What main genres of painting do you know? The history of the development of landscape as a genre of fine art. What is landscape and types of landscape.

The term " scenery"in Russian comes from the French "paysage" - "pays" - "country", "locality". For example, in English language The term "landscape" comes from the Dutch word "landschap", which originally meant "area", "piece of land", but acquired its meaning as "a picture of a natural landscape" in the early 1500s. The development of this term in the Netherlands was logical, because this country became one of the first places where popular genre for painters. At this time, Protestantism was growing middle class, its representatives made new demands on objects of art. It was the landscape that helped satisfy these needs.

But this genre still needed to gain recognition from the authoritative art academies of Italy and France. Historical painting on classical, religious, mythological and allegorical themes prevailed over all others. The portraits genre paintings, still lifes, landscapes were at a lower level in the “hierarchy” of genres. Even when landscape became a more or less independent genre in the 17th century, it was still used as a secondary subject for biblical, mythological or historical scenes.

XVII century is considered the period of birth of the classical landscape. In the paintings of this period one can see the influence of antiquity and the desire to depict an ideal landscape reminiscent of Arcadia - a legendary place in Ancient Greece, known for its quiet pastoral beauty, which was written about by the Roman poet Virgil.

In a classical landscape, all objects should be in positions where each tree, stone or animal should create a harmonious, balanced and timeless impression. The classical landscape was improved by the French artists Nicolas Poussin and Claude Lorrain. Both artists spent most of their creative life in Rome, drawing inspiration from the views of the Roman rural areas. Italy at that time was the favorite place to work for many artists. Poussin, who early years dedicated his creativity historical painting, later came to the conclusion that landscape can evoke emotions as strong as human drama in history painting. From this point on, he worked to give the landscape genre a higher status.

Jacob van Ruisdael. River Bank (1649)

Nicolas Poussin. Landscape with Two Nymphs and a Snake (c. 1659)

Claude Lorrain. Landscape with the Abduction of Europa by Jupiter (between 1615 and 1682)

In the 18th century Italy continued to be a source of inspiration for landscape painters, while France and England became new centers of landscape art. But the ideals of the 17th century. classical Dutch and Italian landscapes were preserved. Although landscapes were gaining popularity, European academies still did not attach much importance to this genre. In particular, the Royal Academy in France is an incredibly powerful organization that sets standards for the training of painters and the choice of themes for their work.

Pierre-Henri de Valenciennes was able to turn the situation around at the end of the 18th century. Like Nicolas Poussin, he worked to convince the Academy and his contemporaries of the dignity landscape painting. In 1800, he published a book on the subject of landscape painting, Eléments de perspective practique (literally, “Essentials of Perspective Practice”). The book emphasized the importance of the "historical landscape", which should be based on the study of real nature. The subsequent generation of French landscape painters benefited from Valenciennes' efforts. Among them was Jean-Baptiste Camille Corot, whose development as an artist was largely influenced by the historical landscapes of Valenciennes and travels in Italy.

Pierre-Henri de Valenciennes. Ulysses begs for help to Nausicaä (1790)

Jean-Baptiste Camille Corot. Recollection of Morthefontaine (1864)

XIX century became a new stage in the development of landscape gardening art. The Industrial Revolution changed the traditions of rural life. All over Europe and North America landscape acquired new status. Representatives of the Barbizon school, such as Theodore Rousseau, Charles-François Daubigny and others, moved away from the idealized, classical landscapes and focused on painting from life, known as plein air painting. In the 19th century Landscape photography was born, which significantly influenced the choice of landscape compositions.

Theodore Rousseau. Market in Normandy (1845-1848)

Charles-Francois Daubigny. Harvest (1851)

French painter Gustave Courbet pushed the boundaries of landscape painting even further. Gustave Courbet's radical painting methods and independent spirit paved the way for the next generation of Impressionist artists. Artists such as Claude Oscar Monet, Camille Pissarro, Auguste Renoir, Alfred Sisley and many others devoted most of their work to plein air painting. The painting of Gustave Courbet, his colors and the structure of the landscape significantly influenced the works of Paul Cézanne and Vincent van Gogh, as well as many artists of the 20th century.

Gustave Courbet. Storm Wave (1869)

Claude Oscar Monet. Boulevard of the Capuchins (1873)

Camille Pissarro. The sound of a plum tree. Eragni (1894)

Auguste Renoir. Palm tree (1902)

Alfred Sisley. Bridge at Villeneuve-la-Garenne (1872)

Paul Cezanne. Swimming pool at Jas de Bouffan (1876)

Vincent van Gogh. Pink peach tree. Arles (1888)

At the beginning of the 20th century. landscape has ceased to be just a genre in fine art. Once photography gained recognition as an art form, artists were quick to take advantage of it. Also, the artists, in their conceptual manner, were able to convey the dangers of industrialization, the threat of global destruction and environmental disasters. In the second half of the 20th century. the definition of landscape included the concept of urban, cultural, industrial landscapes and landscape architecture. Landscape photography continues to evolve. Today, landscape is a way to convey an attitude towards the nature that surrounds us, the place where we live, and the human impact on the planet.

Before the Renaissance, the landscape served a decorative function. But before the landscape became the bearer of the idea and before it began to help reveal the character of the main characters, much less gained independence, a lot of time passed.

How did the landscape genre originate?

We first encounter images of nature on the reliefs of ancient civilizations that arose on the banks of mighty rivers. In paintings or sculptures that have survived to this day, the landscape represents rare examples of flora. And only in the Renaissance, when the Italians awakened an interest in nature, the landscape won its place under the ramps.

The appeal to nature occurs synchronously with the awakening of human inquisitiveness. A person is trying to figure out what is stronger in him - spiritual or material? What is the meaning of life or what brings happiness? Instinct or reason?

