Landscape composition rules

art teacher,

teacher additional education

Vorlamova O.A.

This series of rules (I prefer the word "tips") has been put together to help you learn how to properly compose your landscape. It contains the basic rules found in most books, plus some ideas of my own. However, I want to warn you: don't let the rules get in the way of your work and your own quest. They should only help at a time when you are in doubt and do not know how best to place this or that element in the picture. Rules are there, as you know, to break them, really ... when you know what exactly you are breaking and why it will be better that way. Therefore, be patient - there is a long road ahead.

I. Basic advice.

1. Look at the picture. The landscape should have a center of interest - a special, beautiful and noticeable part of the picture. It can be highlighted with color and contrast. This part should look special and meaningful. The surrounding area is to be slightly less visible. It must be remembered that the center of interest:

Should be distinguished by a strong color (this does not mean bright) and, if possible, a wide variety of colors. Stand out with some light contrast. It is preferable that it occupy most of the picture and be in the foreground (however, this is not necessary). Buildings, animals and people will attract attention. They easily move to the center of interest as the main characters. Surrounding elements and background should lead the viewer's eye to the center of interest.

The center of interest should not be in the center of the picture. Also, it should not take up half the canvas. The best proportion is 1/3. The area you choose as the center of interest should not be isolated from the rest of the image. A properly constructed center should attract and hold the eye of the viewer.

The coast leads the eye to the bridge, which becomes the center of interest.

2. You may want to include a second center of interest in the picture. This is unforgivable for a novice and non-professional. There is a risk of competition and, as a result, an unsuccessful composition.

There is no need for foreground flowers in this painting, but the artist has added a second center of interest, and quite successfully.

3. Don't push the viewer out of the picture! This can be avoided by not bringing elements to the edge and outside of the picture, especially trees, roads and rivers. You can add "stops" to avoid running out of bounds. This rule is very practical, animals and people must remain in the composition.

Pay attention to the horse on the far right. The artist used color to stop. If you squint your eyes, you will notice that the horse merges with the trees, but if it were light, then your eyes would go to the very edge of the picture.

This flow is not a very successful form of movement.

The path of gaze movement is a smooth curve. You can swim across it...

Rivers, streams, roads, etc. bring movement to the picture. Straight lines should be avoided - the eye glides over them too quickly. Let the viewer take a leisurely stroll through your landscape.

The slope of the trees shows that the wind is blowing from right to left, but the rain is pouring in the opposite direction.

Logic does not apply to art. Everything is determined by visual influence. Sunlight can appear on the grass even if it is a rainy day. Linear and atmospheric perspectives can be distorted if the situation so requires. Shadows can be larger than they should be... In general, feel free, you are an artist :-)

The horse is in the wrong position. It would be better to place it near the bench.

All people are gathered in the center of interest, on the right side of the picture.

6. Collect important items within the center of interest. Do not scatter them around the composition, otherwise they will draw attention from each other.

What's around the corner? Maybe a lake? Or a city? The artist left it to our imagination.

Let the viewer participate in the picture. Leave room for thought and imagination. Leave room for a little mystery.

• 8. Depth. Artists are limited to creating the illusion of a three-dimensional image on a two-dimensional plane.

Here are some tips for creating the illusion of depth: Position objects so that they overlap each other. Colors that are far away in the background are usually colder and decrease in color. The closer the objects are, the warmer and richer the colors look. In fact, not everything is so simple. When we look at a tree at a distance of 100 yards, the color is still warm. The color shift will be very slight compared to the tree next to you. However, even if you add a little purple or blue to the foliage color, you will push these trees into the background.

You can add more planes to enhance the sense of distance if foreground a little dark.

Fog is a great tool for creating depth.

Wrong contrast. The tree on the left is competing for attention.

Better - the contrast has been reduced and it is now easier to focus.

Keep the contrast for the center of interest so that areas around you don't compete for attention. The lightest and darkest tones are near the center of interest, around are the average values ​​of color and light.

Stylized landscape decorative composition methodological development of the teacher S.F. Sirazieva MAU DO "Children's Art School No. 1"

About the landscape Translated from french word"landscape" (paysage) means "nature". This is how a genre is called in the fine arts, the main task of which is the reproduction of natural or man-altered nature. In addition, the landscape is a concrete work of fiction in painting or graphics, showing the viewer nature. The “hero” of such a work is a natural motive or a natural motive invented by the author.

