Term and concept in fine arts. School encyclopedia What is landscape in painting

Back forward

Attention! Slide previews are for informational purposes only and may not represent all the features of the presentation. If you are interested 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):

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

Interdisciplinary connections: geography, history.

Lesson plan:

1. Organizing time.
2. Studying new topic: "Scenery. Its types and characters."
3. Fixing the material.
4. Practical work.
5. Analysis of works.
6. 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 "w (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 differs rationally organized by hand human spatial environment, 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 a seascape are 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. Nikolai Konstantinovich Roerich, Alexander Nikolaevich Benois, Pyotr Petrovich Konchalovsky and others turned to the architectural landscape.

6. In an 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 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 of 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 there was also an 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

They find their indirect embodiment in the landscape genre historical events, 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 sense, the ideal image of the Russian land, glorious for its forest wealth, 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 a collective image of 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 - motives 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.

(Slide 23)

V. Analysis of works

VI. Giving grades in a diary and journal

(Slide 24)

- Thank you for the lesson!

Types of landscape

Depending on the nature of the landscape motif, one can distinguish rural, urban (including urban architectural and veduta), industrial landscape. A special area is the image of the sea element - the marina and the river landscape.

Rural landscape, also known as “village” - This direction of the landscape genre has been popular at all times, regardless of fashion. Artists in rural landscapes are attracted by the tranquility, the unique poetry of rural life, and harmony with nature. A house by the river, rocks, green meadows, a country road gave impetus to the inspiration of artists of all times and countries.

The cityscape is the result of several centuries of development of landscape painting. In the 15th century, architectural landscapes that depicted bird's eye views of the city became widespread. These interesting canvases often merged antiquity and modernity, and included elements of fantasy.

Architectural landscape is a type of landscape, one of the types of perspective painting, an image of real or imaginary architecture in the natural environment. A major role in the architectural landscape is played by linear and aerial perspective, connecting nature and architecture. In the architectural landscape, urban perspective views are distinguished, which were called in the 18th century. vedutami (A. Canaletto, B. Bellotto, F. Guardi in Venice), views of estates, park ensembles with buildings, landscapes with ancient or medieval ruins (Y. Robert; K. D. Friedrich Abbey in an oak grove, 1809-1810, Berlin, State Museum; S.F. Shchedrin), landscapes with imaginary structures and ruins (D.B. Piranesi, D. Pannini).

Veduta (Italian veduta, lit. - seen) is a landscape that accurately documents the appearance of an area, a city, one of the origins of the art of panorama. Late Venetian landscape, closely associated with the names of Carpaccio and Bellini, who managed to find a balance between the documentary accuracy of depicting urban reality and its romantic interpretation. The term appeared in the 18th century, when a camera obscura was used to reproduce views. The leading artist who worked in this genre was A. Canaletto: Piazza San Marco (1727-1728, Washington, National Gallery). (see appendix fig. 1.1.7) Further serious contributions to the development of this direction were made by the impressionists: C. Monet, Pissarro and others. The further development of this direction came down to the search the best ways display, color solutions, the ability to display the special “vibration of the atmosphere” characteristic of cities.

The modern urban landscape is not only about crowds of people on the streets and traffic jams; these are also old streets, a fountain in a quiet park, sunlight entangled in a web of wires... This direction has attracted and will continue to attract both artists and art connoisseurs all over the world.

Marina (Italian marina, from Latin marinus - sea) is one of the types of landscape, the object of which is the sea. The marina became an independent genre in Holland at the beginning of the 17th century: J. Porcellis, S. de Vlieger, W. van de Velle, J. Vernet, W. Turner “Funeral at Sea” (1842, London, Tate Gallery), K. Monet “Impression, Sunrise” (1873, Paris, Marmottan Museum), S.F. Shchedrin “Small Harbor in Sorrento” (1826, Moscow, Tretyakov Gallery). Aivazovsky, like no one else, was able to show the living, permeated with light, ever-moving water element. By getting rid of too sharp contrasts of classicist composition, Aivazovsky eventually achieves genuine pictorial freedom. The bravura-catastrophic "The Ninth Wave" (1850, Russian Museum, St. Petersburg) is one of the most recognizable paintings of this genre.

Painting en plein air (open air), mainly landscapes and exteriors.

The landscape can be historical, heroic, fantastic, lyrical, epic in nature.

Often the landscape serves as a background in pictorial, graphic, sculptural (reliefs, medals) works of other genres. The artist, depicting nature, not only strives to accurately reproduce the chosen landscape motif, but also expresses his attitude towards nature, spiritualizes it, creates artistic image, possessing emotional expressiveness and ideological content. For example, thanks to I. Shishkin, who managed to create a generalized epic image of Russian nature on his canvases, the Russian landscape rose to the level of deeply meaningful and democratic art (“Rye”, 1878, “Ship Grove”, 1898).

The theme of landscape as a genre of fine art is terrain. The word “landscape” is translated from French as “terrain, country.” After all, landscape is not only the image of nature that is familiar to us. The landscape can also be urban (architectural, for example). In the urban landscape, a documentary-accurate image is distinguished - “veduta”.