The Germans believed that nature brings chaos into human life. And if a person’s instincts win, expect trouble. The Italians did not agree with their northern colleagues; they found that only the balance of two principles in a person could give a harmonious personality. Titian and Giorgione embodied this idea in their paintings, while Raphael paid homage to the cityscape, enjoying the slenderness of lines. The era of romanticism arose in opposition to the era of Enlightenment to restore the broken balance. Feeling that human morals and customs were far from perfect, artists turned to nature. The seasons of the year were designed to reflect states human soul. Finally, nature prevailed by the 19th century.

The peculiarities of landscape in painting lie in the interpretation of this genre by artists. The originality of the landscape depends on the place given to the landscape in the picture, and the artists’ individual perception of nature.

The culmination of the landscape genre

The French painted nature, trying to depict all its many shades and moods. From Corot to the Impressionists, the landscape experienced years of triumph. The older impressionists - C. Monet, C. Pissarro, A. Sisley - already worked exclusively in the fresh air in order to prevent the slightest distortion. The notorious light-air environment, which in the picture connected nature and man together, has firmly entered the annals of art.

Landscape series appeared, united by one motif. The Impressionists respected both rural and urban landscapes equally. But landscape as an art form could not stand still and had to develop. Cézanne, Georges Seurat and Van Gogh brought their distinctive vision to the landscape. The nature of Paul Cezanne is majestic, monumental, it has clear boundaries. Georges Seurat played with optical effect, influencing the viewer with color. His mosaic paintings are stylized and decorative. The frantic Van Gogh poured out his soul in his paintings; he used nature as a mouthpiece to convey to the viewer his pain from the awareness of human imperfection.

Paul Gauguin closes the line of post-impressionists, his work is close to symbolism, where nature only vaguely resembles its prototype. His color planes, which replaced form, have a categorical sound.

Features of landscape in paintings by Russian artists

Russian artists Savrasov and Shishkin also influenced the development of the genre. In their paintings they lovingly depicted Russian nature - steppes and lakes, fields and forests. The celebration of rural life in Rus' was performed in the spirit of the Central European landscape. The dim colors suited the Russian expanses just right. Seascapes gained worldwide fame thanks to Aivazovsky, who reached unattainable heights in this genre.

French impressionism found a response in the works of Serov and Korovin, whose works received recognition. Soviet artists- Krymov, Grabar - demonstrated the beauty of human labor, going hand in hand with nature. The process of urbanization also had an impact on the art world. Today, from the galaxy of talented artists, one can single out Vasily Afanasyevich Leskov, his paintings are unpredictable and very impressive.

Over the centuries, the role of landscape in art has constantly changed, and the skill of artists has steadily grown. Contemporary artists use great freedom when choosing means of expression and technique. If you want your home to be decorated with a landscape that can ignite your imagination, order paintings from a real master.

The art of landscape has its own wonderful and long history. The landscape introduces us to the world surrounding the artist, gives us the opportunity to look back several centuries ago, and empathize with the master with his especially favorite motifs.

For many centuries, artists have been trying to use the things around them to express their understanding of the world, their thoughts and interests, and each creator succeeds in his own way, each work is individual. Each painter has his own vision of the world.

Landscape has become widespread in painting, graphics and even sculpture.

The prerequisites for the landscape appeared already in the Neolithic era in rock paintings ceramics, etc. In Egyptian art, with the development of interest in narrative storytelling, a perception of nature as a medium of action develops.

Ancient Roman painting gives rise to independent landscapes that appear in illusionistic paintings decorating living quarters.

Landscapes of medieval art make a completely different impression. Bizarre hills, rising against the backdrop of Byzantine and ancient Russian icons, visually divide the world into earthly and divine.

Landscape occupied an extremely important position in the painting of medieval China, where ever-renewing nature was considered the most visual embodiment of world law.

In Europe, landscape as a separate genre appeared much later than in China and Japan. During the Middle Ages, when only religious compositions had the right to exist, the landscape was interpreted by painters as an image of the characters’ habitat.

European miniaturists played a major role in the formation of landscape painting. In medieval France, at the courts of the Dukes of Burgundy and Berry in the 1410s, talented illustrators, the Limburg brothers, worked - the creators of charming miniatures for the Book of Hours of the Duke of Berry. These graceful and colorful drawings, telling of the seasons and associated field work and entertainment, show the viewer natural landscapes, executed with a masterful sense of perspective for the time.

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

Landscape motifs began to play a more important role during the High Renaissance. Many artists began to carefully study nature. Abandoning the usual construction of spatial plans in the form of scenes, a heap of details inconsistent in scale, they turned to scientific developments in the field of linear perspective.

In the creation of the landscape genre big role played by masters of the Venetian school. The first artist to attach great importance to landscape was Giorgione, who worked at the beginning of the 16th century. In Northern Europe in the 16th century, landscape also gained a strong position in painting. Giorgione had a significant influence on Titian, who later headed the Venetian school. Titian played a major role in the formation of all genres of European landscape painting. The famous artist did not ignore the landscape. Many of his canvases depict majestic images of nature.

Images of nature occupy important place in creativity Dutch artist Pieter Bruegel the Elder. Works by such artists as H. Averkamp, E. van der Poel, J. Porcellis, S. de Vlieger, A.G. Cape, S. van Ruisdael and J. van Ruisdael, convey a person’s pride in his land, admiration for the beauty of the sea, native fields, forests and canals.

In the 17th century, one of the varieties of the landscape genre, the marina, became widespread in Holland. In the country of sailors and fishermen, the seascape was a huge success. Among the best marine painters: W. van de Velde, S. de Vlieger, J. Porcellis, J. van Ruisdael.

The realistic art of Spain, Italy and France also played a role in the development of landscape painting. In the works of D. Velazquez there are landscapes that reflect the subtle observation of the great Spanish master. Velazquez masterfully conveys the freshness of greenery, warm shades of light sliding along the leaves of trees and high stone walls.

Landscape emerged as an independent genre in European art in the 17th century.

In the 17th century, the principles of creating an ideal landscape emerged in the art of classicism. The classicists interpreted nature as a world subject to the laws of reason.

A new attitude towards nature appeared in art in the second half of the 18th century. In the landscape painting of the Enlightenment, not a trace of the former idyllic convention remained. The artists sought to show the viewer natural nature, elevated to aesthetic nature.

