Selling a painting of an industrial landscape. Industrial landscape

It is difficult to see beauty in a coal mine or, for example, in a recycling plant. It’s unlikely that anyone will think of beauty when looking at pipes industrial enterprises or abandoned quarries. But photographer Edward Burtynsky is drawn to just such subjects, and he shows us that they, too, can enchant.

A dominant theme in Edward Burtynsky's work is nature as modified by industrial activity. He looks for suitable landscapes, rich in detail, and photographs them. Quarries, factories, mines - all these places are beyond our daily experience, although we are aware of their role in providing us with a comfortable life.

Edward Burtynsky's images should be taken as a metaphor expressing the dilemma of our modern existence; they contain a hidden dialogue between attraction and disgust, temptation and fear. We all crave a comfortable life and consciously or unconsciously understand that the world suffers for our well-being. Our dependence on nature to provide materials for humanity to consume, while at the same time the challenge of maintaining the health of our planet, leads to a difficult contradiction. It is these difficulties that are reflected in the photographer’s works.

Edward Burtynsky photographs the raw materials and waste of civilization—but does so in a way that has people calling his work “beautiful” and “stunning.” The author's photographs attract interest and ask many questions, none of which Edward even tries to answer.

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

Iso 6th grade

“Satirical images of man” - Etienne. Cartoon. Caricature. Satirical images of man. Portrait. Silhouettes cut from paper. Etienne de Silhouette. Silhouette. Drawing sketches. Silhouettes drawn on paper. Creating an image of a hero. Imagination. Stages of work in the lesson. Creating a caricature.

“Iso test” - What is the name of the genre visual arts. "Bogatyrs". Materials used in graphics. In what coloring was the painting by the artist I.K. Aivazovsky painted? Colors that cannot be obtained by mixing. Tests. A still life is an image. Flower science. Combat battles. Select an art genre. Creative task. What colors are cool? What is the name of the genre of fine art? What colors are warm?

“Rules of Perspective” - Imeritinskaya Lowland. An independent genre. Rules of linear and aerial perspective. Look at the images. Vanishing lines. Ice cube Summer day. Nearby objects. Scenery. Landscape genre. Indoor skating center. Science that helps to correctly depict objects. Practical work. Autumn day. Large ships. Art.

““Portrait” 6th grade” - Vladimir Lukich Borovikovsky. V. Serov. Academy of Arts. Portrait in fine art. Valentin Serov. V.L. Borovikovsky "Portrait of M.I. Lopukhina." Is it possible to transfer inner world person, his mood. "Mona Lisa". Famous portraits great artists. V.L. Borovikovsky. Determine the type of portrait. Leonardo da Vinci. Facial expression. "Portrait of Yusupov."

“Primary colors in painting” - Psychology of color. Color in works of painting. The word "joy". Painting. Color is a property of light. The color scheme of the work. Color perception. The lesson is a creative workshop. Color. Achromatic colors. Words are drawn in the soul. Color in works of painting. Primary colors. Inner grace. Structure of primary colors. Exhibition creative works. Black Mountain. Rainbow arch. The main function of flowers.

“Defenders of the Fatherland” - 3. Roerich N.K. "Mikula Selyaninovich." "The Knight at the Crossroads." Which historical meaning was Russia's victory in the Northern War? What events formed the basis of the plot of the film? Why does the author turn to the epic theme in his work? What was the significance of the Battle of Kulikovo? Find paintings depicting heroes in the collection of the Russian Museum. The best purpose is to defend your fatherland. "The duel between Peresvet and Chelubey."

Achievements of scientific technical progress, which became one of the most important signs of the twentieth century, affected literally all spheres of human life. They not only put previously unimaginable opportunities into his hands, but changed the very perception and understanding of the world, which, thanks to the efforts of numerous scientists and engineers, has become global, where events occurring at the same time in different parts of the world turn out to be interconnected, capable of instantly influencing the fate of millions of people. The contradictory essence of this process worried not only specialists in the natural and technical sciences, but also sociologists, philosophers, writers, and artists. Fine art, along with philosophy, literature, and cinema, responded sensitively to the changes that the world under the influence of rapidly developing science and industry. Discoveries and inventions that took place on turn of the 19th century and XX centuries, in many ways anticipated and prepared those social revolutions, which soon shocked and transformed the whole world. And, it seems, it is no coincidence that it was in Russia after the victory October revolution, which truly marked the beginning of a completely new stage in domestic and world history, the industrial, or industrial, theme received such a purposeful and fruitful development. Having revealed its ideological significance for the young Soviet state, it was reflected in the thematic picture, and in the portrait, and in the landscape.