Landscape, takes in decorative composition one of the leading places and carries certain difficulties in the image. Along with generalizations and conventions, the landscape must convey the state of nature and be built according to the laws of composition. Only then will it be expressive and interesting to the viewer. The landscape occupies one of the leading places in the decorative composition and carries certain difficulties in the image. Along with generalizations and conventions, the landscape must convey the state of nature and be built according to the laws of composition. Only then will it be expressive and interesting to the viewer. The Japanese landscape of the 19th century is very indicative in terms of stylization.

Hokusai Katsushika

HiroshigeAndo

STYLIZATION IN A DECORATIVE LANDSCAPE Stylization in a landscape can be brought to extreme conditionality, as, for example, in the landscapes of P. Klee or A. Modigliani.

Paul Klee

Amadeo Modigliani

Iranian miniature In the Iranian miniature, active stylization is combined with decorativeness, the depicted objects are filled with ornament, also simplified - stylized.

The basic principle decorative drawing- achieving maximum expressiveness, in which reliability is not the main task.

The main goal that is set when performing a decorative composition is to master the process of stylization of real natural forms into decorative ones, in the ability to embody in artistic images creative tasks.

Style - general category artistic thinking, characteristic for a certain stage historical development. Style reflects the essence, uniqueness artistic creativity in the unity of all components of the work. Art critic B. Winner wrote: "Every artist has a method and manner, but style may not take place." An artist who has his own style is a creator.

Learning objectives: Performing a decorative composition in which stylization issues will be addressed. Finding an original plastic solution in the development of a stylized motif. Mastering the ways of artistic processing of the form in order to enhance the expressiveness of its qualities. Mastering the skills of organic introduction of decor into the landscape composition and stylization of panoramic natural motifs with elements of architecture.

The visual range of similar student works The work of the students of the Children's art school№1 teacher Sirazieva S.F.

STYLIZATION IN A DECORATIVE LANDSCAPE

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landscape

Translated from French, the word “landscape” (paysage) means “nature”. This is how a genre is called in the fine arts, the main task of which is the reproduction of natural or man-altered nature. In addition, a landscape is a specific work of art in painting or drawing, showing nature to the viewer. The “hero” of such a work is a natural motive or a natural motive invented by the author. Landscape elements can already be found in rock art. In the Neolithic era, primitive masters schematically depicted rivers or lakes, trees and stone blocks on the walls of caves.

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Rock paintings in a cave on the Tassilin-adjer plateau in the Sahara

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Fragments of wall paintings of the tomb of ancient Egyptian rulers near the village of Beni-Khasan in Central Egypt

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Fragments of wall paintings of the Palace of Knossos on the island of Crete

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Fragments of the wall painting of the house of the patricians in the ancient Roman city of Stabia, destroyed like Pompeii during the eruption of Vesuvius

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Landscape first appeared as an independent genre in China (c. 7th century). Chinese artists achieved exceptional spirituality and philosophical depth in the landscape. On long horizontal or vertical silk scrolls, they wrote not views of nature, but holistic image the universe in which man is dissolved

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Landscape in Chinese art

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During the Middle Ages, as a rule, only religious compositions existed, the landscape was interpreted by painters as an image of the habitat of the characters

JoachimPatinirCrossing to the Underworld. 1515-1524. Prado Museum Madrid

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A pronounced interest in the landscape is noticeable in painting Early Renaissance. And although artists are still very inept in conveying space, cluttering it with landscape elements that do not fit with each other in scale, many paintings testify to the desire of painters to achieve a harmonious and holistic image of nature and man.

Stefano Sassetta (di Giovanni) Meeting of Saints Anthony and Paul 1445, Gallery of Art, Washington DC Stefano Sassetta (di Giovanni) Journey of the Magi, 1435 Metropolitan Museum of Art, New York

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A significant step forward in the development of landscape painting was made by the Swiss artist of the 15th century, Konrad Witz, who showed in his composition on a religious plot a specific area - the shore of Lake Geneva

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Despite such clear progress, until the 16th century, artists included landscape details in their works only as a background for a religious scene, genre composition or portrait. The clearest example of this is famous portrait Mona Lisa (c. 1503, Louvre, Paris), painted by Leonardo da Vinci.