Nature appears differently in the paintings of Baroque masters. Unlike the classicists, they strive to convey the dynamics of the surrounding world, stormy life elements. Thus, the landscapes of the Fleming Peter Paul Rubens convey the power and beauty of the earth, affirm the joy of being, instilling a sense of optimism in the audience.

The plein air landscapes of Claude Monet, Camille Pissarro, and Alfred Sisley reflect the artists’ deep interest in the changing light-air environment. The works of the Impressionists show not only rural nature, but also the living and dynamic world of the modern city.

Post-impressionist artists used modified traditions of the impressionists in their painting. From the standpoint of monumental art, Paul Cézanne represents the majestic beauty and power of nature. The landscapes of Vincent van Gogh are full of gloomy, tragic feelings.

In the 20th century, representatives of a wide variety of artistic movements turned to the landscape genre. Bright, intensely sonorous pictures of nature were created by the Fauvists: Henri Matisse, Andre Derain, Albert Marquet, Maurice Vlaminck, Raoul Dufy and others.

The Cubists (Pablo Picasso, Georges Braque, Robert Delaunay, etc.) created their landscapes using dissected geometric forms.

The first landscapes that appeared in Russia in the 18th century were topographical views of magnificent palaces and parks. During the time of Elizabeth Petrovna, an atlas of engravings with views of St. Petersburg and its environs was published, based on drawings by M.I. Makhaeva. But only with the appearance of the works of Semyon Fedorovich Shchedrin can we say that landscape as a separate genre was formed in Russian painting. Shchedrin's contemporaries - M.M. - made their contribution to the development of the landscape. Ivanov and F.Ya. Alekseev. Alekseev’s painting influenced young artists - M.N. Vorobyova, S.F. Galaktionova, A.E. Martynov, who dedicated their art to St. Petersburg: its palaces, embankments, canals, parks.

The development of Russian landscape painting of the 19th century is conventionally divided into two stages, distinguishable quite clearly, although organically connected with each other.

The development of romantic landscape painting in the first half of the 19th century took place in three directions: city landscape based on work from life; the study of nature on Italian soil and the discovery of the Russian national landscape.

One of highest achievements Russian realistic painting, within its general romantic orientation, was the art of S. F. Shchedrin. It is with him that the realistic basis of Russian romanticism is especially clear.

In the first quarter of 19 there are a number of artists who specialize in painting views and places, cities and estates.

By the 50th year of the 19th century, from all the currents of Russian romantic painting The Russian national romantic landscape began to come to the fore and become one of the socially significant and universally recognized genres. Current of Russian romantic landscape- Marinism. The founder of this genre in Russian painting was Ivan Konstantinovich Aivazovsky. In the 19th century, the sea element attracted artists from many countries. IN marine species The tradition of romanticism lived the longest.

In the 60s, during the second period of the formation of realistic landscape painting, the ranks of artists depicting their native nature became much wider, and they became increasingly interested in realistic art. One of the first places among them rightfully belongs to V. Polenov.

Creativity I.I. Shishkina marks the most important stage in the development of this genre. Shishkin not only mastered new, typically Russian motifs in the landscape, he conquered the widest circles of society with his works, creating an image of his native nature, close to the popular ideal of the strength and beauty of his native land.

A special place in Russian painting is occupied by the work of A.K. Savrasov, who became the founder of the national lyrical landscape.

The small-sized work “The Rooks Have Arrived” rightfully takes its place among the masterpieces of other artists of the 19th century. Savrasov had many students and followers, whom he taught to look closely and study nature, and not be afraid to go out into the open air with a sketchbook. He taught me to look for beauty in the simple and uncomplicated landscapes of my native land.

In the second half of the 19th century, a serious contribution to the development of Russian landscape was made by such famous artists, as I.I. Shishkin, F.A. Vasiliev, A. Kuindzhi, A.P. Bogolyubov, I.I. Levitan.

Impressionism brings a luminous freshness of color play into the landscape, and symbolism and modernism bring a love of decorative generalizations.

Landscape painting of the 20th century is associated with the names of I.E. Grabar, A.A. Rylova, K.F. Yuona. P.V. created their landscapes in the spirit of symbolist art. Kuznetsov, N.P. Krymov, M.S. Saryan, V.E. Borisov-Musatov.

In the 1920s, the industrial landscape began to develop; interest in this type of landscape genre was especially noticeable in the works of M.S. Saryan and K.F. Bogaevsky.

Behind long history landscape art, constantly turning not only to the present, but also to the future, gave rise to many dreams, aspirations and hopes. And if in the best examples it is not just decoration, a pleasure for the eyes, but a reason for the creative renewal of human consciousness, then we can say with confidence: this art will live forever. Expressive and impressive images of native nature were also created by landscape painters G.G. Nissky, S.V. Gerasimov, N.M. Romadin et al.

Belarusian painting originates in the lands of the Grand Duchy of Lithuania. In the 11th-13th centuries, the construction of temples began, the walls of which were painted with frescoes or decorated with sculpture. The paintings have practically not survived to this day, only small fragments that are practically not subject to restoration; one can only assume that a landscape could be present in these paintings.

Masters of the 15th-17th centuries made a significant contribution to the history of the development of Belarusian painting. The iconography of this period occupies a special place. A special school emerged, which left us many icons.

The first artists appeared in Belarus in the 19th century. They received their basic professional training at the painting department of Vilna University, and then at the St. Petersburg Academy of Arts. Among them is Y. Damel. One of the first Belarusian painters was I. Khrutsky. In his work, he also turned to landscape.

In the second half of the 19th century, a realistic trend grew in landscape painting. A prominent representative was A. Goravsky.

His landscape works are usually named by specific addresses - “Svislach Post Station”, “Evening in the Minsk Province”, which indicates his commitment to painting from life.

In most of the works of such artists as A. Garavsky, N. Selivanovich, there is not only Belarusian nature, but also the cities of Belarus, with noticeable features of everyday life ordinary people. Love for one's homeland and at the same time sincere sympathy for a deprived people is clearly manifested in many pre-revolutionary landscape works, with their wretched patriarchal villages, empty fields and narrow ribbons of roads.