Thus, already in the 1930s, as an independent and important section Soviet art formed industrial landscape, where the theme of creating a new, man-made nature was reflected both in the constructive graphics of the paintings of representatives of the Society of Easel Painters, permeated with the dynamics of modernity, and in those turned to the traditions of realistic art of the 19th century century landscapes by A. Kuprin and K. Bogaevsky. Another surge of interest in the industrial landscape occurred in the 1960s - a time of new large-scale construction and significant scientific discoveries. It was at this time that one of the greatest masters The industrial landscape was developed by A.V. Panteleev, whose work reflected not only the gains of technological progress, but also its costs, many of which turned out to be disastrous for both nature and humans. Here it is necessary to immediately draw attention to the fact that the industrial landscape is a broad section of the industrial theme, covering various genres, themes and plot motifs, to one degree or another connected with the reflection of the labor feat of the people, the pathos of the rapid transformation of the world under the influence of human activity. Circle artistic traditions, which the authors of these works addressed - and the author of the book quite rightly dwells on this problem in detail - is quite wide. The significant changes that Soviet art underwent at the turn of the 1950s and 1960s significantly affected the nature of the plastic interpretation of the “industrial theme.” Along with the legacy of the Easel Painters Society, which was rehabilitated at that time, and which became one of the most important artistic reference points for Alexander Panteleev, the artists’ attention turned to the thoroughly forgotten traditions of the Russian and foreign avant-garde of the early 20th century. And, it seems, it is no coincidence that it was the plastic discoveries of Picasso and the Italian futurists, as well as their Russian associates, that made it possible to adequately embody completely new subjects and motifs for the industrial theme. They, as a rule, were no longer the fruit of tragic insights and prophecies of philosophers and writers and appeared as the response of a caring person to tragic events that were the result of deep contradictions initially inherent in the progress of technogenic civilization.

And here Panteleev was destined to become the founder and even a classic of the “technical theme” - a completely special genre specific to Soviet art of the 1970s and 80s, which highlighted a wide range of serious problems, which had yet to be resolved in traditional form easel painting. IN beginning of XXI century, when the problems caused by the unbridled development of technical progress in all its forms became completely obvious, an appeal to the work of A. V. Panteleev, an artist who managed to see and show both the triumphantly affirmative and dramatic side of technicalism, seems especially relevant and necessary .

It should be especially noted that the author often compares Panteleev’s works with the works of others Soviet artists- his predecessors (A. Deineka, K. Bogaevsky, A. Kuprin, G. Nissky) and contemporaries (T. Salakhov, S. Juntunen, N. Kormashov, E. Bragovsky, V. Vetrogonsky), identifying similarities and differences in stylistic, pictorial-plastic and figurative-content interpretation of the industrial theme. At the same time, I.B. Balashova finds the right intonations and gives a fair assessment of the work of each of the very respectable authors. In addition, she draws bold and interesting historical parallels between the nature of the figurative solutions in the works of Panteleev and the masters of past eras - we're talking about, in particular, about the drawings of Leonardo da Vinci, the works of the largest representative of the classical landscape of the 17th century, Nicolas Poussin, as well as ancient Russian art, to which the iconographic solution of a number of the artist’s later works goes back, dedicated to the image robot - the new hero of the era of scientific and technological revolution.

painting urban industrial landscape

(from the French paysage - country, locality) - a genre of fine art in which the main subject of the image is nature.
Landscape appeared as an independent genre already in the 6th century in Chinese art. Chinese traditions landscape painting had a great influence on Japanese art.
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.
Gradually, landscape went beyond other artistic genres. This was facilitated by the development easel painting. In building landscape genre big role played by masters of the Venetian school at the beginning of the 16th century.
In Russian art, landscape as a genre of painting appears in late XVIII century. Semyon Shchedrin (1745-1804) is considered to be the founder of Russian landscape.
The rise of landscape painting was marked by the development of the plein air landscape, associated with the invention in the 19th century of the method of producing tube paints.

Industrialism— comes from the word “industry.” Industrial society is an industrial society that develops in the direction of machine production, urbanization, and industry. The theme of industrialism is especially characteristic of the period of Soviet Painting of the 20th century, when it was especially noticeable scientific and technical progress, which entered the lives of people of that time very sharply. It happened so unexpectedly that people almost instantly changed their outlook on life. New values ​​absorbed all spheres of life, including art. In painting, sculpture, and literature, subjects from industrial life increasingly appeared: workers in plants and factories, combine operators in the fields, construction sites, development and development of new territories, endless production, selflessly and tirelessly, and so on. Typically, such art was aimed specifically at the heroic component of the working class. People who were involved hard work, were presented as real heroes, heroes, people to be emulated.

In this regard, industrialism itself became so widespread that separate styles and subgenres of industrialism began to emerge on its basis. The industrial landscape and portraits were especially striking.

Soviet posters were mainly engaged in promoting the working life of people, accompanied by bright statements, placed the worker on a special level. If earlier workers were the lowest level in the social structure of the country, now the worker was the main cog, an indispensable link in life. To all other soviet poster in the style of industrialism is often similar to war posters. In principle, this is war. War on the internal front. Put everything on the future of the country, throw in all your strength and spare no effort to transform the USSR into a great state with developed industry!

Industrial landscape conveyed not the views and beauties of nature, but amazing, completely new types of man-made buildings, where the main ones were plants and factories, smoking, smoking, and therefore working for the benefit of the country. Large-scale construction projects, factory everyday life, trains transporting coal, oil, and so on. Industrial portrait was also extremely common and one of the most popular at that time. Workers were depicted here, who in most cases were dressed in their work clothes. Because the workers worked tirelessly for the good of the country, they have stern but happy faces, a purposeful look, they stand confidently on their feet and believe in their future. The country had grandiose plans for the future, and artists tried to bring these plans and dreams to life even then.