Leonardo da Vinci Portrait of Mrs. Lisa Giocondo Mona Lisa, 1503-1519 Ritrattodi Monna Lisa del Giocondo Oil on board (poplar). 76.8×53 cm Louvre, Paris

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In Western European art, the landscape genre took shape in Holland in the first half. 17th century One of its founders was I. Patinir, a master of panoramic views with small figurines of biblical or mythological characters included in them. H. Averkamp, ​​J. van Goyen, and later J. van Ruysdael, and other artists contributed to the development of the landscape. Great place in Dutch landscape occupied by marine species - marinas. The Italians, especially the Venetian masters, turned to the documentary urban landscape. Canaletto represented Venice at a time of prosperity. Subtle poetic fantasies on the themes of Venetian life were created by F. Guardi. French art of the 17th century the landscape developed in line with the style of classicism. Nature, full of mighty and heroic forces, appears in the canvases of N. Poussin; ideal landscapes that embodied the dream of a golden age, wrote K. Lorrain.

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Landscape in Dutch art

JoachimPatinirRocky landscape with St. Jerome. OK. 1520. Royal Museum of Fine Arts. Antwerp Joachim Patinir Crossing to the Underworld. 1515-1524. Prado Museum Madrid

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Hendrik Averkamp Scene on the ice at the tower. 1610 Jan van Goyen Landscape with two oak trees. 1641. Rijksmuseum. Amsterdam

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Jacob Isaaksvan Ruisdal The windmill at Wijk bei Dürsted. 1670. Rijksmuseum. Amsterdam Jacob Isaaksvan Ruisdael Seascape. 2nd third of the 17th century Thyssen-Bornemisza Museum.Madrid

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Landscape in French art

Landscape with Diana and Orion Nicolas Poussin, 1660-64 New York, Metropolitan Museum of Art Claude Lorrain "Departure of the Queen of Sheba" (1648)

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Landscape in French art

Landscape with Apollo tending the flocks of Admetus Claude Lorrain, 1645 Rome, Doria Pamphili Gallery Landscape with Paris and Oenone Claude Lorrain, 1648 Paris, Louvre

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The reformer of European landscape painting was made in the beginning. 19th century English artist J. Constable. One of the first he began to write sketches in the open air, he looked at nature with an “unbiased look”. His works made an indelible impression on French painters and served as an impetus for the development of a realistic landscape in France by K. Corot.

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Jean Baptiste Camille Corot Bridge at Mantes, 1868/1870. Louvre

John Constable View of Salisbury Cathedral, 1823 Victoria and Albert Museum, London

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Landscape in European painting of the 19th century

Impressionist artists (C. Monet, O. Renoir, C. Pissarro, A. Sisley and others) set even more complex pictorial tasks. the vibration of the air and the damp mist were embodied in their canvases. Often, artists created a series of landscapes with a single motif (Monet's Rouen Cathedral at different times of the day, 1893–95). In the "sunny" paintings of the Impressionists, for the first time, pure colors, not mixed on the palette, sounded joyfully. Landscapes were painted entirely en plein air, from nature.

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Pierre Auguste Renoir "Wheat Field" 1879

Alfred Sisley Lawns in spring. 1880-1881. National Gallery. London.

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Oscar Claude Monet "Impression. Rising Sun", 1872, Marmottan Monet Museum, Paris

Jacob Abraham Camille Pissarro Boulevard Montmartre. Afternoon, sunny. 1897

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Landscape in Russian art, late 18th century

In Russian art, landscape as an independent genre appeared in con. 18th century Its founders were architects, theater decorators, masters of perspective views. At the St. Petersburg Academy of Arts, landscape painters were brought up in accordance with the principles of classicism. They were supposed to create views of native nature according to patterns famous paintings past, and above all the works of Italians of the 17th-18th centuries. Landscapes were “composed” in the workshop, therefore, for example, the northern and damp Gatchina (near St. Petersburg) looked like sunny Italy in the canvases of Semyon Fedorovich Shchedrin (“The Stone Bridge in Gatchina near Connetable Square”, 1799–1800). Heroic landscapes were created by F. M. Matveev, referring mainly to the views of Italian nature (“View of Rome. Colosseum”, 1816). F. Ya. Alekseev wrote with great cordiality and warmth architectural views capital and provincial cities of Russia.