At the turn of the 19th and 20th centuries, a whole galaxy of artists appeared. New names of landscape painters appeared - F. Ruszczyc, G. Weisengof, K. Stabrovsky and others.

The work of F. Ruszczyc is considered as a bright page of Polish national culture. This point of view seems one-sided and therefore incorrect. It is known that Ruszczyc’s creative activity mainly took place on Belarusian soil. Here he created his works in which he depicted the nature of Belarus and life Belarusian people. His work reflected the life and way of life of the Belarusian people and refracted the traditions of Belarusian realistic painting.

The work of F. Ruszczyc is of significant interest to Belarusian art history. The stylistic similarity of his painting with the painting of G. Weisengof, K. Stabrovsky, S. Zhukovsky, V. Byalynitsky-Birulya and other artists who grew up and educated in Belarus and then made a significant contribution to Belarusian, Russian, Polish and Lithuanian art allowed us to talk about Ruszczytsya as about the representative of the Belarusian national school of painting, which in general outline already began to take shape at the end of the 19th - beginning of the 20th century.

The highest rise of painting in Belarus occurred at the turn of the 19th and 20th centuries, during the Russian Revolution of 1905.

Belarusian landscape painters were no strangers to the achievements of the French impressionists, who introduced light and air into painting. The creativity of these Belarusian artists was not of equal value. In the process of its development, it underwent significant changes. These changes were especially noticeable in the period from 1907 to 1917. After the defeat of the 1905 revolution, many artists moved away from realistic positions. The basis of their creativity was the search for form.

Considering the Belarusian landscape of 1890-1917, one cannot ignore the work of those landscape painters who remained in academic positions. As a rule, these were artists of low stature professional culture. Their paintings were not distinguished by great skill and therefore did not leave a significant mark on the history of fine art.

The Belarusian landscape was further developed in the works of S. Zhukovsky, V. Byalynitsky-Biruli and other artists who began working mainly in the first decades of the 20th century. In the work of these painters - in compositional motifs, color, and the nature of pictorial construction - features that connect them with Belarusian art predominate. At the same time, landscape introduced other functions into painting; firstly, in most works it served as auxiliary materials in the works of artists and, as a rule, remained at the level of a sketch from life. Secondly, the landscape often showed motifs of a chamber nature, beloved corners of Belarusian nature, or city outskirts.

S. Zhukovsky's paintings are distinguished by their refined depiction of nature, masterful use of contrasts, against the backdrop of coloristic harmony of the entire composition, and light decorativeness. In his works he showed boundless charm with his native nature, the peculiarity of the Belarusian land. The artist’s works are emotionally close, “Dam”, “Autumn Evening”.

Belinitsky - Birulya. He did a lot for the development of Belarusian landscape painting. The artist perceived the nature of Belarus keenly, subtly conveying its characteristic features. The unique style he developed is incomparable, soft and lyrical. His paintings “Spring is coming” and “Autumn” gained worldwide fame. It was he who became the real founder of the Belarusian landscape, the bridge that unites the traditions of the old masters with the finds of modern Belarusian landscape painters.

The development of the fine arts of Belarus in the post-war period can be divided into 2 most characteristic stages, the first - 50, the other - the end of 60, 70. The first period is mainly associated with the work of artists of the older generation - V. Volkov, U. Kudrevich, B. Zvinogradsky. Great love The lyrical landscapes of U. Kudrevich stand out to nature " Blooming meadow", "Before the storm".

People's Artist of Belarus V.A. Gromyko belongs to the older generation of Belarusian landscape painters, his works “Golden Roads of Minsk Region”, “Foggy Morning”, “Over the Lake”, etc. Belarusian hills, forests, lakes are revealed in a variety of ways, in the works of V. Gromyko, he enriches the landscape with new emotions.

N. Voronov, S. Katkov, A. Gugel and others made a great contribution to the development of this genre.

Honored Artist of Belarus P.A. Danelia is known not only in his homeland, but also abroad. His works “Belarusian Melody”, “Clouds are Floating”, etc.

Vitebsk residents declared themselves interesting landscape painters: V. Dezhits, M. Mikhailov, U Kukharev. V. Dezhits' lyrical landscapes are mainly dedicated to Vitebsk.

Among the Gomel artists, in whose work lyrical and industrial themes occupied the main places, the following stood out: landscape painter of the older generation B. Zvinogradsky “Sozh. Big Water”, “The Ice Passed”, V Kazachenko, “Evening on the Sozh”, “Autumn”, “Gomel port", U Rykalin "Port of Gomel", "Druzhba Oil Pipeline".

The landscapes made by G. Azgur in her 50s stand out for their subtle lyricism and generosity of feelings in depicting the unique beauty of Belarusian nature, “Logoisk Hills”, “The Last Snow”, and the artist continued to preserve these feelings in her work.

In the 50s, the talent of landscape painter V. Tsvirko grew stronger. During this period, his landscapes are close to the nature of Belarus with its soft hills, copses, many clouds and warm winds. The light they see is bright, spacious, rich in colors, spreading out like a wide field of activity for a person. V. Tsvirko skillfully uses nature and notices its most characteristic features. His later landscapes marked by the search for new forms and means of figurative expression.

In the second half of the 60s, Belarusian landscape painting was characterized by new searches and directions. The existing landscape-sketch is being replaced by a landscape-picture, where the means of color, plastic linear-rhythmic organization of reflection are aimed at an epic explanation of the life of nature, at giving the view important internal significance.

Most of Tsvirko’s landscapes, created in the late 60s and early 70s, reveal new page in landscape painting of Belarus. The poetry of the works of the early period was replaced by strict decorative simplicity and a variety of flat color gradations. In each new work of the artist one can feel the desire for philosophical reflection on nature and time. “My Belarus”, “On the Old Land”, these paintings stand out for the emotionality of the color and compositional solutions, the brightness of the emphasized plans, which gradually lead the eye to the horizon. Most of the artist’s landscape works are characterized by monumentality, due to the breadth of space. The Belarusian landscape, in the works of V. Tsvirko and many other artists, is shown in all its diversity and uniqueness.

