artist depicted symbols of frailty: wilted and broken flowers, crumbling petals and dried pea pods. Here is a snail - it is associated with the soul of a sinner Among other such negative images are reptiles and amphibians (lizards, frogs), as well as caterpillars, mice, flies and other animals crawling on the ground or living in mud.. In the center of the bouquet we see symbols of modesty and purity: wild flowers, violets and forget-me-nots. They are surrounded by tulips, symbolizing fading beauty and senseless waste (cultivation of tulips was considered one of the most vain occupations in Holland and also not cheap); lush roses and poppies, reminiscent of the fragility of life. The composition is crowned by two large flowers that have a positive meaning. The blue iris represents the remission of sins and indicates the possibility of salvation through virtue. The red poppy, which was traditionally associated with sleep and death, has changed its interpretation due to its location in the bouquet: here it stands for the atoning sacrifice of Christ Even in the Middle Ages, it was believed that poppy flowers grew on the ground irrigated with the blood of Christ.. Other symbols of salvation are spikelets of bread, and a butterfly sitting on a stem represents an immortal soul.

Jan Bauman. Flowers, fruits and a monkey. First half of the 17th century Serpukhov History and Art Museum

Painting by Jan Bauman Jan (Jean-Jacques) Bauman(1601-1653) - painter, master of still life. Lived and worked in Germany and the Netherlands.“Flowers, fruits and a monkey” is a good example of the semantic layering and ambiguity of a still life and objects on it. At first glance, the combination of plants and animals seems random. In fact, this still life also reminds of the transience of life and the sinfulness of earthly existence. Each depicted object conveys a certain idea: a snail and a lizard in this case point to the mortality of everything earthly; a tulip lying near a bowl of fruits symbolizes rapid withering; shells scattered on the table hint at a waste of money In Holland in the 17th century, it was very popular to collect all sorts of “curiosities”, including shells.; and a monkey with a peach indicates original sin and depravity. On the other hand, a fluttering butterfly and fruits: bunches of grapes, apples, peaches and pears - speak of the immortality of the soul and the atoning sacrifice of Christ. On another, allegorical level, the fruits, fruits, flowers and animals presented in the picture represent the four elements: shells and snails - water; butterfly - air; fruits and flowers - the earth; monkey is fire.

Still life in a butcher's shop

Peter Artsen. The Butcher's Shop, or The Kitchen with the Flight into Egypt. 1551 North Carolina Museum of Art

The image of a butcher's shop has traditionally been associated with the idea of physical life, the personification of the earth element, and also with gluttony. In a painting by Peter Aartsen Peter Aartsen ( 1508-1575) was a Dutch painter, also known as Pieter Long. Among his works are genre scenes based on gospel stories, as well as images of markets and shops. almost the entire space is occupied by a table bursting with food. We see many types of meat: killed poultry and butchered carcasses, liver and ham, hams and sausages. These images symbolize immoderation, gluttony and attachment to carnal pleasures. Now let's turn our attention to the background. On the left side of the picture in the window opening is placed the gospel scene of the flight to Egypt, which contrasts sharply with the still life on foreground. The Virgin Mary hands out the last piece of bread to a poor girl. Note that the window is located above the dish, where two fish lie crosswise (a symbol of the crucifixion) - a symbol of Christianity and Christ. On the right in the depth is a tavern. A cheerful company sits at a table by the fire, drinks and eats oysters, which, as we remember, are associated with lust. A butchered carcass hangs next to the table, indicating the inevitability of death and the transience of earthly joys. A butcher in a red shirt dilutes wine with water. This scene echoes the main idea of the still life and refers to the Parable of the Prodigal Son. Recall that there are several plots in the Parable of the Prodigal Son. One of them tells about younger son who, having received an estate from his father, sold everything and spent money on a dissolute life.. The scene in the tavern, as well as the butcher shop full of food, speaks of an idle, dissolute life, attachment to earthly pleasures, pleasant for the body, but destructive for the soul. In the scene of the flight to Egypt, the characters are practically turned back to the viewer: they move deeper into the picture, away from the butcher shop. This is a metaphor for an escape from a dissolute life full of sensual joys. Giving them up is one way to save your soul.