And if we talk about the natural landscape, then they highlight separately seascape, which is called “marina” (accordingly, artists depicting the sea are called “marinists”), cosmic (image of celestial space, stars and planets).
But landscapes also differ in terms of time: modern, historical, futuristic landscapes.
However, in art, no matter what the landscape is (real or fictional), it is always an artistic image. In this regard, it is important to understand that each artistic style (classicism, baroque, romanticism, realism, modernism) has its own philosophy and aesthetics of landscape images.
Certainly, landscape genre developed gradually, just as science developed. It would seem, what do landscapes and science have in common? A lot in common! To create a realistic landscape, you need to have knowledge of linear and aerial perspective, proportionality, composition, chiaroscuro, etc.
Therefore, the landscape genre is considered a relatively young genre in painting. For a long time, landscape was only an “auxiliary” means: nature was depicted as a background in portraits, icons, and genre scenes. Often it was not real, but idealized, generalized.
And although the landscape began to develop in ancient Eastern art, it received independent significance in Western European art starting around the 14th century.
And it would be very interesting to figure out why this happened. After all, by this time a person already knew how to quite correctly depict abstract ideas, his appearance, his life, animals in graphic symbols, but he remained indifferent to nature for a long time. And only now is he trying to understand nature and its essence, because... In order to depict, one must understand.

Development of landscape in European painting

Interest in landscape becomes clearly noticeable, starting with the painting of the Early Renaissance.
Italian artist and architect Giotto(c. 1267-1337) developed a completely new approach to depicting space. And although in his paintings the landscape was also only an auxiliary means, it already carried an independent semantic load; Giotto turned the flat, two-dimensional space of the icon into three-dimensional, creating the illusion of depth using chiaroscuro.

Giotto "Flight into Egypt" (Church of San Francesco in Assisi)
The painting conveys the idyllic spring mood of the landscape.
Landscape began to play an even more important role during the High Renaissance (16th century). It was during this period that the search began for the possibilities of composition, perspective and other components of painting to convey the surrounding world.
The masters of the Venetian school played a major role in the creation of the landscape genre of this period: Giorgione (1476/7-1510), Titian (1473-1576), El Greco (1541-1614).

El Greco "View of Toledo" (1596-1600). Metropolitan Museum of Art (New York)
The Spanish city of Toledo is depicted under a gloomy stormy sky. The contrast between heaven and earth is obvious. The view of the city is given from below, the horizon line is raised high, and phantasmagoric light is used.
In creativity Pieter Bruegel (the Elder) the landscape is already gaining breadth, freedom and sincerity. He writes simply, but in this simplicity one can see the nobility of a soul that knows how to see beauty in nature. He knows how to convey both the petty world under his feet and the vastness of fields, mountains, and skies. He has no dead, empty places - everything lives and breathes with him.
We bring to your attention two paintings by P. Bruegel from the cycle “The Seasons”.

P. Bruegel (the Elder) “Return of the Herd” (1565). Kunsthistorisches Museum (Vienna)

P. Bruegel (The Elder) “Hunters in the Snow” (1565). Kunsthistorisches Museum (Vienna)
In pictures Spanish artist D. Velazquez we can already see the birth of plein air ( plein air- from fr. en plein air – “in the open air”) painting. His work “View of the Villa Medici” conveys the freshness of greenery, warm shades of light sliding along the leaves of trees and high stone walls.

D. Velazquez “View of the garden of the Villa Medici in Rome” (1630)
Rubens(1577-1640), life-affirming, dynamic, characteristic of the work of this artist.

P. Rubens “Landscape with a Rainbow”
U French artist Francois Boucher(1703-1770) landscapes seem to be woven from blue, pink, and silver shades.

F. Boucher “Landscape with a water mill” (1755). National Gallery (London)
Impressionist artists sought to develop methods and techniques that made it possible to capture the most naturally and vividly real world in its mobility and variability, to convey your fleeting impressions.

Auguste Renoir "The Paddling Pool". Metropolitan Museum of Art (New York)
Post-Impressionist artists developed the traditions of the Impressionists in their painting.

Vincent Wag Gogh " Starlight Night"(1889)
In the 20th century Representatives of a wide variety of people turned to the landscape genre artistic directions: Fauvists, Cubists, Surrealists, Abstractionists, Realists.
Here is an example of a landscape American artist Helen (Helen) Frankenthaler(1928-2011), who worked in the style of abstract art.

Helen Frankenthaler "Mountains and Sea" (1952)

Some types of landscape

Architectural landscape

N.V. Gogol called architecture “the chronicle of the world”, because she, in his opinion, “speaks even when both songs and legends are already silent...”. Nowhere is the character and style of the time manifested so figuratively and clearly as in architecture. Apparently, this is why the masters of painting captured the architectural landscape on their canvases.