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MATVEEV Fedor Mikhailovich “View of Rome. Colosseum, 1816

Shchedrin Semyon Fedorovich "Stone bridge in Gatchina near Connetable Square" 1799 - 1801State Tretyakov Gallery

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The era of romanticism brings new trends. The landscape is conceived as the embodiment of the soul of the universe; nature, like the human soul, appears in dynamics, in eternal variability. Sylvester Feodosievich Shchedrin, the nephew of Semyon Fedorovich Shchedrin, who worked in Italy, was the first to paint landscapes not in the studio, but in the open air, achieving greater naturalness and truthfulness in the transmission of the light-air environment. The fertile land of Italy, filled with light and warmth, becomes the embodiment of a dream in his paintings. Here it is as if the sun never sets and eternal summer reigns, and people are free, beautiful and live in harmony with nature (“Coast in Sorrento overlooking the island of Capri”, 1826; “Terrace on the seashore”, 1928). Romantic motifs with effects of moonlight, gloomy poetry of dark nights or the sparkle of lightning attracted M. N. Vorobyov (“Autumn Night in St. Petersburg. Pier with Egyptian Sphinxes at Night”, 1835; “Oak Broken by Lightning”, 1842).

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Vorobyov Maxim Nikiforovich “Autumn night in St. Petersburg. Pier with Egyptian sphinxes at night", "Oak, shattered by lightning", 1842 1835

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Ivan Constantinovich Aivazovski

Ninth Wave, 1850 St. Petersburg, State Russian Museum Brig "Mercury", attacked by two Turkish ships, 1892 National picture gallery them. I. K. Aivazovsky, Feodosia

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Landscape Russian art 19th century

In painting, the second floor. 19th century landscape occupied an important place in the work of the Wanderers. A revelation for the Russian public was the paintings of A. K. Savrasov (“The Rooks Have Arrived”, 1871; “The Country Road”, 1873), who discovered the modest beauty of Russian nature and managed to sincerely reveal its innermost life in his canvases. Savrasov became the ancestor of the lyrical “mood landscape” in Russian painting, the line of which was continued by F. A. Vasilyev (“The Thaw”, 1871; “ wet meadow", 1872) and I. I. Levitan ("Evening ringing", 1892; " gold autumn", 1895). I. I. Shishkin, unlike Savrasov, sang the heroic strength, abundance and epic power of the Russian land (“Rye”, 1878; “Forest Dali”, 1884). His paintings fascinate with the infinity of space, the expanse of the high sky, the mighty beauty of Russian forests and fields. A feature of his pictorial manner was the careful drawing of details, combined with the monumentality of the composition.

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Alexey Kondratievich Savrasov

The Rooks Have Arrived 1871, oil on canvas, 62x48 cmState Tretyakov Gallery, Moscow Caves Monastery near Nizhny Novgorod 1871, oil on canvas, 101x131cmNizhny Novgorod Art Museum

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Fedor Alexandrovich Vasiliev

"Thaw", 1871; "Wet Meadow", 1872

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Ivan Ivanovich Shishkin

"Rye", 1878 "Forest distances", 1884

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Isaac Ilyich Levitan

Spring - big water 1896, oil on canvas, 64x57 cm State Tretyakov Gallery Golden Autumn 1895, oil on canvas, 82x126 cm State Tretyakov Gallery

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Landscape in Russian art At the turn of the 19th and 20th centuries

At the turn of the 19th-20th centuries. K. A. Korovin (“Paris Cafe”, 1890s) and I. E. Grabar (“ february blue”, 1904) painted views of nature in the spirit of impressionism. P. V. Kuznetsov, K. S. Petrov-Vodkin, K. F. Bogaevsky, M. S. Saryan and others created landscapes that take the viewer into the world of dreams about distant lands untouched by civilization, about bygone great eras.

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Korovin Konstantin Alekseevich Parisian cafe. 1890 Igor Emmanuilovich Grabar February blue. 1904.

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Kuznetsov Pavel Varfolomeevich "Road to Alupka" 1926 Saratov Art Museum named after A.N. Radishchev, Saratov Kuzma Sergeevich Petrov-Vodkin Paris. Notre Dame. 1924

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Masters of Soviet art continued the great traditions of their predecessors. A new genre of industrial landscape appeared, which clearly reflected the life-affirming pathos of the era of B. N. Yakovlev, G. G. Nissky,

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Yakovlev Boris Nikolaevich "Transport is getting better", 1923 Georgy Grigorievich Nissky "On the tracks. May", 1933

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landscape types

The inexhaustible diversity of nature has given rise in the visual arts different kinds landscape genre Rural Urban Park Nautical Architectural Industrial

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rural landscape

Many artists Vasiliev, Savrasov, Levitan, Korovin and others resorted to the rural landscape. In the rural landscape, the artist is attracted by the poetry of rural life, its natural connection with the outside world and nature.