Still life in a fish shop

Fish still life is an allegory of the water element. Such works, like butcher shops, were often part of the so-called cycle of the first elements. In Western Europe, large painting cycles were common, consisting of several paintings and, as a rule, hanging in one room. For example, the cycle of the seasons (where summer, autumn, winter and spring were depicted with the help of allegories) or the cycle of the elements (fire, water, earth and air). and, as a rule, were created to decorate the palace dining rooms. Paintings by Frans Snyders in the foreground Frans Snyders(1579-1657) - Flemish painter, author of still lifes and baroque animalistic compositions."Fish Shop" depicts a lot of fish. There are perches and sturgeons, crucian carp, catfish, salmon and other seafood. Some have already been cut, some are waiting for their turn. These images of fish do not carry any subtext - they sing of the wealth of Flanders.

Frans Snyders. Fish shop. 1616

Next to the boy, we see a basket with gifts that he received for St. Nicholas Day In Catholicism, Saint Nicholas Day is celebrated on December 6th. On this holiday, as on Christmas, children are given gifts.. This is indicated by wooden red shoes tied to the basket. In addition to sweets, fruits and nuts, there are rods in the basket - as a hint of “carrot and stick” upbringing. The content of the basket speaks of the joys and sorrows of human life, which constantly replace each other. The woman explains to the child that obedient children receive gifts, while bad children receive punishment. The boy recoiled in horror: he thought that instead of sweets he would receive blows with rods. On the right we see a window opening in which you can see the city square. A group of children stand under the windows and joyfully greet the puppet jester on the balcony. The jester is an essential attribute of folk festivities.

Still life with a set table

In numerous variations of table setting on the canvases of Dutch masters, we see bread and pies, nuts and lemons, sausages and hams, lobsters and crayfish, dishes with oysters, fish or empty shells. You can understand these still lifes depending on the set of objects.

Gerrit Willems Heda. Ham and silverware. 1649 State Museum fine arts them. A. S. Pushkin

In a painting by Gerrit Willems Heda Gerrit Willems Heda(1620-1702) still life painter and son of painter Willem Klas Heda. we see a dish, a jug, a tall glass goblet and an overturned vase, a mustard pot, a ham, a crumpled napkin and a lemon. This is Kheda's traditional and favorite set. The location of the items and their choice are not random. Silver utensils symbolize earthly riches and their futility, ham - carnal pleasures, attractive in appearance and sour inside lemon represents betrayal. An extinguished candle indicates the frailty and transience of human existence, a mess on the table indicates destruction. A tall glass “flute” (in the 17th century such glasses were used as a measuring container with marks) is fragile, like human life, and at the same time symbolizes moderation and a person's ability to control his impulses. In general, in this still life, as in many other "breakfasts", with the help of objects, the theme of the vanity of vanities and the meaninglessness of earthly pleasures is played up.

Peter Klas. Still life with a brazier, herring, oysters and a smoking pipe. 1624 Sotheby's / Private collection

Most of the objects depicted in a still life by Pieter Claesz Peter Klas(1596-1661) - Dutch painter, author of many still lifes. Along with Kheda, he is considered the founder of the Harlem school of still life with its geometric monochrome paintings. are erotic symbols. Oysters, pipe, wine refer to short and dubious carnal pleasures. But this is just one version of reading a still life. Let's look at these images from a different angle. So, shells are symbols of the frailty of the flesh; a pipe with which they not only smoked, but also blew bubble, is a symbol of sudden death. Claes's contemporary, the Dutch poet Willem Godschalk van Fockenborch, in the poem "My hope is smoke" wrote:

As you can see, being is akin to smoking a pipe,
And what is the difference - I really do not know:
One is just a breeze, the other is just smoke. Per. Evgeny Vitkovsky

The theme of the transience of human existence is opposed to the immortality of the soul, and the signs of frailty suddenly turn out to be symbols of salvation. The bread and glass of wine in the background are associated with the body and blood of Jesus and indicate the sacrament of the sacrament. Herring - another symbol of Christ - reminds us of fasting and fasting food. And open shells with oysters can change their negative meaning to the exact opposite, denoting human soul separated from the body and ready to enter into eternal life.