No less important is the peculiarity of the Belarusian landscape in Lately is an epic depiction of the most characteristic and typical phenomena in nature or specific moments and actions associated with nature.

Belarusian lakes, forests, rivers are revealed in the works of V. Gromyka, before the viewer in a rich and varied way. Some with their soft lyricism and poetry, others with high drama. In all works, color plays an important role - yellow-green, blue, red.

The work of V. Gromyka in landscape painting over the past ten years has raised this genre to a higher level. Using the best achievements of masters of the older generation, he enriches the landscape with new content, new emotions, bringing it to the meaning of a painting of a high artistic level.

In the mid-70s, a tendency for analytical figurative disclosure of themes appeared in landscape painting. Almost every author sets himself the task of not only revealing external beauty native land, but also to raise deeper questions about the philosophical understanding of life.

Landscapes by L. Shchemelev, D. Aleynik, N. Kazakevich, unique in their writing style and color.

Images of nature are woven from light and color; they are surprisingly transparent, pure and fragile. N. Kazakevich recreates his native nature with the warmth and sincerity of a person in love with his land, with painting.

The process of mastering the best traditions in the art of past years is accompanied by the search for new forms, new solutions.

Among the artists of the middle generation, one can also name many names that have already entered the history of Belarusian art - this is A.V. Baranovsky, V.V. Nemtsov, L.V. Ramanovsky, A.Ya. Shibnev.

For A. Baranovsky, the nature of Belarus is the main theme for creativity. A subtle colorist with excellent command of the expressive possibilities of painting, color, composition, and design. The artist's works are distinguished by a combination of sharp vision with softness, kindness, special reverent love and warmth towards the depicted world. Imagery and poetry are combined with a leisurely, careful analysis of a particular motif, and attention to the means of pictorial expression.

Belarusian landscape painting has changed. You will no longer surprise anyone with the unconventionality and purity of color in the works of B. Arakcheev, the festivity and cheerfulness of the paintings of D. Aleynik, V. Kubarev, A. Marochkin, each of them follows his own path and opens a new, unique page in the development of fine art.

Each work by L. Dudarenko is characterized by a unique pictorial and plastic solution, perfection of drawing and compositional completeness. At the heart of creativity there is always the theme of spirituality, artistic truth, which allows you to maintain creative individuality.

Landscape has become especially relevant in recent years, when the crisis of compositions on social significant topics. The artists turned to the most traditional form landscape - the image of nature, freedom and harmony.

Nostalgic notes for the vanishing pristine corners of nature are becoming more and more clear in the works of artists; the harmony of nature is becoming more and more exciting, and people are attracted by the romanticism of the perception of landscapes, where the most ordinary thing, seen many times, appears in a different quality, reality under a mysterious color takes on the characteristics of an illusion. It is these motives that V. Zinkevich, V. Shkarubo, V. Khmyz, A. Mirsky and others strive to preserve and embody in their canvases.

The landscapes of V. Zinkevich are not even landscapes in the usual sense for us. Rather, it is their emotional echo, an echo of one or another state of nature that has reached us. The subjectivism and fantastic nature of the artist’s vision cannot be interpreted unambiguously and specifically. Landscape improvisations have multiple meanings; they encourage reflection and association.

The art of V. Shkarubo is largely conceptual, since it is always subordinated to the expression of a predetermined and thought-out author’s idea. There are no people in his landscapes, which only adds mystery, makes the atmosphere of the picture somewhat surreal, allows you to move away from pastoral sentimentality and give the figurative structure of the composition greater capacity and depth.

HISTORY OF THE DEVELOPMENT OF LANDSCAPE AS A GENRE OF FINE ART

Murtazina Liliya Raifovna

5th year student, Department of Design and Fine Arts
VyatGSU,
RF, Kirov

Savinov Andrey Mikhailovich

scientific supervisor, Ph.D. ped. Sciences, Associate Professor
VyatGSU,
RF, Kirov

Landscape is a genre of fine art in which the basis of the image is pristine nature, or nature transformed to one degree or another by man. However, it should be noted that the image of nature is often used by artists in other genres of painting, serving as a certain background that helps to deeper reveal the idea, meaning, and character of the pictorial image. The image of nature is often also a background part in graphic and sculptural works of other genres. The landscape is dominated by real and imaginary terrain, architecture, and cities. The painter shows his attitude to nature, depicting this or that phenomenon, the form of a person’s natural environment; by applying these innovations, the landscape acquires emotional and ideological content.

For a detailed analysis of the history of landscape as a genre of modern art, we will consider the chronology from ancient times to the present.

As a genre of fine art, landscape has a long history. Some elements of the landscape were discovered in the Neolithic era: drawings of trees, rivers, lakes, stones. Depictions of nature are found in Egyptian frescoes dating back to the second millennium BC.

The reliefs and paintings of the countries of the Ancient East and Ancient Egypt also contain elements of landscape. In the art of Crete of the 16th-15th centuries BC, the impression of an emotionally convincing unity of flora, fauna and natural elements was achieved. The landscape of ancient Greek art is usually inseparable from the image of a person. The Hellenistic and ancient Roman landscape had great independence and included elements of perspective (illusionistic paintings, mosaics).

In Western European art of the 12th-15th centuries, trends towards a sensually convincing interpretation of the world prevail. Therefore, landscape painting is conceptualized as a fundamentally important component of a work of art. The symbolic background gives way to landscape space and turns into a wide panorama of the world.

Renaissance artists typically studied landscapes from life; on the basis of this, they developed the principles of perspective construction of landscape space. Beginning with the Renaissance, the prerequisites for the emergence of an independent landscape genre appeared in the visual arts. This manifestation can be observed in graphics and in small pictorial compositions, where nature dominates the foreground scenes.