F. Ya. Alekseev “View of the Exchange and the Admiralty from the Peter and Paul Fortress” (1810)
The painting depicts the Spit of Vasilyevsky Island. The compositional center of its architectural ensemble is the Exchange building. In front of the Exchange there is a semicircular square with a granite embankment. On its two sides there are columns that served as beacons. At the foot of the columns there are stone sculptures symbolizing the Russian rivers: the Volga, Dnieper, Neva and Volkhov. On the opposite bank of the river you can see the Winter Palace and the Admiralty buildings, Senate Square. Construction of the Exchange, designed by Thomas de Thomon, lasted from 1804 to 1810. When Pushkin arrived in St. Petersburg in 1811, the Exchange had already become the architectural center of the Spit of Vasilyevsky Island and the busiest place in the port city.
A type of architectural landscape is the veduta. As a matter of fact, this landscape by F. Alekseev is the vedova.

Veduta

Veduta - genre European painting, especially popular in Venice in the 18th century. It is a painting, drawing, or engraving of a detailed depiction of an everyday cityscape. So, the Dutch artist Jan Vermeer depicted exactly his native city of Delft.

Jan Vermeer "View of Delft" (1660)
Veduta masters worked in many European countries, including Russia (M. I. Makhaev and F. Ya. Alekseev). A whole series of leads with Russian views was performed by Giacomo Quarenghi.

Marina

Marina is a genre of painting, a type of landscape (from the Latin marinus - sea), depicting a sea view or a scene of a naval battle, as well as other events taking place at sea. Marina emerged as an independent type of landscape painting at the beginning of the 17th century. in Holland.
Marine painter (French mariniste) is an artist who paints marine life. The most prominent representatives of this genre are the Englishmen William Turner and Russian (Armenian) artist Ivan Constantinovich Aivazovski, who painted about 6,000 paintings on a marine theme.

W. Turner “The last voyage of the ship “Brave””

I. Aivazovsky “Rainbow”
A rainbow that appears in a stormy sea gives hope for the rescue of people from a shipwrecked ship.

Historical landscape

Everything about it is quite simple: to show the past through the historical setting, natural and architectural environment. Here we can remember the pictures N.K. Roerich, images of Moscow in the 17th century. A.M. Vasnetsova, Russian Baroque XVIII V. HER. Lanceray, A.N. Benoit, archaic K.F. Bogaevsky and etc.

N. Roerich “Overseas Guests” (1901)
This is a painting from the series “The Beginning of Rus'. Slavs". In the article “On the Way from the Varangians to the Greeks” (1899), Roerich described an imaginary poetic picture: “The midnight guests are sailing. The gently sloping shore of the Gulf of Finland stretches like a light stripe. The water seemed to be saturated with the blue of the clear spring sky; the wind ripples across it, driving away matte-purple stripes and circles. A flock of seagulls landed on the waves, carelessly swayed on them and only under the very keel of the front boat flashed their wings - something unfamiliar, unprecedented, alarmed their peaceful life. A new stream makes its way through the stagnant water, it runs into the centuries-old Slavic life, it will pass through forests and swamps, it will roll over a wide field, it will raise up the Slavic families - they will see rare, unfamiliar guests, they will marvel at their strictly martial, at their overseas custom. The rooks are coming in a long row! Bright coloring burns in the Sun. The bow sides turned up dashingly, ending in a high, slender nose.”

K. Bogaevsky “Consular Tower in Sudak” (1903). Feodosia Art Gallery named after I.K. Aivazovsky

Futuristic (fantastic) landscape

Paintings by a Belgian artist Jonas De Ro are epic canvases of new, unexplored worlds. The main object of Jonas's images are extensive pictures of the post-apocalyptic world, futuristic, fantastic images.
Apart from the future absolutely real cities, Jonas also draws completely original illustrations of an abandoned city.

J. De Roe “Abandoned Civilization”

Philosophy of landscape

What is it?
At the center of landscape painting is always the question of man's relationship to the environment - be it a city or nature. But also environment also has its own relation to a person. And these relationships can be harmonious and inharmonious.
Consider the landscape “Evening Bells”.

I. Levitan “Evening Bells” (1892). State Tretyakov Gallery (Moscow)
The painting “Evening Bells” depicts a monastery at a bend in the river and illuminated by evening sun rays. The monastery is surrounded autumn forest, clouds are floating across the sky - and all this is reflected in the mirror surface of a calmly flowing river. The bright joy of nature and the spiritual world of people’s existence and feelings are fused in harmony. I want to look at this picture and look at it, it calms the soul. This is blissful, idyllic beauty.
And here is another landscape by the same artist - “Above Eternal Peace.”

I. Levitan “Above Eternal Peace” (1894). State Tretyakov Gallery (Moscow)
Levitan himself wrote about this picture: “... I am all in it, with all my psyche, with all my content...”. In another letter: “Eternity, a terrible eternity, in which generations have drowned and will drown again... What horror, what fear!” It is this menacing eternity that Levitan’s painting makes us think about. The water and sky in the picture captivate and amaze a person, awakening the thought of the insignificance and transience of life. On a steep, high bank there is a lonely wooden church, next to it is a cemetery with rickety crosses and abandoned graves. The wind shakes the trees, drives the clouds, drags the viewer into the endless northern expanse. The gloomy grandeur of nature is opposed only by a tiny light in the window of the church.
The artist may have wanted to answer with his painting the question about the relationship between man and nature, about the meaning of life, contrasting the eternal and powerful forces of nature with weak and short-term human life. This is sublime tragedy.