Different levels of interpretation of objects unobtrusively tell the viewer that a person is always free to choose between the spiritual and the eternal and the earthly transient.

Vanitas, or "Scientist" still life

The genre of the so-called "learned" still life was called vanitas - in Latin it means "vanity of vanities", in other words - "memento mori" ("remember death"). This is the most intellectual type of still life, an allegory of the eternity of art, the frailty of earthly glory and human life.

Jurian van Streck. Vanity. 1670 State Museum of Fine Arts. A. S. Pushkin

Sword and helmet with a luxurious plume in a painting by Jurian van Streck Jurian van Streck(1632-1687) - Amsterdam-based painter, known for his still lifes and portraits. indicate the transience of earthly glory. The hunting horn symbolizes riches that cannot be taken with you to another life. In the "scientific" still lifes, there are often images of open books or carelessly lying papers with inscriptions. They not only invite you to think about the objects depicted, but also allow you to use them for their intended purpose: read open pages or perform what is written in music notebook music. Van Streck depicted a sketch of a boy's head and an open book: this is the tragedy of Sophocles "Electra", translated into Dutch. These images indicate that art is eternal. But the pages of the book are folded, and the drawing is dented. These are signs of the beginning of damage, hinting that even art will not be useful after death. The skull also speaks of the inevitability of death, but the ear of bread wrapping around it symbolizes the hope for the resurrection and eternal life. By the middle of the 17th century, a skull entwined with an ear of bread or evergreen ivy would become an obligatory subject for depiction in still lifes in the vanitas style.

Sources

Vipper B.R. The problem and development of still life.
Zvezdina Yu. N. Emblematics in the world of ancient still life. To the problem of reading the symbol.
Tarasov Yu. A. Dutch still life of the 17th century.
Shcherbacheva M. I. Still life in Dutch painting.
visual image and hidden meaning. Allegories and Emblems in the Paintings of Flanders and Holland II half of the XVI- XVII century. Exhibition catalogue. Pushkin Museum im. A. S. Pushkin.

Src="http://present5.com/presentation/3/19073041_26144984.pdf-img/19073041_26144984.pdf-1.jpg" alt="(!LANG:>Dutch and Flemish still life 17th century.">!}

Src="http://present5.com/presentation/3/19073041_26144984.pdf-img/19073041_26144984.pdf-2.jpg" alt="(!LANG:>Holland 1. AMBROSIUS BOSHART THE OLD (1570- 1621) 2. BALTHAZAR VAN DER ACT (1594 -1656)"> Голландия 1. АМБРОЗИУС БОСХАРТ СТАРШИЙ (1570- 1621) 2. БАЛТАЗАР ВАН ДЕР ACT (1594 -1656) 3. ПИТЕР КЛАС (1597- 1061) 4. ВИЛЛЕМ КЛАС ХЕДА (1594 -1682) 5. АБРАХАМ ВАН БЕЙЕРЕН (1620/21- 1690) 6. БИЛЛЕМ КАЛФ (1622- 1693) !} dutch art The 11th century of the 11th century did not remain indifferent to the achievements of painting by the largest Flemish masters. However, this influence (which was also mutual) could not become decisive for the painting school, which was established, strengthened and flourished.

Src="http://present5.com/presentation/3/19073041_26144984.pdf-img/19073041_26144984.pdf-3.jpg" alt="(!LANG:> AMBROSIUS BOSHART THE OLD Flemish"> АМБРОЗИУС БОСХАРТ СТАРШИЙ Фламандский живописец цветов, Родоначальник жанра натюрморт в Голландии. Натюрморт с цветами. 1614!}

Src="http://present5.com/presentation/3/19073041_26144984.pdf-img/19073041_26144984.pdf-4.jpg" alt="(!LANG:> Vase with flowers in a window niche, circa 1620"> Ваза с цветами в оконной нише, около 1620 г Ваза с цветами 1622 г. !} flower still life began to develop in the Southern Netherlands a little earlier than in the North, and the North Dutch masters were of Flemish origin or were formed under the direct or indirect influence of the Flemings. AT further development went in parallel, moreover, in the North of the country this genre became more widespread than in the South.

