Creative studio of love priest. Studio of Love Popova development of creative abilities

Friends, attention! The list is being edited until it is finalized! Please do not copy it until this remark disappears.

1. Giorgio Vasari
Biographies of the most famous painters, sculptors and architects. - M.: ALPHA-KNIGA, 2008
(You can read it at the link: http://www.e-reading.me/book.php?book=1000515)
2. Ilyina Tatyana Valerianovna
History of art Western Europe from Antiquity to the present day. - M.: Yurayt, 2013 (http://www.gumer.info/bibliotek_Buks/Culture/ilina/)
History of Russian art from the Baptism of Rus' to the beginning of the third millennium. - M.: Yurait, 2013 (http://www.gumer.info/bibliotek_Buks/Culture/ilina2/)
3. Wölfflin Heinrich (pay attention to phrases)
Basic concepts of art history. The problem of style evolution in new art. - M.: V. Shevchuk, 2013 (http://yaki-art.ru/files/Wolflin.pdf)
Renaissance and Baroque. - M.: Azbuka-classics, 2004 (http://www.alleng.ru/d/art/art162.htm)
Classic art. Introduction to Italian Renaissance. - M.: Iris-Press, 2004 (http://mexalib.com/view/35542)
4. Whipper Boris Robertovich
An introduction to the historical study of art. - M.: V. Shevchuk, 2010 (http://yaki-art.ru/files/Vipper.doc)
5. Tolstoy Lev Nikolaevich
About art. - L.N. Tolstoy. Collected works in 22 volumes. M.: Fiction, 1983. T. 15 (http://rvb.ru/tolstoy/tocvol_15.htm)
War and Peace. - M.: Eksmo, Oko, 2007 (http://ilibrary.ru/text/11/p.1/index.html)
6. Mandelstam Nadezhda Yakovlevna
Memories. - M.: Consent, 1999 (http://www.2lib.ru/getbook/7302.html)
Second book. - M.: AST, Astrel, Olympus, 2001 (http://www.litmir.net/bd/?b=64675)
7. Mandelstam Osip Emilievich
Complete collection of works and letters. In 3 volumes - M.: Progress-Pleiada, 2009-2011 (http://www.lib.ru/POEZIQ/MANDELSHTAM/)
8. Bible
9. Vincent Van Gogh
Letters to Brother Theo. - M.: Azbuka, Azbuka-Atticus, 2014 (http://vangogh-world.ru/letters1877.php and just an excellent site on Van Gogh)
10. Poems by Tsvetaeva (you can read, for example, here: http://rupoem.ru/cvetaeva/)
11. Poems by Akhmatova (http://rupoem.ru/axmatova/all.aspx)
12. Books from Taschen Publishing House
13. Johannes Itten
The art of color. - M.: Publisher: D. Aronov, 2011 (http://rutracker.org/forum/viewtopic.php?t=3742905)
15. Gleb Uspensky
Collected works. In 9 vols. Ed. V. P. Druzina. - M.: Goslitizdat, 1955-1957 (http://az.lib.ru/u/uspenskij_g_i/)
16. Nikolay Kun
Legends and myths Ancient Greece. - M.: Publishing house: AST, Olympus, 2003 (http://www.lib.ru/MIFS/greece.txt)
17. Homer (better translated by N. Gnedich)
Odyssey (http://www.lib.ru/POEEAST/GOMER/gomer02.txt)
Illiad (http://www.lib.ru/POEEAST/GOMER/gomer01.txt)
Iliad. Odyssey / Translation by N. Gnedich; V. Zhukovsky - M.: Publishing house "Fiction", 1967
18. Dzhivelegov
19. Benvenuto Cellini "Life of Benvenuto, son of Maestro Giovanni Cellini, Florentine, written by himself in Florence"
20. Dante "The Divine Comedy"
21. John Donne - English Baroque poet
22. Catalog of the Kyoto Costume Institute
23. Keram K. “Gods, tombs and scientists”
24. Pushkin "Egyptian Nights", "Belkin's Tales"
25. Voloshin
26. "Song of the Nibelungs"
27. "The Song of Roland"
28. Medieval literature: poetry of the troubadours
29. Publishing house "Young Guard", series of books "History of Everyday Life": "The Palace of Versailles under Louis 14", "Venice of the Renaissance"
30. "Gothic. Architecture. Sculpture. Painting" (thick volume, translated from French)
31. Berkovsky N.Ya.- best specialist according to German romanticism
32. Zhirmunsky (scientific supervisor of Berkovsky)
33. Novalis - philosopher, one of the theorists of romanticism
34. Reader on literature for philologists
35. George Sand
36. Oscar Wilde
37. Zinaida Gippius.
38. Her husband Merezhkovsky D.
39. Reader of Western European literature for universities
40. Romanticism