Medals) works of other genres. By depicting the phenomena and forms of man’s natural environment, the artist expresses both his attitude towards nature and the perception of it by contemporary society. Because of this, the landscape acquires emotionality and significant ideological content.

Images of nature were found back in the Neolithic era (symbols of the firmament, luminaries, cardinal directions, earth's surface, boundaries of the inhabited world). In reliefs and paintings of the countries of the Ancient East (Babylonia, Assyria, Egypt), mainly in scenes of wars, hunting and fishing, contains individual elements of the landscape, especially multiplied and concretized in the ancient Egyptian art of the New Kingdom era. Landscape motifs became widespread in the art of Crete in the 16th-15th centuries. BC e. (see Aegean art), where for the first time the impression of an emotionally convincing unity of fauna, flora and natural elements was achieved. Landscape elements of ancient Greek art are usually inseparable from the image of man; The Hellenistic and ancient Roman landscapes, which included elements of perspective (illusionistic paintings, mosaics, so-called pictorial reliefs), had somewhat greater independence. This era is characterized by the image of nature, perceived as the sphere of idyllic existence of man and the gods. In medieval European art, landscape elements (especially views of cities and individual buildings) often served as a means of conventional spaces and structures (for example, “hills” or “chambers” in Russian icons), in most cases turning into laconic indications of the scene of action. In a number of compositions, landscape details formed speculative and theological schemes that reflected medieval ideas about the Universe.

In the medieval art of the countries of the Muslim East, landscape elements were initially represented very sparingly, with the exception of rare examples based on Hellenistic traditions. From the XIII-XIV centuries. they occupy an increasingly significant place in book miniatures, where in the 15th-16th centuries. in the works of the Tabriz school and the Herat school, landscape backgrounds, distinguished by the radiant purity of colors, evoke the idea of ​​nature as an enclosed magical garden. Landscape details achieve great emotional power in the medieval art of India (especially in miniatures starting from the Mughal school), Indochina and Indonesia (for example, images of tropical forests in reliefs on mythological and epic themes). Landscape occupies an extremely important position as an independent genre in the painting of medieval China, where ever-renewing nature was considered the most visual embodiment of the world law (Tao); this concept finds direct expression in the Shan Shui (Gur-Wood) type of landscape. Poetic inscriptions played a significant role in the perception of the Chinese landscape, symbolic motives, personifying sublime spiritual qualities (mountain pine, bamboo, wild plum "meihua"), human figures residing in a space that seems limitless due to the introduction of vast mountain panoramas, water surfaces and foggy haze into the composition. The individual spatial plans of the Chinese landscape are not delimited, but flow freely into one another, subordinate to the general decorative design of the picture plane. Among the largest masters of Chinese landscape (which emerged in the 6th century) are Guo Xi (11th century), Ma Yuan, Xia Gui (both - the end of the 12th - the first half of the 13th century), Mu-qi (the first half of the 13th century) . Japanese landscape, formed by the 12th-13th centuries. and was strongly influenced by Chinese art, is distinguished by its heightened graphic quality (for example, in Sesshu, 15th century), the tendency to highlight individual, most decoratively advantageous motifs, and finally (in the 18th-19th centuries), a more active role of man in nature ( landscapes by Katsushika Hokusai and Ando Hiroshige).

In Western European art of the XII-XV centuries. the tendency towards a sensually convincing interpretation of the world leads to the fact that the landscape background begins to be understood as a fundamentally important part of a work of fine art. Conventional (golden or ornamental) backgrounds are replaced by landscape ones, often turning into a wide panorama of the world (Giotto and A. Lorenzetti in Italy of the 14th century; Burgundian and Dutch miniaturists of the 14th-15th centuries; brothers H. and J. van Eyck in the Netherlands; K . Witz and L. Moser in Switzerland and Germany in the first half of the 15th century). Renaissance artists turned to direct study of nature, created sketches and watercolor sketches, developed principles for the perspective construction of landscape space, guided by the concepts of the rationality of the laws of the universe and reviving the idea of ​​landscape as a real human habitat ( last moment was especially characteristic of the Italian Quattrocento masters). An important place in the history of landscape is occupied by the work of A. Mantegna, P. Uccello, Piero della Francesca, Leonardo da Vinci, Gentile and Giovanni Bellini, Giorgione, Titian, Tintoretto in Italy, Hugo van der Goes, Hertgen tot Sint-Jans, H. Bosch in the Netherlands, A. Durer, M. Niethardt in Germany, masters of the Danube school in Germany and Austria. In the art of the Renaissance, the prerequisites were formed for the emergence of an independent landscape genre, which took shape initially in graphics (A. Durer and the Danube school) and in small pictorial compositions, where the image of nature either constitutes the only content of the picture (A. Altdorfer) or reigns supreme over the foreground scenes ( Dutchman I. Patinir). If Italian artists sought to emphasize the harmonious consonance of human and natural principles (Giorgione, Titian), and in urban landscape backgrounds to embody the idea of ​​​​an ideal architectural environment (Raphael), then German masters were especially willing to turn to wildlife, often giving it a catastrophically stormy appearance. The combination of landscape and genre aspects, typical of the Dutch landscape, leads to the most striking results in the works of P. Bruegel the Elder, distinctive features which is not only the grandeur of the panoramic compositions, but also the deepest penetration into the character folk life, organically connected with the landscape environment. In the XVI - early XVII centuries. from a number of Dutch masters (Herry met de Bles, Josse de Momper, Gillies van Conincksloe) traditional features Renaissance landscape, subtle observations of life are intertwined with manneristic fantasy, emphasizing the subjective emotional attitude artist to the world.