Src="http://present5.com/presentation/3/19073041_26144984.pdf-img/19073041_26144984.pdf-5.jpg" alt="(!LANG:> BALTHASAR VAN DER ACT Utrecht artist,"> БАЛТАЗАР ВАН ДЕР ACT Утрехтский художник, подражатель и ученик Амброзиуса Босхарта Старшего. Он, с его поисками внешней занимательности натюрморта, шел по ложному пути, отвергнутому его последователями, но беспредельная любовь художника к малым формам и мельчайшим деталям предметного мира стала !} national trait Dutch still life. Fruit basket 1625

Src="http://present5.com/presentation/3/19073041_26144984.pdf-img/19073041_26144984.pdf-6.jpg" alt="(!LANG:>Still life with blossoming apple branch 1635 In still lifes related to beginning 17 century, details"> Натюрморт с цветущей веткой яблони 1635 В натюрмортах, относящихся к началу 17 века, детали наделены символическим значением. Яблоки – Грехопадение Адама, виноград – искупительная жертва Христа. Раковина – оболочка, оставленная когда-то жившим в ней существом, увядшие цветы – символ смерти. Бабочка – воскресение.!}

Src="http://present5.com/presentation/3/19073041_26144984.pdf-img/19073041_26144984.pdf-7.jpg" alt="(!LANG:>Still Life with Fruit 1657 This work illustrates the early stage of Dutch still life, for which is characterized"> Натюрморт с фруктами 1657 Эта работа иллюстрирует раннюю стадию голландского натюрморта, для которой характерен подбор несколько необычных объектов изображения. А поскольку автор еще не может объединить это пестрое зрелище в единую картину средствами самого натюрморта он привносит в натюрморт присущие другим жанрам живописи !} literary plot and mechanical movement.

Src="http://present5.com/presentation/3/19073041_26144984.pdf-img/19073041_26144984.pdf-8.jpg" alt="(!LANG:> PETER KLASS"> ПИТЕР КЛАС Питеру Класу принадлежит честь открытия тона и световоздушной среды как главнейших средств выявления этого единства и даже честь создания целого жанра так называемых монохромных завтраков. Кладбищенское спокойствие 1630!}

Src="http://present5.com/presentation/3/19073041_26144984.pdf-img/19073041_26144984.pdf-9.jpg" alt="(!LANG:>"> Был первым мастером, сосредоточившим все свое внимание на изображении предметов, окружающих человека в его !} Everyday life. Vanity

Src="http://present5.com/presentation/3/19073041_26144984.pdf-img/19073041_26144984.pdf-10.jpg" alt="(!LANG:>Still life with nautilus goblet 1633">!}

Src="http://present5.com/presentation/3/19073041_26144984.pdf-img/19073041_26144984.pdf-11.jpg" alt="(!LANG:>Still life 1646 Subtly and skillfully emphasizes the originality of each dish, pot , wine glasses, finding for"> Натюрморт 1646 г. Тонко и умело подчеркивает своеобразие каждого блюда, горшка, бокала, найдя для каждого идеальное соседство.!}

Src="http://present5.com/presentation/3/19073041_26144984.pdf-img/19073041_26144984.pdf-12.jpg" alt="(!LANG:>1647 Ham Breakfast ham" (1647)."> Завтрак с ветчиной 1647 г. Тонко сгармопирован по цвету «Завтрак с ветчиной» (1647). Локальные цвета предметов подчинены нежному серебристому тону, прозрачная светотень мягко лепит объемы, очень сдержанно выявляя фактурное разнообразие вещей.!}