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Isaac Ilyich Levitan Vladimirka. 1892 Ivan Ivanovich Shishkin. Noon. In the vicinity of Moscow. 1869

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urban landscape

The urban landscape includes buildings, streets, avenues, squares, embankments

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Alekseev, Fedor Yakovlevich. Red Square in Moscow. 1801. 81.3 x 110.5 cm. Oil on canvas. Academicism. Russia. Moscow. State Tretyakov Gallery Berkheide, Gerrit Adrians. Big market in Haarlem with St. Bavo. 1696. 69.5 x 90.5 cm. Oil on wood. Baroque. Netherlands (Holland). Harlem. Frans Hals Museum

Slide 45

park landscape

The park landscape depicts corners of nature created for people to relax, harmoniously combining natural forms with decorative sculpture and architecture.

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Stanislav Yulianovich Zhukovsky Abandoned Terrace, 1911

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Seascape

A moraine or seascape tells about the peculiar beauty of a calm or stormy sea.

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Aivazovsky, Ivan Konstantinovich View of Odessa from the sea. 1865. 45 x 58 cm. Oil on canvas. Romanticism, realism. Russia. Yerevan. State Picture Gallery of Armenia Beggerov, Alexander Karlovich. Embankment of the Neva. 1876. 53.5 x 93 cm. Oil on canvas. Realism. Russia. St. Petersburg. State Russian Museum

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architectural landscape

The architectural landscape is in close contact with the urban artist; the main attention is paid to the image of architectural monuments in synthesis with the environment.

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architectural landscape

Alt, Rudolf Ritter von. View of the Cathedral of St. Stephen. 1832. 46 x 58 cm. Canvas. Realism. Austria. Vein. Gallery of Austrian art in Belvedere Alekseev, Fedor Yakovlevich. Cathedral Square in the Moscow Kremlin. 81.7 x 112 cm. Oil on canvas. Academicism. Russia. Moscow. State Tretyakov Gallery

Slide 51

industrial landscape

In this landscape, the artist seeks to show the role and significance of man - the creator, builder of factories and factories, dams and power plants.

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Franz Garry Rudolfovich Port 1960s. cardboard, oil. Pyotr Timofeevich Fomin Construction (hantayka) 1971. Oil on cardboard

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Features of the selected genre

Depicting nature, the artist reflects the ideas of the people of his era about the beauty in the surrounding reality. The artist interprets each landscape in his own way, putting a certain meaning, so we can say that there are several more types of landscape.

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Heroic landscape

William Turner. Hannibal crossing the Alps. 1812 237.5 x 146 cm. Canvas. Butter. Tate Britain, London, UK This is the name of a landscape in which nature appears majestic and inaccessible to humans. It depicts high rocky mountains, mighty trees.

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mood landscape

FEDOR ALEKSANDROVICH VASILIEV "The Thaw" (the painting received the first prize at the competitive exhibition of the Society for the Encouragement of Artists in 1871, was acquired by P. M. Tretyakov for his famous gallery, and its copy was ordered by the emperor Alexander III for the Russian Museum) The desire to find in various states of nature a correspondence to human experiences and moods gave the landscape a lyrical coloring. Feelings of longing, sadness, hopelessness or quiet joy are reflected in the mood landscape.

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historical landscape

Apollinary Vasnetsov. Red Square in the second half of the 17th century, 1925 historical events, which I recall depicted architectural and sculptural monuments associated with this event. It revives in memory long past events and times.

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epic scenery

Shishkin Ivan Ivanovich "Rye" 1878. Oil on canvas 187 x 107 State Tretyakov Gallery, Moscow Majestic pictures of nature, full of inner strength, special significance and impassive calm are characteristic of the epic landscape.

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romantic landscape

Nicholas Konstantinovich Roerich. Sky fight, 1912 Tempera on cardboard. 66 x 95 cm. The State Russian Museum. Russia. St. Petersburg Thunderclouds, swirling clouds, gloomy sunsets, violent winds are the motives for a romantic landscape.