German masters were especially willing to turn to wild nature, giving it a catastrophically stormy appearance. Italian artists, on the contrary, sought to emphasize the harmonious consonance of human and natural principles (Giorgione, Titian), and in city landscapes they embodied the idea of an ideal architectural environment (Raphael).

At the end of the 18th century - the first half of the 19th century, romanticism tendencies predominated in the landscape. During this period, the human soul comes closer to the life of nature. Returning to the natural environment, artists saw a means to correct moral and social imperfections of man. The masters showed special sensitivity to the individual uniqueness of individual states of nature.

These features are characteristic of the work of the Englishman J. Constable, in which one can see the evolution of the landscape to real images and the preservation of the lightness and airiness of the sketch.

Masters of European schools worked on realistic landscape. Their work is characterized by generality and interest in the problems of the plein air. IN mid-19th century, French Barbizonists, English Pre-Impressionists and C. Corot began to paint directly “on nature”, trying to convey in painting the state of nature at a certain moment of the day and season.

Landscape takes on leading importance among the masters of impressionism (C. Monet, C. Pissarro, A. Sisley, etc.). For them, working in the open air was one of the main conditions for creating a landscape image. The most important component of the landscape for impressionist artists was the intermittent, rich various shades a light-air environment that creates the visual inseparability of nature and man.

When creating landscape series united by one motif, the masters sought to capture various changes in states environment. The works of the masters of impressionism reflected the dynamism modern man, thanks to which the urban landscape acquired equal rights with images of nature. Depicting the city on their canvases, the masters sought to reflect the bustle of life in it.

At the turn of the 19th and 20th centuries, many trends emerged in the landscape, developing the principles of impressionism in the landscape and at the same time entering into conflicting relationships with them. P. Cezanne showed in his works the majestic power and clear constructiveness of natural landscapes.

The work of J. Seurat and his landscape motifs are subordinated to strictly verified, planar and decorative structures; he abandoned the displacement of colors and used dotted strokes of pure color, superimposing them almost on top of each other. Inconsistency with the received color range the natural colors of nature, and the special decorative effect achieved by their play was his main experiment.

The Dutch painter Van Gogh gave individual elements of the landscape an almost human animation and strove for the tragic psychological associativity of landscape motifs. He works according to the first impression, in a creative impulse, and it seems that the picture breaks out from under his brush, like a cry of admiration for nature or pity for man.

The works of the French painter P. Gauguin are close to the landscape of symbolism and are distinguished by the sonority of color planes. They also radically rethink the image of an idyll landscape. During the academic school of painting, landscape faded into the background, and starting from the era of impressionism, this direction is represented in the works of many artists.

Some traditions of the impressionists, but in a rather strongly modified form, were used by post-impressionist artists in their painting.

An important contribution to the development of landscape as a genre of fine art was made by Russian artists, namely I. Shishkin, A. Savrasov, F. Vasiliev. In their landscapes, they skillfully conveyed to the viewer the features of rural nature - forests and steppes, rivers and lakes. The masters of Russian art took as a basis the traditions of Central European landscape, in particular Holland of the 17th century, with its muted colors, cloudy sky, distant plains and peasant houses. Dutch traditions also penetrated into Russia through German masters. Therefore, I. Kramskoy compared F. Vasiliev with A. Achenbach, although he admitted that the Russian master surpassed the German.

In the works of I.K. Aivazovsky and M.N. Vorobyova romantic traditions play a leading role in Russian landscape painting. Russian masters turned to their native nature, the motives of which are particularly graceful and large-scale.

Realistic traditions of the second half of the 19th century centuries are closely associated with the styles of impressionism and modernism. In the works of V.A. Serova, P.I. Petrovicheva, L.V. Turzhansky depicts modest, unremarkable views, distinguished by the sketch-like spontaneity of composition and color. Emotionally excited motives and increased sonority of color are characteristic of the work of K.A. Korovin and I.E. Grabar. National romantic features are inherent in the works of A.A. Rylov and landscape-genre compositions.

A significant milestone in the development of the landscape genre is Soviet period. In the works Soviet masters images predominate, revealing the life-affirming beauty of the world and close connection it with the transformative activities of people. Famous artists in this area are V.N. Baksheev, I.E. Grabar, N.P. Krymov, A.V. Kuprin, A.P. Ostroumova-Lebedeva, and others, as well as whose activities were associated with Soviet times(S.V. Gerasimov, A.M. Gritsai, N.M. Romadin, V.V. Meshkov).

In the 1920s, in connection with industrialization, the Soviet industrial landscape emerged and a type of memorial landscape emerged (for example, the canvases of V.K. Byalynitsky-Birulya with views of Leninsky Hills and Yasnaya Polyana).

But already by the 30-50s, a monumental landscape painting appeared, which was based on a rethinking of the sketch material and was subordinated to the growth of cities. Artists paint paintings that show the interaction of industrial and natural forms, dynamic growth in the spatial perception of the world, associated with the increasing pace modern life(A.A. Deineka, P.P. Ossovsky).

In the republican schools of Soviet landscape painting, the leading role is played by the work of I.I. Bokshaya, A.A. Shovkunenko in Ukraine, D. Kakabadze in Georgia, Saryan in Armenia, U. Tansykbaeva in Uzbekistan. In the 60-80s, the principle of a landscape-picture remains important, but the expressiveness of texture and color, as well as active compositional rhythms, play an important role.

Landscape has developed over time as a form of fine art. Over the course of epochs, not only the methods and techniques for constructing images of landscape elements have changed, but also accumulated artistic experience, perfection, beauty and respect for work. In the process of formation, a more complex and constantly enriching view of the world developed. Art expressed its modern attitude In reality, there was a reassessment of values. Its development occurred through the disclosure of newly understood qualities of things, a measure of understanding of reality. By now, landscape as a form of fine art has formed its own character traits and features.

Bibliography:

Aksenova M. Art: encyclopedia. M.: Astrel, 2010. - 590 p.
Museum. Terms and concepts. Scenery [ Electronic resource]. - Access mode: - URL: http://www.art-drawing.ru/terms-and-concepts/2545-landscape (access date: 06/11/2015).
Fedorov-Davydov A.A., Russian landscape of the 18th - early 19th centuries: book. M., 1953. - 348 p.