By the beginning of the 17th century. in the works of the Italian An. Carracci, the Dutchman P. Briel and the German A. Elsheimer formulate the principles of an “ideal” landscape, subordinate to the idea of ​​a reasonable law hidden under the external diversity of various aspects of nature. In the art of classicism, the system of conventional, backstage, three-plane composition was finally consolidated, and the fundamental difference between a sketch or sketch and a completed landscape painting was affirmed. Along with this, the landscape becomes a bearer of high ethical content, which is especially characteristic of the works of N. Poussin and C. Lorrain, whose works represent two versions of the “ideal” landscape - heroic and idyllic. In the Baroque landscape (Fleming P. P. Rubens, Italians S. Rosa and A. Magnasco), the elemental power of nature takes precedence, sometimes seeming to suppress man. Elements of painting from life, in the open air (see Plein air) appear in the landscapes of D. Velazquez, marked by extraordinary freshness of perception. Dutch painters and graphic artists of the 17th century. (J. van Goyen, H. Segers, J. van Ruisdael, M. Hobbema, Rembrandt, J. Wermeer of Delft), developing in detail the light-air perspective and the system of shades-values, combined a poetic feeling in their works natural life nature, its eternal variability, the idea of ​​​​the grandeur of endless natural spaces with the idea of ​​​​the close connection of nature with the everyday existence of man. Dutch masters created diverse types of landscape (including marina and city landscape).

Since the 17th century Topographical landscape views became widespread (engravers were the German M. Merian and the Czech V. Gollar), the development of which was largely predetermined by the use of a camera obscura, which made it possible to transfer individual motifs onto canvas or paper with unprecedented precision. This kind of landscape in the 18th century. reaches its peak in the veditas of Canaletto and B. Belotto, saturated with air and light, in opening qualitatively new stage in the history of landscape, the works of F. Guardi, which stand out for their masterly reproduction of the changing light-air environment. View landscape in the 18th century. played a decisive role in the formation of landscape in those European countries, where until the 18th century. there was no independent landscape genre (including in Russia, where the largest representatives of this type of landscape were the graphic artists A.F. Zubov, M.I. Makhaev, and the painter F.Ya. Alekseev). A special place is occupied by the graphic landscapes of G.B. Piranesi, who romanticized ruins and monuments of ancient architecture and endowed them with superhuman grandeur. The tradition of the “ideal” landscape acquired an exquisitely decorative interpretation in the Rococo era (Landscape depicting the ruins of the Frenchman Y. Robert), but in general the “ideal” landscape, which took (under the name historical or mythological) a secondary position in the classicist system of genres, throughout the 18th century V. degenerates into an academic direction that subordinates natural motifs to the abstract laws of classic composition. Pre-Romantic trends can be discerned in the intimate and lyrical park backgrounds in the paintings of A. Watteau, J. O. Fragonard in France, as well as in the works of the founders of the English school of landscape - T. Gainsborough, R. Wilson.

At the end of the 18th - first half of the 19th centuries. the landscape is dominated by the tendencies of romanticism (J. Crome, J. S. Cotman, J. R. Cozens, J. M. W. Turner in Great Britain; J. Michel in France; K. D. Friedrich, L. Richter in Germany; J. A. Koch in Austria; J. K. K. Dahl in Norway; landscape also played a huge role in the works of F. Goya and T. Gericault). The importance of landscape in the artistic system of romanticism is explained by the fact that the romantics brought the life of the human soul closer to the life of nature, seeing a return to the natural environment as a means to correct moral and social imperfections of man. They showed special sensitivity to the individual uniqueness of individual states of nature and the uniqueness of national landscapes. The latter features are extremely characteristic of the work of the Englishman J. Constable, who most contributed to the evolution of the landscape to real images that preserve the freshness of the full-scale sketch. Generalization, poetic clarity of perception of the world, as well as interest in the problems of the plein air are characteristic of the masters who stand at the origins of the national schools of European realistic landscapes (the early C. Corot in France; partly C. Blechen in Germany; A. A. Ivanov, partly S. F. . Shchedrin and M.I. Lebedev in Russia).