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The sequence of work on the landscape

It is impossible to make a natural setting for a landscape, unlike a still life. Therefore, work on the composition of a landscape differs significantly from work on the composition of a still life, it can be divided into the following stages: - choosing a topic and finding a way to express it; - collection of material (fulfillment of sketches from nature); - making a sketch based on field sketches; - execution of the landscape according to the sketches made and in accordance with the theme.

All people are gathered in the center of interest, on the right side of the picture the Horse is located incorrectly. It would be better to place it near the bench.

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Fog is a great tool for creating depth by adding planes that will enhance the sense of distance if the foreground is a bit dark.

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Your picture will not look overloaded if you include in the composition some kind of "resting area", preferably in front of the center. If horizontal, and vertical and diagonal lines are included in the picture. These lines should not be present in their pure form, but should be given with their help the direction of movement. Diagonal ones are preferred because they don't run parallel to the picture frame and give depth.

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Trukhina Galina Sakhbutdinovna
Position: teacher of additional education of the art department
Educational institution: MBUDO "DSHI p. g. t. Sherlovaya Gora"
Locality: Trans-Baikal Territory, Borzinsky district, urban settlement Sherlovaya Gora
Material name: Open lesson on easel composition
Subject: Outline plan open class in the 3rd grade, 1st half of the year Topic 1.1. "LANDSCAPE AS A GENRE OF EASEL COMPOSITION"
Publication date: 29.03.2019
Chapter: additional education

Municipal state-financed organization additional education

"Children's School of Arts in Sherlovaya Gora"

Outline of an open lesson

3rd grade 1st semester

Topic 1.1.

LANDSCAPE AS A GENRE OF EASEL COMPOSITION

Completed:

art department teacher

Trukhina Galina Sakhbutdinovna

Sherlovaya Gora 2018

Easel composition 3rd grade 1st half

Section 1. Story Composition

Lesson topic 1.1: Landscape as a genre easel composition(4 pm)

Target

classes: create

acquaintance

painting

landscape, perform creative work"Landscape" with staffing (by design

Lesson objectives:

educational

To acquaint students with a variety of landscape subjects;

Show the role of art in understanding the beauty of nature;

Learn to identify means of expression to convey mood and

feelings in art;

Features of building a landscape composition;

developing

Develop imagination, creative fantasy;

educators:

- cultivate love and careful attitude to nature;

Cultivate patriotic feelings.

Equipment: computer, presentations on the topic “Genres and types

landscape" and a presentation on the topic "Stuffage in the fine

art";

pictures of artists about nature.

Literary series: poems about nature

Music line: Struve "My Russia", P.I. Tchaikovsky

Art materials and tools for work: paints, brushes,

palette, landscape sheets, jars of water.

Class assignment: Landscape with staffage.

STUDY PROGRESS (1-8)

Organizing time.

Let's start our lesson with creativity. Creativity is the source of kindness

truth and beauty. And if you put your soul and heart into your work, then it

it will turn out beautiful, like this autumn day!

Knowledge update

Look closely at the board. It presents various

reproductions of paintings. 1- portraits; 2- still lifes; 3- types of nature.

Question: Tell me, is it possible to divide them into groups?

Question: That's right, but what do we call such paintings? (Landscapes)

Question: What do you think we will do today. (Let's get acquainted with the genre

Question: And who will tell me what a landscape is?

Vocabulary

S. Ozhegova:

landscape drawing,

painting,

depicting

kinds

nature, as well as a description of nature in a literary work

If you see in the picture

The river is drawn

picturesque valleys

And dense forests

Blond birches

Or old strong oak,

Or a blizzard, or a downpour,

Or a sunny day.

Could be drawn

Either north or south.

And any time of the year

We will see in the picture.

Let's say without hesitation:

It's called landscape!

Work on the topic. Lesson 1. Lesson 1-2.

Since you will be working not just on a landscape, but on a landscape with

staffage, let's first understand what staffage is.

"Stuffing in the Fine Arts"

SLIDE 1."Stuffing in the Fine Arts"

SLIDE 2.

Staffage (German Staffage

from staff - "set" and staffieren - "decorate

landscape with figures") - secondary elements of the composition - figures of people,

animals, vehicles and other complementary elements of the subject

environment. They create a background, environment, environment in the picture and emphasize its meaning,

enrich the plot with additional nuances, scenes, episodes.