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Attention! Slide previews are for informational purposes only and may not represent all the features of the presentation. If you are interested in this work, please download the full version.

The purpose of the lesson: introduce schoolchildren to various types and characters of the landscape, paintings by famous artists.

Lesson objectives:

teach to distinguish between types of landscape and the nature of the landscape;
develop students’ spatial imagination, creative thinking, and aesthetic taste;
perform practical work using the information received in the lesson;
cultivate a friendly attitude in the team, teach discipline;
create a sketch on the topic: “The road I wanted to take”

Lesson type: combined.

Lesson type: lesson using ICT lectures, creative work.

Student age: 6th grade.

Hardware and software: computer with Windows XP Professional, multimedia projector, projector board.

Art materials: album, simple pencil or charcoal.

Visual aids (reproductions of paintings in the presentation):

Alexey Savrasov “The rooks have arrived”
Nikolay Anokhin “Old Oaks”
Isaac Levitan "March"
Malikova Daria “Stop Angel”
Maria Seed "Park Landscape"
Irina Mysova “Quiet Bay”
B. Yakovlev “Transport is getting better”
Pavel Korin "Alexander Nevsky"
A. Rylov “In the blue expanse”
V. Polenov “Moscow courtyard”, “Birch alley in Abramtsev Park”
N. Roerich “Izborsk Towers”, “Cross on the Truvorov Settlement”, “Watch”, “Slavic Land”, “Sunday Monastery in Uglich”, “Pechora. Great Belfry", "Heavenly Battle"
Levitan "Lake"
I. Shishkin “Road in the Forest”, “Forest”, “Ship Grove” “Afternoon in the vicinity of Moscow”, “For mushrooms”, “Rye”
F. Vasiliev “Village”, “Village Street”, “Wet Meadow”
A. Savrasov “Rainbow”, “Sea of Mud”, “Country Road”, “Rye”
Korovin K. " Early spring", "Yard", "Winter"
A.P. Ostroumov-Lebedev “Fountain and summer garden in the frost", "Amsterdam",
Dobuzhinsky M.V. “House in St. Petersburg”, “London. Monument", "Petersburg"
S. Shchedrin “Landscape with ruins”, “Column with an eagle in Gatchina”,
A. Benois “Water parterre in Versailles Park”, “Versailles”, “Water parterre in Versailles”, “Venice Garden”,
I.K. Aivazovsky “Moonrise in Feodosia”, “Stormy Sea at Night”,
Zlobin Pavel. "At the Volga"
Veronika Surovtseva “Flowers in the Forest”,
Vladislav Koval “Zone”,
A.M. Vasnetsov “Moscow courtyard in winter”, “Ruins of a house”, “House of the former Archaeological Society”,
Alexey Brikov “Train”, “Construction of the Kuibyshevskaya State District Power Plant”

Interdisciplinary connections: geography, history.

Lesson plan:

Organizing time.
Studying new topic: "Scenery. Its types and characters."
Fixing the material.
Practical work.
Analysis of works.
Giving grades in a diary and journal.

DURING THE CLASSES

I. Organizational moment

II. Explanation of a new topic

(Slides 2, 3)

– Today in class I would like to introduce you to various types and characters of the landscape, paintings by famous artists and artists of the Volgograd region. Before starting the lesson, let’s set ourselves the tasks that we will solve during the lesson:

(Slide 4)

1. Learn to distinguish between types of landscape and the nature of the landscape,
2. To develop students’ spatial imagination, creative thinking, and aesthetic taste
3. Do practical work by creating a sketch on the topic “The road I would like to take.”
4. Cultivate a friendly attitude in the team, learn discipline.

(Slide 5)

– Who in our time does not know what a landscape is?

Children's response: This is a picture that depicts a forest, field, river, sea or city, village, railway, etc.

(Slide 6)

The Dahl Encyclopedia gives the following definition of landscape: it is a direct echo of a person’s soul, a mirror of his inner world.
On Wikipedia the definition is as follows: landscape (French) Paysage, from pays- country, area), in painting and photography - a type of picture depicting nature or some area (forest, field, mountains, grove, village, city).

The inexhaustible diversity of nature has given rise to various types of landscape genres in the fine arts.

1. Rural landscape

Many artists resorted to this landscape - Fyodor Aleksandrovich Vasiliev, Alexey Kondratievich Savrasov, Isaac Ilyich Levitan, Konstantin Alekseevich Korovin, etc. In the rural landscape, the artist is attracted by the poetry of rural life, its natural connection with the surrounding nature.

2. Cityscape It is distinguished by a spatial environment rationally organized by human hands, including buildings, streets, avenues, squares, embankments.
The image of old St. Petersburg greatly inspired a creative group called “World of Art”.
A special place in creating the image of baroque, classical and contemporary St. Petersburg was occupied by Mstislav Valerianovich Dobuzhinsky (“Petersburg”, “House in St. Petersburg”) and Anna Petrovna Ostroumova-Lebedeva, who created a whole series of engravings dedicated to this city.

3. Park landscape

It depicts corners of nature created for relaxation and satisfying the aesthetic needs of people. Such landscapes were created by Semyon Fedorovich Shchedrin in the 18th century and Alexander Nikolaevich Benois at the end of the 19th century. Their paintings feature a harmonious combination of natural forms with decorative sculpture and architecture.

4. Seascape

Paintings depicting seascape also called marinas. Wikipedia gives the following definition: Marina (Italian marina, from Latin marinus – sea) – one of the types of landscape, the object of which is the sea. Marina - talks about the unique beauty of the sometimes calm and sometimes stormy sea.
In Russia there were very few adherents of this landscape, but the brightest of them was Ivan Konstantinovich. Aivazovsky. His paintings “The Black Sea” and “The Ninth Wave” are known all over the world. Today we bring to your attention the paintings “Moonrise in Feodosia”, “Stormy Sea at Night”.