Representatives realistic landscape mid and second half of the 19th century. (Coro, masters of the Barbizon school, G. Courbet, J. F. Millet, E. Boudin in France; Macchiaioli in Italy; A. Menzel and partly the Düsseldorf school in Germany; J. B. Jongkind and the Hague school in Holland, etc. ) gradually eliminated the literary associativity of the romantic landscape, trying to show the intrinsic value of nature through revealing the objective essence of the processes occurring in it. Landscape painters of this period sought naturalness and simplicity of composition (in particular, abandoning panoramic views in most cases), and developed in detail the light-and-shadow and value relationships that made it possible to convey the material palpability of the natural environment. The ethical and philosophical sound of the landscape, inherited from romanticism, now takes on a more democratic direction, manifested in the fact that people from the people and scenes of rural labor were increasingly included in the landscape.

In the Russian landscape of the 19th century. romantic traditions play a leading role in the works of M. N. Vorobyov and I. K. Aivazovsky. In the second half of the 19th century. There was a flourishing of the realistic landscape (the foundations of which were laid in the works of A. G. Venetsianov and especially A. A. Ivanov), closely associated with the activities of the Wanderers. Overcoming the artificiality and theatricality of the academic landscape, Russian artists turned to their native nature (L. L. Kamenev, M. K. Klodt), the motives of which are particularly monumental and epic in scope in the works of I. I. Shishkin. The tendency to depict transitional states of nature, the lyrical richness characteristic of the work of A. K. Savrasov, takes on a dramatic and intense hue in F. A. Vasiliev. Late romantic trends are manifested in the works of A. I. Kuindzhi, who combined a passion for strong lighting effects with a decorative interpretation of the picture plane. At the end of the 19th century. the line of emotional-lyrical landscape, often imbued with motifs of civil grief, is continued in the so-called mood landscape; Landscapes of this kind include the works of V. D. Polenov, marked by soft contemplation, and especially the canvases of I. I. Levitan, who combined intimate psychologism and the finest transfer of states of nature with a sublimely philosophical interpretation of landscape motifs.

Landscape acquired dominant significance among the masters of impressionism (C. Monet, C. Pissarro, A. Sisley, etc.), who considered working in the open air an indispensable condition for creating a landscape image. The most important component In the landscape, the impressionists created a vibrating, light-air environment rich in colorful shades, enveloping objects and ensuring the visual indissolubility of nature and man. Trying to capture the diverse variability of the states of nature, they often created landscape series united by one motif (Monet). Their works also reflected the dynamics of modern urban life, thanks to which the urban landscape acquired equal rights with images of nature. On turn of the 19th century and XX century In the landscape, several directions are emerging that develop the principles of the impressionistic landscape and at the same time enter into an antagonistic relationship with them. P. Cezanne asserted in his works the monumental power and clear constructiveness of natural landscapes. J. Seurat subordinated landscape motifs to strictly calibrated, planar and decorative structures. V. van Gogh strove for increased, often tragic, psychological associativity of landscape images, giving individual details of the landscape an almost human animation. In the works of P. Gauguin, close to the landscape of symbolism and distinguished by the sonority of rhythmic local color planes, the image of an idyll landscape is radically rethought. Artists associated with symbolism and the Art Nouveau style (Nabi in France, F. Hodler in Switzerland, E. Munch in Norway, A. Gallen-Kallela in Finland) introduced into the landscape the idea of ​​the mysterious kinship between man and “matter.” lands" (from here come the types of landscape-dream and landscape-memory, popular during this period), played in their compositions with various kinds of "through forms" (branches, roots, stems, etc.), the ornamental arrangement of which creates the illusion of direct imitation of rhythms nature itself. At the same time, the search for a generalized image of the homeland, typical of national romantic movements, intensified, often saturated with folklore or historical reminiscences and combining the most established signs of the national landscape (the Pole F. Ruszczyc, the Czech A. Slavichek, the Romanian S. Lukyan, the Latvian V. Purvit).

In the art of the 20th century. a number of masters strive to find the most stable features of a particular landscape motif, clearing it of everything “transitory” (representatives of Cubism), others, with the help of jubilant or dramatically intense color harmonies, emphasize the internal dynamics of the landscape, and sometimes its national identity (representatives of Fauvism and close them masters in France, Yugoslavia, Poland, and expressionism in Germany, Austria and Belgium), others, partly under the influence of art photography, shift the main emphasis to the whimsicality and psychological expressiveness of the motif (representatives of surrealism). In the work of a number of representatives of these movements, the tendency to deform the landscape image, often turning the landscape into a pretext for abstract constructions, was a way of transition to abstract art (a similar role was played by the landscape, for example, in the work of the Dutchman P. Mondrian, the Swiss P. Klee and the Russian V. V. Kandinsky). In the 20th century In Europe and America, the industrial landscape became widespread, often interpreting the world of technology as a kind of anti-nature, irresistibly hostile to people (C. Demuth, N. Spencer, C. Sheeler in the USA, P. Bruening in Germany). The cityscape of the Futurists and Expressionists often takes on a sharply aggressive or alienated appearance, imbued with moods of tragic hopelessness or melancholy. This feature is also inherent in the work of a number of realist masters (M. Utrillo in France, E. Hopper in the USA). At the same time, a landscape of a realistic and national-romantic nature is rapidly developing, in which images of pristinely beautiful nature often turn into a direct antithesis of capitalist civilization (B. Palencia in Spain, Kjarval in Iceland, the “group of seven” in Canada, R. Kent in the USA, A. Namatjira in Australia).