Appearance

art

painting

received

spread mainly in the 17th century, when landscape painters began to include

in his works small-format religious and mythological scenes.

meaning

staffage

continues

especially

manifest

landscape

images of interiors. The inclusion of living beings: humans and animals, -

revitalize, animate them.

SLIDE 3.

Shishkin.

Rain

oak

grove.

1240x2030.

Moscow.

Tretyakov Gallery

SLIDE 4.

At the same time, staffing is also used in the background of multi-figured

compositions or portraits.

Somov Konstantin "The Lady in Blue"

SLIDE 5.

Appearance

staffage

conditioned

artistic

intention and can work on the relationship of the image with life, animate

image,

emphasize

accessories,

emphasizing

a certain state of nature, historical epoch, action or tranquility

in the picture.

appearance

development

design

architecturally

design

specialties

harmoniously

passes

art. The most similar drawings to today's projects appear with

mid 18th century

Cadol August. Church of the Assumption on Pokrovka. Lithography. 1820

SLIDE 6.

The ability to draw staffage is one of the necessary elements

graphic training for architects and designers.

First of all,

addition

architectural and design

implement

relationship

projected

natural

subject environment.

Secondly,

design

allows

scale

designed objects. Seeing staffing near the designed objects, immediately

one can approximately determine their scale in comparison with the figure. Staffage

against the background of the interior, architecture, landscape or landscape gardening sculpture

helps

determine

functional

expediency

spaces.

Thirdly, staffing can enhance the artistic-figurative and meaningful

staffage

various

states

picking up

accessories. Can reflect character historical era, style and fashion or

special flavor of a particular country. From the prevailing style in art,

depend not only on clothing and vehicles, but also on the technique of execution

intensify

imagery

projected

objects,

for example, monumentality, airiness, dynamism, static, etc.

SLIDE 7.

Sketches, sketches with the use of staffage.

SLIDE 8.

Staffage in both arts can also be used as

facilities

achievements

compositional

wholeness

expressiveness.

allows you to balance the main masses, connect individual elements together,

create a certain rhythmic structure, enhance expressiveness.

The role of staffing is complementary.

Main

requirement

image

conventionality

brevity.

It is also necessary to take into account the degree of remoteness of the staffing. In the distant future

people, as a rule, are depicted extremely simply in the form of a silhouette. Average

detailed

drawing.

Images

are supplemented

large

details

features

tone

color

characteristics. In the foreground, the figure is more carefully modeled,

facial features, and you can also depict clothing accessories. For architectural

generalized

artistic

projection.

image

use

drawing,

excellent

easel graphics or pictorial composition. Selecting the nature of the image

stuffing depends on the level of complexity of the drawing. Distinguish between "iconic" and

"symbolic" images of staffage.

SLIDE 9.

Staffage is conditional images some real object

or environment. Distinguish between iconic and symbolic images

staffage.

Iconic images are copies, images of the real environment

environments that are identical to the natural environment.

"Iconic" Images

Images

real

environmental

identical

natural

Practically

realistic painting is a collection of iconic images.

"Symbolic" Images

visual-figurative

person in this environment. Unlike iconic, symbolic images

go beyond the external resemblance to the real object.

SLIDE 10.

Examples of the image of a human figure.

SLIDE 11.

To harmoniously include staffing in the image, you must:

characteristic

peculiarities

practically

sign and avoiding unnecessary details. Improves the aesthetic quality of the drawing

the inclusion in the composition of not only individual figures, but also groups of people,

different in age and gender.

interesting

movements that

underlined

functional

appointment

space

most

expressive angles.

recreate

reliable

proportional

anatomical

patterns of the figure. Animal sizes must also be accurate.

Subdue

artistic

design

graphics (stylize under the general graphic solution, the style of a specific

historical era or under the special flavor of the country).

SLIDE 12-13.

Eskins, sketches and sketches of figures of car people.

SLIDE 14.

I.I., Levitan “Autumn day. Sokolniki"

SLIDE 15-17.

Examples of landscape with staffage.

Practical

exercise: execute

sketches

outline

man with paints and pencil. (Example on slides 10,12,13)

IV. Work on the topic. Lesson 1. Lesson 3.

What is stuffing do you understand? ( Children's answers ).

And now let's talk about the types and genres of landscape.

Demonstration of a presentation on the topic

"Landscape. Genres and types of landscape»

SLIDE 1.

"Landscape. Genres and types of landscape»

SLIDE 2.