Src="http://present5.com/presentation/3/19073041_26144984.pdf-img/19073041_26144984.pdf-13.jpg" alt="(!LANG:> WILLEM KLASS HEDA Second Lead Master"> ВИЛЛЕМ КЛАС ХЕДА Второй ведущий мастер жанра «монохромных завтраков» . Колорит его произведений в большей степени, чем у Класа, подчинен тоновому началу, и его натюрморты состоят из предметов, почти лишенных ярких локальных цветов: цинковые кувшины, оловянные тарелки, прозрачное или зеленоватое стекло, серебряный или, иногда, позолоченный кубок. Натюрморт с позолоченным кубком, 1635!}

Src="http://present5.com/presentation/3/19073041_26144984.pdf-img/19073041_26144984.pdf-14.jpg" alt="(!LANG:>Still life with ham 1635. The composition of Heda's still lifes is strictly thought out and always firmly built."> Натюрморт с окороком 1635 г. Композиция натюрмортов Хеды строго продумана и всегда крепко построена. За кажущейся случайностью расположения вещей скрывается тонкий расчет на контраст различных материальных качеств предметов и настойчивое желание полнее рассказать о каждом из них.!}

Src="http://present5.com/presentation/3/19073041_26144984.pdf-img/19073041_26144984.pdf-15.jpg" alt="(!LANG:> The flowing calm"> Этим же целям служит льющийся спокойным потоком свет, посредством многочисленных рефлексов обобщающий все предметы. ВЕТЧИНА И СЕРЕБРЯНАЯ ПОСУДА. 1648 г.!}

Src="http://present5.com/presentation/3/19073041_26144984.pdf-img/19073041_26144984.pdf-16.jpg" alt="(!LANG:> Tranquility of Dutch still lifes, with rare exceptions,"> Спокойствие голландских натюрмортов, за редким исключением, не нарушается присутствием живых существ, но изображение вещей так проникнуто личным отношением, что в натюрморте всегда ощущается близость человека и предметы как бы сохраняют следы его прикосновения. Натюрморт 1948 г.!}

Src="http://present5.com/presentation/3/19073041_26144984.pdf-img/19073041_26144984.pdf-17.jpg" alt="(!LANG:> Intentional mess to impress"> Намеренный беспорядок, призванный произвести впечатление большей "живости", обманчив. Натюрморт построен очень строго - линия стола и стоящие на нем кубки и бокалы образуют четкую систему горизонталей и вертикалей - композиция его нерушима. Цвет в натюрморте подчинен единству коричневато-серой тональности, даже красный краб и зеленые оливки должны пожертвовать своим естественным цветом ради этой цели. Завтрак с крабом. 1648!}

Src="http://present5.com/presentation/3/19073041_26144984.pdf-img/19073041_26144984.pdf-18.jpg" alt="(!LANG:> ABRAHAM VAN BEYEREN Still life with"> АБРАХАМ ВАН БЕЙЕРЕН Натюрморт с рыбой 1653 г. Лучший «живописец рыб» . Тональный колорит господствует в натюрмортах мастера 1640- 1650 -х годов, хотя отдельные пятна красного, розового и !} blue flowers already enliven the monochrome vision of the world. "Fish Shop" 1650

Src="http://present5.com/presentation/3/19073041_26144984.pdf-img/19073041_26144984.pdf-19.jpg" alt="(!LANG:>"> В поздний период творчества ван Бейерен обращается к теме «завтраков» , но не в прежнем скромном, типичном для Класа и Хеды, а в роскошном и пышном варианте, который будет характерен для второй половины XVII столетия. Роскошный натюрморт, около 1655 г.!}

Src="http://present5.com/presentation/3/19073041_26144984.pdf-img/19073041_26144984.pdf-20.jpg" alt="(!LANG:> New trends have emerged in the field of still life,"> Новые тенденции появились в области натюрморта, который, хотя и оставался по-прежнему на реалистических позициях и даже сумел их обогатить и умножить, обслуживал теперь эстетические потребности верхушки общества. Дело в том, что сам предметный мир в жизни Голландии второй половины века выступает все чаще в качестве свидетельства могущества национальной буржуазии. Натюрморт 1660 г.!}