In the Russian landscape turn of XIX-XX centuries realistic traditions of the second half of the 19th century V. intertwined with the influences of Impressionism and Art Nouveau. Close to the landscape-mood of Levitan, but more chamber in spirit are the works of V. A. Serov, P. I. Petrovichev, L. V. Turzhansky, depicting predominantly modest views, devoid of external showiness and distinguished by the etude spontaneity of composition and color. The combination of lyrical intonations with increased sonority of color is characteristic of the work of K. A. Korovin and especially I. E. Grabar. National-romantic features are inherent in the works of A. A. Rylov and the landscape-genre compositions of K. F. Yuon; folklore, historical or literary moment plays an important role in A. M. Vasnetsov, M. V. Nesterov, N. K. Roerich, as well as in the “heroic” landscape of K. F. Bogaevsky. Among the masters of the "World of Art" the type of landscape-memory was cultivated (L. S. Bakst, K. A. Somov), historical and architectural views imbued with elegiac notes arose (A. N. Benois, E. E. Lansere, A. P. . Ostroumova-Lebedeva), highly dramatic urban landscape (M. V. Dobuzhinsky). Among the variations on the theme of an surreal dream landscape in the spirit of V. E. Borisov-Musatov, typical of the Blue Rose artists, stand out the Orientalist compositions of P. V. Kuznetsov and M. S. Saryan, as well as paintings by N. P. Krymov, striving for strict balance in coloristic and compositional solutions. In the landscape of the masters of the “Jack of Diamonds,” the richness of the color scheme and the temperamental, free pictorial manner reveal the plastic richness and colorfulness of nature.

For the Soviet landscape, developing in line with socialist realism, the most characteristic images are those that reveal the life-affirming beauty of the world, close connection it with the transformative activities of people. In this area, masters emerged who emerged in the pre-revolutionary period, but after the October Revolution of 1917 entered a new phase of creativity (V.N. Baksheev, Grabar, Krymov, A.V. Kuprin, Ostroumova-Lebedeva, Rylov, Yuon, etc.), as well as artists whose activities are entirely connected with Soviet times (S. V. Gerasimov, A. M. Gritsai, N. M. Romadin, V. V. Meshkov, S. A. Chuikov). In the 20s the Soviet industrial landscape is emerging (B. N. Yakovlev and others). Inspired by the pathos of socialist construction, a type of memorial landscape takes shape (for example, the canvases of V.K. Byalynitsky-Birulya with views of Lenin Hills and Yasnaya Polyana). In the 30-50s. Monumental landscape paintings, based on a thorough rethinking of the sketch material, are becoming more widespread. In the works of Soviet landscape painters, a synthetic image of the Motherland increasingly emerges through the features of a specific locality, due to which even views traditionally associated with the romantic concept of landscape (for example, landscapes of the Crimea or the Far North) lose the touch of exotic alienation. Artists are attracted to motifs that allow them to show the interaction of industrial and natural forms, dynamic shifts in the spatial perception of the world associated with the accelerating pace modern life(A. A. Deineka, G. G. Nissky, P. P. Ossovsky). In the republican schools of Soviet landscape painting, the leading role is played by the works of I. I. Bokshai, A. A. Shovkunenko in Ukraine, D. Kakabadze in Georgia, Saryan in Armenia, U. Tansykbaev in Uzbekistan, A. Zhmuidzinavichyus and A. Gudaitis in Lithuania, E. Keats in Estonia. In the 60-80s. The principle of a landscape-picture retains its importance, but the tendency towards heightened expressiveness of texture and color, towards naked compositional rhythms that actively influence the audience, comes to the fore. Among the most significant Soviet landscape painters who emerged in the 50-70s are L. I. Brodskaya, B. F. Domashnikov, E. I. Zverkov, T. Salakhov, V. M. Sidorov, V. F. Stozharov , I. Shvazhas.

Lit.: Fedorov-A. Davydov, Russian landscape XVIII - early XIX V., M., 1953; his, Soviet landscape, M., 1958; his, Russian landscape of the late XIX - early XX centuries, M., 1974; F. Maltseva, Masters of Russian realistic landscape, V. 1-2, M., 1953-59; Masters of Soviet landscape about landscape, M., 1963; N. A. Vinogradova, Chinese landscape painting, M., 1972; N. Kalitina, French landscape painting. 1870-1970, L., 1972; Problems of landscape in European art of the 19th century V., M., 1978; O. R. Nikulina, Nature through the eyes of an artist, M., 1982; Santini P. S., Modern landscape painting, L, 1972; Pochat G., Figur und Landschaft, B.-N. Y., 1973; Clark K., Landscape into art, L., 1976; Wedewer R., Landshaftsmalerei zwischen Traum und Wirklichkeit, Köln, 1978; Baur Ch., Landschaftsmalerei der Romantik, Munch., 1979; Strisik P., The art of landscape painting, N. Y., 1980.

fr. paysage from pays - area, country) is one of the genres of painting depicting nature. There are a number of types of painting: urban painting, architectural painting, etc.