5. Architectural landscape is in close contact with the urban. But in an architectural landscape, the artist pays main attention to the depiction of architectural monuments in synthesis with the environment. Nikolay turned to the architectural landscape Konstantinovich Roerich, Alexander Nikolaevich Benois, Pyotr Petrovich Konchalovsky and others.

6. B industrial landscape the artist strives to show the role and importance of man - the creator, the builder of plants and factories, dams and power plants. This landscape appeared in Soviet times. It was caused by the idea of restoring the national economy after the devastating years of the civil war.
It began in the 20s of the 20th century with the painting “Transport is getting better” by Boris Nikolaevich Yakovlev. The sparse pictorial and narrative language of the painting seems to be akin to the harsh times. The poetics of the industrial landscape became the central theme of the work of many artists throughout the 20th century.

Diversity of landscape in character.
Depicting nature, the artist reflects the ideas of the people of his era about the beauty in the reality around them.
The artist interprets each landscape in his own way, investing it with a certain meaning.
There are five types of landscape character. It is a heroic, historical, epic, romantic and mood landscape. Let's take a closer look at them.

(Slide 15)

1. Heroic landscape

This can be called a landscape in which nature appears majestic and inaccessible to humans.
It depicts high rocky mountains, mighty trees, calm surface of waters and against this background - mythical heroes and gods. This is what the landscape looks like in Pavel Korin’s triptych “Alexander Nevsky”.

(Slide 16)

This type of landscape includes A. Rylov’s painting “In the Blue Expanse”. It was written in 1918, and it allegorizes the heroic-romantic image of freedom and courage: free birds in the free sky, a tiny sailboat in the ringing space, sailing towards the messengers of the awakening earth.

2. Landscape mood

The desire to find in various states of nature a correspondence with human experiences and moods gave the landscape a lyrical coloring. Feelings of melancholy, sadness, hopelessness or quiet joy are reflected in the mood landscape.
– Which artist’s name is associated with the appearance of the lyrical landscape? (A. Savrasov “The rooks have arrived.”)
– Vasily Dmitrievich Polenov gave life to the so-called lyrical landscape, in which he was also present everyday genre: “Moscow courtyard”, “Birch alley in Abramtsev Park”.
A student of Alexei Kondratyevich Savrasov and Vasily Dmitrievich Polenov, Isaac Ilyich Levitan combined an epic and intimate, lyrical line in his work. “Om was one of the first Russian artists who began to paint blue and purple shadows on the snow, who conveyed the beauty of the subtlest shades of the color scheme of summer twilight and the blue transparency of moonlight.” He established the landscape in Russian art, which is called the “mood landscape.”

3. Historical landscape

In the landscape genre, historical events are indirectly embodied, which are reminiscent of the depicted architectural and sculptural monuments associated with these events. Such a landscape is called historical. He revives the long past in his memory and gives it a certain emotional assessment.
First of all, Nikolai Konstantinovich Roerich and Appolinary Mikhailovich Vasnetsov should be called representatives of the historical landscape. Both were fond of archeology and were great experts on Russian antiquity. In 1903 N.K. Roerich wrote “Izborsk Towers”, “Cross on the Truvorov Settlement”, and later resurrected the military past of the ancient city in the paintings “Watch”, “I See the Enemy”, “Slavic Land”. The artist set himself the task of glorifying the beauty of ancient Russian architecture in the language of painting, and convincing his contemporaries of the enormous value of ancient monuments. A.M. Vasnetsov restored pictures of the life of our ancestors in urban landscapes. He wrote Moscow in the 17th century.

4. Epic landscape

Majestic pictures of nature, full of inner strength, special significance and dispassionate calm, are characteristic of the epic landscape. In a manner perfect image The Russian land, glorious for its forest riches, wide fields and mighty rivers, was created by Ivan Ivanovich Shishkin.
Characteristic in this regard is the last great work of Isaac Ilyich Levitan - “Lake”; the artist gave it a second name - “Rus”, thus denoting the epic program of the work. In this landscape the artist seeks to show collective image Russian nature in its characteristic state.

5. Romantic landscape

The landscape sometimes captures a rebellious beginning, disagreement with the existing order of things, the desire to rise above the ordinary, to change it. Thunderclouds, swirling clouds, gloomy sunsets, violent winds are the motives of a romantic landscape.
The spirit of romanticism is present in the paintings of Alexey Kondratyevich Savrasov “Country Road” and “Rye”.
The dynamic landscapes of Fyodor Aleksandrovich Vasiliev are imbued with a romantic feeling.
Ivan Konstantinovich Aivazovsky was called a romantic artist.
IN outstanding work Nicholas Konstantinovich Roerich “Heavenly Battle” clouds are piled up over the wavy outlines of the hills - sometimes swirling, sometimes straight and sharp, like arrows. The combination of dynamism with majestic and solemn monumentality can be classified as an epic-romantic landscape.

Nature is a book of wisdom.
The landscape helps you read this book and master the precious wealth contained in it.
He depicts nature in its individual manifestations and therefore can gradually reveal its innermost meaning.
Nature teaches and educates us directly, daily and deeply.

III. Fixing the material

1. What landscapes can you name based on the type of image?
2. How do landscapes differ in character?
3. Which landscape is closest to your spirit?
4. Determine the type and nature of landscapes painted by Volgograd artists

(Slide 22)

IV. Practical work

Make a sketch on the topic “The road I would like to take” or “The architectural landscape that I would like to see around me (landscape of the future, present, past).”
Materials: album, pencil, charcoal (optional).
Audience: F. Vasiliev. Village street. A, Lentulov. Landscape with dry trees and tall houses, St. Basil's Cathedral. M. Dobuzhinsky. House in St. Petersburg, A. Benois. Versailles. The King's Walk. Aivazovsky. Black Sea. B. Yakovlev. Transport is getting better. Rylov. In the blue expanse. Polenov. Moscow courtyard. Levitan. Evening bells, Lake. Roerich. Slavic land. Heavenly fight. Vasiliev. Before the storm.