So,

LANDSCAPE

genre

pictorial

art,

which

various parts of nature are depicted.

LANDSCAPE image of nature

"landscape" from French "view of the country, locality."

Landscape - genre visual arts dedicated to reproduction

natural or man-made nature. (environment)

1. Genre - landscape

As an independent genre landscape painting did not take shape right away. At first

the landscape was the background for portraits or for historical scenes. Only in the 16-17th century.

the landscape has become independent genre visual arts. lovely

landscapes were created in the 19th century.

Question: What are landscape painters called? (Landscape painter)

SLIDE 3.

2. Landscapes by Russian artists

Question: Guys, can you name the landscape painters for me?

(Levitan, Shishkin, Savrasov, Kuindzhi)

Right. landscape painter conveys in the picture the image of nature, its beauty,

his attitude towards her, his mood: joyful and bright, sad and

disturbing.

artists

inspires

creativity?

Give your examples.

(Musicians, poets, writers, sculptors...)

Question: Have you observed nature? Did you notice her beauty and mood?

Let's guys look at the paintings of the great masters of the landscape genre and

let us learn from them in the depiction of nature, with its primordial beauty.

Examination of paintings by artists.

SLIDE 4.

Savrasov A.K. "The Rooks Have Arrived"- This early spring. The birches are still bare

there are many rook nests on their branches. The birds have already returned and are fussing about

their houses. Snow is still visible on the fields in the distance. But the color of the sky and gently -

blue clouds convey the freshness and transparency of the spring air.

Levitan I. "March"- nature in the picture as if has not yet woken up from

winter sleep. Birch branches in blue sky shimmer in different colors.

A birdhouse on a birch is waiting for the arrival of birds. There are still snowdrifts, but all

surrounded by sunshine. (search-ist. art. 5th grade topic

Question: Can we say that the artists saw spring in the same way?

Everyone has their own vision of spring. It would seem that one season, and the artists

saw her in different ways, each conveyed his mood, one - sadness and

sadness, and the other smile and joy.

Question: Answer me one more question

is there a landscape with staffage?

(Levitan Isaac Ilyich "March", 1895).

SLIDE 5.

3. Types of landscapes.

Question: Look at the pictures, how are they similar and how are they different?

(These are landscapes. Depicted different places: village, city, sea)

Right. Landscapes are different types:

Rural (fields, forests, village houses are drawn)

Urban (image of various streets, views of the city, houses.)

(drawn

called

marine painters.

Lyrical.

Fairy-tale mythical ( fantastic images nature)

Space

SLIDE 6-30.

Reproductions of different types of landscape.

SLIDE 31.

To paint a landscape, an artist needs to know the rules of perspective.

when depicting nature, so that the landscape is believable. Now we

let's remember them.

4. Repetition of the order of work on the landscape:

1. Choosing a corner of nature. The work is done from nature or by representation.

2. Work begins with a pencil sketch

4. We use 2 laws: linear and aerial perspective.

Question: What important laws of perspective will you use?

Linear perspective:

Parallel lines, moving away from us, gradually approach each other and, in

eventually converge at one point on the horizon line

Aerial perspective:

The closer the subject, the more details; when removed, details

objects are less visible.

items

portray

painted,

remote

portrayed as pale.

The closer the clouds are to the horizon line, the smaller they are. The farther from

horizon lines, the larger they are.

Question: What colors will you use when creating the autumn landscape?

SLIDE 32.

What species does each of these landscapes belong to?

Practical work(Statement of the artistic task)

Lesson 2-8,

Well, guys, you have learned the basic rules for building a landscape and it's time

start creating your landscape. Do not forget that the landscape is staffed.

I want to invite you to try your hand at creating your own painting of different

types of landscape.

Views: rural, urban or seascapes lyrical.

Complete

work

more exciting, and our guests did not get bored while you are busy with work, I will turn on

music by P.I. Tchaikovsky "The Seasons" (or Vivaldi)

You are given 4 lessons to complete the sketches.

Let's

let's decide

most

important

creation

Composition "Landscape".

Compliance with the laws of perspective

The color scheme of the picture

The integrity of the composition.

Lesson summary.

Exhibition - viewing the most successful sketches, landscape studies and paintings

landscape. Creative task "Corner of nature, where I would like to be"

(Appendix: presentation on the topic "Genres and types of landscape" and

presentation on the topic "Staffing in the fine arts")