Excellent definition

Incomplete definition ↓

SCENERY

French paysage, from pays - country, locality), a genre of painting dedicated to the depiction of nature in all the diversity of its forms, appearances, states, colored by the artist’s personal perception.

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 a holistic image of the universe in which man is dissolved (see article Chinese art).

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 figures of biblical or mythological characters included in them. H. Averkamp, ​​J. van Goyen, and later J. van Ruisdael and other artists made their contribution to the development of the landscape. A large place in the Dutch landscape was occupied by marine species- Marina. The Italians, especially the Venetian masters, turned to the documentary urban landscape - veduta. Canaletto represented Venice during its prosperity. Subtle poetic fantasies on themes of Venetian life were created by F. Guardi. In French art 17th century the landscape developed in line with the classicism style. Nature, full of powerful and heroic forces, appears in the paintings of N. Poussin; ideal landscapes that embodied the dream of a golden age, wrote K. Lorrain.

He acted as a reformer of European landscape painting in the beginning. 19th century English artist J. Constable. He was one of the first to paint sketches in the open air, looking at nature with an “unbiased look.” His works made an indelible impression on French painters and served as an impetus for the development of realistic landscape in France (C. Corot and the artists of the Barbizon school). Even more complex painting tasks were set by impressionist artists (C. Monet, O. Renoir, C. Pissaro, A. Sisley, etc.). The play of sun glare on the foliage, faces, clothes of people, the change of impressions and lighting within one day, the vibration of the air and humid fog are embodied in their canvases. Artists often 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, pure colors, not mixed on the palette, sounded joyfully for the first time. Landscapes were painted entirely en plein air, from nature.

In Russian art, landscape as an independent genre appeared at the end. 18th century Its founders were architects, theater decorators, and masters of perspective views. At the St. Petersburg Academy of Arts, landscape painters were educated in accordance with the principles of classicism. They had to create species of native nature based on samples famous paintings the past, and above all the works of Italians of the 17th and 18th centuries. Landscapes were “composed” in the workshop, therefore, for example, the northern and damp Gatchina (near St. Petersburg) looked in the canvases of Semyon Fedorovich Shchedrin similar to sunny Italy (“Stone Bridge in Gatchina near the Place de la Connetable”, 1799–1800). Heroic landscapes were created by F. M. Matveev, referring mainly to views of Italian nature (“View of Rome. Colosseum”, 1816). F. Ya. Alekseev painted architectural views of the capital and provincial cities of Russia with great cordiality and warmth. In Russian landscapes of the 18th century, built according to the rules of classicism, the main “hero” (most often an ancient architectural structure) was placed in the center; trees or bushes on both sides served as scenes; the space was clearly divided into three plans, with the image in the foreground being rendered in brown tones, in the second – in green, and in the background – in blue.

The era of romanticism brings new trends. The landscape is thought of 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 conveying the light-air environment. The fertile land of Italy, filled with light and warmth, becomes a dream come true 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 (“The Shore in Sorrento with a View of the Island of Capri”, 1826; “Terrace on the Seashore”, 1928). Romantic motifs with the effects of moonlight, the 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; "An Oak Shattered by Lightning", 1842). During his 40-year service at the Academy of Arts, Vorobyov trained a galaxy of remarkable landscape painters, among whom was the famous marine painter I.K. Aivazovsky.

There is a second gender in painting. 19th century landscape occupied an important place in the work of the Wanderers. A revelation for the Russian public were the paintings of A. K. Savrasov (“The Rooks Have Arrived,” 1871; “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 founder of the lyrical “mood landscape” in Russian painting, the line of which was continued by F. A. Vasiliev (“Thaw”, 1871; “Wet Meadow”, 1872) and I. I. Levitan (“Evening Bells”, 1892; “ Golden autumn", 1895). I. I. Shishkin, unlike Savrasov, sang the heroic strength, abundance and epic power of the Russian land (“Rye”, 1878; “Forest Distances”, 1884). His paintings fascinate with the infinity of space, the vastness of the high sky, the mighty beauty of Russian forests and fields. The peculiarity of his painting style was the careful drawing of details combined with the monumentality of the composition. The landscapes of A. I. Kuindzhi amazed his contemporaries with the effects of moonlight or sunlight. The expressiveness of the widely and freely painted paintings “Moonlit Night on the Dnieper” (1880) and “Birch Grove” (1879) is based on precisely found light and color contrasts. V. D. Polenov in his paintings “Moscow Courtyard” and “Grandma’s Garden” (both 1878) subtly and poetically conveyed the charm of life in the ancient “noble nests”. His works are painted with barely perceptible notes of sadness and nostalgia for a passing culture.

Excellent definition

Incomplete definition ↓