Src="http://present5.com/presentation/3/19073041_26144984.pdf-img/19073041_26144984.pdf-21.jpg" alt="(!LANG:> WILLEM KALF The largest Dutch"> ВИЛЛЕМ КАЛФ Крупнейший голландский натюрмортист второй половины XVII века, исходил в своем творчестве из достижений Ф. Рейкхалса и Я. Трека. К первому из них он был близок широтой тематики: у обоих можно встретить все разновидности жанра натюрморта - от кухонного до роскошного. Натюрморт с кувшином и фруктами, около 1650!}

Src="http://present5.com/presentation/3/19073041_26144984.pdf-img/19073041_26144984.pdf-22.jpg" alt="(!LANG:> No one else, including the most talented"> Никто другой, включая и самых !} talented students Rembrandt, could not achieve that richness and subtlety of chiaroscuro, that juiciness and depth of luminous colors, as it were from within, that hot golden color that distinguish Kalf's works. In the ability to see the picturesque side of the subject, in the skill of translating the prose of material things into the poetic language of painting, Kalf had no rivals. Still life with a Chinese tureen. 1655

Src="http://present5.com/presentation/3/19073041_26144984.pdf-img/19073041_26144984.pdf-23.jpg" alt="(!LANG:>"> Но чаще это богатство живописных качеств сочетается в натюрмортах Калфа с роскошью и пышностью предметного мира, вошедшего в быт знатного буржуа второй половины XVII века. Эрмитажный «Десерт» , принадлежащий к этому ряду произведений, - подлинный шедевр мастера. Весь свет сосредоточен на китайской фарфоровой тарелке с фруктами и небрежно скомканной под нею белой салфетке. «Десерт» свидетельствует о победе новых качеств в натюрморте: яркой красочности, золотистого колорита, выразительной светотени и подвижной живописной пластики. ДЕСЕРТ 1659!}

Src="http://present5.com/presentation/3/19073041_26144984.pdf-img/19073041_26144984.pdf-24.jpg" alt="(!LANG:> Depicting the same as its predecessors,"> Изображая те же, что и его предшественники, обыденные, «демократические» , предметы домашнего обихода: старую бочку, глиняный горшок и медный котел, - художник сумел открыть волшебное воздействие на вещи золотистого солнечного света, который превращал этот бедный крестьянский скарб в изысканные произведения ювелирного искусства. Натюрморт 1660 г.!}

Src="http://present5.com/presentation/3/19073041_26144984.pdf-img/19073041_26144984.pdf-25.jpg" alt="(!LANG:>Flanders 1. Frans Snyders (1579 -1657) 2. Jan Faith (1611 -1661) common feature"> Flanders 1. Frans Snyders (1579 -1657) 2. Jan Veit (1611 -1661) A common feature of both art schools there was a love for life, for its earthly joys. But while Dutch artists portrayed life, everyday everyday reality, Flemish painters, often associated with orders from the Catholic Church and noble nobles, turned to religious and mythological themes. Flemish art was characterized by the desire to create heroic images, large multi-figured scenes, diverse in content and character.

Src="http://present5.com/presentation/3/19073041_26144984.pdf-img/19073041_26144984.pdf-26.jpg" alt="(!LANG:> Frans Snyders Unlike most"> Франс Снейдерс В отличие от большинства фламандских мастеров творчество Снейдерса ограничено достаточно узким кругом тем: по преимуществу это сцены охоты и натюрморты. Натюрморт с крабом и фруктами 1613 г.!}

Src="http://present5.com/presentation/3/19073041_26144984.pdf-img/19073041_26144984.pdf-27.jpg" alt="(!LANG:>Still life with fruit basket 1613. Dutch still lifes are simple in composition and include,"> Натюрморт с корзиной фруктов 1613 г. Голландские натюрморты просты по композиции и включают, как правило, немногочисленные предметы, а фламандский художник каждый натюрморт стремился превратить в гимн богатству и изобилию даров природы.!}

Src="http://present5.com/presentation/3/19073041_26144984.pdf-img/19073041_26144984.pdf-28.jpg" alt="(!LANG:>Still life 1616. Snyders' early still lifes in his native Antwerp were widely popular and"> Натюрморт 1616 г. Ранние натюрморты Снейдерса в его родном Антверпене были широко популярны и породили многочисленные подражания. Это скромных размеров холсты с одинокой корзиной или чашей с плодами; иногда к этому прибавляется ваза с цветами.!}

Src="http://present5.com/presentation/3/19073041_26144984.pdf-img/19073041_26144984.pdf-29.jpg" alt="(!LANG:>Fruit and vegetable stand 1616. Subsequently, the canvases increase sharply in sizes, filled with many"> Фруктово-овощной прилавок 1616 г. В дальнейшем холсты резко возрастают в размерах, заполняются множеством предметов: битой дичью, рыбой, устрицами, мясными тушами, овощами, фруктами.!}

Src="http://present5.com/presentation/3/19073041_26144984.pdf-img/19073041_26144984.pdf-30.jpg" alt="(!LANG:>1617 Pantry">!}

Src="http://present5.com/presentation/3/19073041_26144984.pdf-img/19073041_26144984.pdf-31.jpg" alt="(!LANG:> In 1618, Snyders receives an order for"> В 1618 г. Снейдерс получает заказ на монументальные !} decorative paintings, depicting counters loaded with game, fish, vegetables and fruits, behind which are sellers and buyers. Compositions that embodied the spirit of the Flemish Baroque were a huge success. Fish shop 1618

Src="http://present5.com/presentation/3/19073041_26144984.pdf-img/19073041_26144984.pdf-32.jpg" alt="(!LANG:>Fish shop 1618. In general, shops selling various kinds of food, occupy in creativity"> Рыбная лавка 1618 г. Вообще лавки, торгующие разного рода снедью, занимают в творчестве Снейдерса значительное место.!}

Src="http://present5.com/presentation/3/19073041_26144984.pdf-img/19073041_26144984.pdf-33.jpg" alt="(!LANG:>Cook at a food stall 1630s.">!}

Src="http://present5.com/presentation/3/19073041_26144984.pdf-img/19073041_26144984.pdf-34.jpg" alt="(!LANG:>Fruit vendor. 1636. The artist paints every object with great care, but above all he"> Торговка фруктами. 1636. Художник со всей тщательностью пишет каждый предмет, однако прежде всего он видит натюрморт в целом, стремясь к всеобъемлющему изображению богатства природы. Яркие, нарядные натюрморты Снейдерса полны ликующей праздничности и меньше всего могут быть названы «мертвой натурой» - настолько полны они кипучей жизни.!}

Src="http://present5.com/presentation/3/19073041_26144984.pdf-img/19073041_26144984.pdf-35.jpg" alt="(!LANG:> Jan Fate More restrained"> Ян Фейт Более сдержанно и утонченно творчество Яна Фейта. Он не стремится, в отличие от Снейдерса, к созданию произведений мощного монументально-декоративного размаха. Его натюрморты - это замкнутые станковые картины, более интимные, более строгие в выборе предметов, обладающие четкой и компактной композицией и редкой красотой колорита. Натюрморт с собакой!}

Src="http://present5.com/presentation/3/19073041_26144984.pdf-img/19073041_26144984.pdf-36.jpg" alt="(!LANG:> Dogs Striving for dynamic forms, the Flemish masters"> Собаки Стремясь к динамичности форм, фламандские мастера очень часто вводили в натюрморт изображения людей и животных (обычно дерущихся или преследующих друга).!}

Src="http://present5.com/presentation/3/19073041_26144984.pdf-img/19073041_26144984.pdf-37.jpg" alt="(!LANG:> Mining 1649. With special virtuosity, Feit conveys the texture of the depicted objects: delicate iridescent pearl gray"> Добыча 1649 г. С особой виртуозностью Фейт передает фактуру изображенных предметов: нежных переливчатых жемчужно-серых перьев птиц, пушистого мягкого меха зайца, влажного, сияющего, как драгоценности, винограда.!}

Presentation on the theme "Still life" by fine arts in powerpoint format. This presentation for schoolchildren tells about what a still life is, about its history and in detail about the Dutch still life.