England: Byron, Shelley - his friend, poets of the "Lake School"
Germany: Brothers Grimm
France: Hugo, Dumas the Father, Sainte-Beuve, Lamartine, de Vigny, Musset
USA: Edgar Poe, Cooper, Longfellow "The Song of Hiawatha", Hawthorne, Bryant
Russia: Pushkin, Lermontov, Gogol, Zhukov, Ryleev, Kuchelbecker, Batyushkov, Odoevsky, Baratynsky, Tyutchev
41. Lotman M.Yu. "Education of the Soul"
42. Afanasyev A.N. "Collection of Russian folk tales"
43. Stasov, critic “History of Russian Ornament”, 1860
44. Letter from Sholokhov to Stalin about the horrors on the Don
45. "The Tale of Igor's Campaign"
46. ​​Dostoevsky "Idiot"
47. Chekhov Anton Pavlovich
48. Encyclopedia of Brockhaus and Efron (general hall of the Lenin library)
49. Melnikov-Pechersky “In the forests”, “On the mountains”
50. Leskov "Sealed Angel"
51. Read about Ludwig of Bavaria
52. Muratov P.P. "Images of Italy"
53. Lazarev V.N. (researcher of ancient Russian art)
54. Alpatov V.M.
55. P. Florensky "Iconostasis", "To my children. Memories"
56. Dictionary of synonyms (at least 2.3 volumes)
57. Prince Trubetskoy "3 essays on the Russian icon"
58. Pomerantsev N.N.
59. "Gorodets painting" (sold in "Ozone")
60. Parmon "Russian" National Costume" - book on cutting
61. Kirichenko E.I. - best author on modern architecture
62. Lifar Serge "Diaghilev and with Diaghilev"
63. Magazine "Our Heritage"
64. Solzhenitsyn "GULAG Archipelago"
65. Znamerovskaya T.P.
66. History musical culture(multi-volume)
67. Works on the history of literature
68. Poet Arseny Tarkovsky, father of the director
69. Cervantes "Don Quixote"
70. Prince Felix Yusupov, memoirs
71. Nabokov "Camera Obscura"
72. Fowles "The Collector"
73. Styron "Sophie's Choice"
74. Lev Dmitrievich Lyubimov, books on the history of art in Europe and Russia (incl. Ancient Rus')
Art of Ancient Rus'. M.: Education, 3rd ed., 1996
Art of the ancient world.
Art of Western Europe: The Middle Ages. Renaissance in Italy. M.: Education, 3rd ed., 1996.
75. Dmitrieva Nina Aleksandrovna.
Image and word. (http://yaki-art.ru/files/dmitrieva.rar)
A Brief History of Art.
In search of harmony. Art history works different years. - Publisher: Progress-Tradition, 2009. Author's collection
Dmitrieva Nina Aleksandrovna, Vinogradova Nadezhda Anatolyevna. Art of the Ancient World
76. Alexander Kozhanovsky. Be Spanish. Tradition. Self-awareness. Historical memory. - M: AST, East-West, 2006.
77.Igor Shaitanov (brilliant literary critic). Reader on foreign literature, textbooks and everything else that comes along.
79. N.A. Chistyakova, N.V. Vulikh. History of ancient literature.
80. "The Tale of Genji" - one of the greatest literary monuments Japan
81. Chaliapin. Mask and soul.
82. Johann Joachim Winckelmann - German art critic, founder modern ideas about ancient art and the science of archaeology.
History of ancient art. Small essays. - St. Petersburg: Aletheia, State Hermitage Museum, 2000.
Selected works and letters. - M.: Ladomir, Academia, 1996.
83. Mikhail Chekhov. The actor's path (

What is art, and is it possible to learn to perceive it?

In order to understand this, we need to answer the following questions.

What is art?

What is an artistic image?

How to learn to perceive art? Is it possible to learn to perceive art, or is it an intuitive ability of five percent of the population, as statistics say? Or can we still learn to perceive art, like learning to ride a bicycle? That is, I'm talking about practical skill.

I want to say right away that this skill can be taught. It is not easy, far from easy. It all depends on what kind of life you lived and what kind of life your parents lived.

But still, my practice shows that if a person wants. If he tries. If he has the two qualities that I will tell you about now, he will begin to succeed.

What are these qualities?

1. Believe in yourself and your capabilities. A common quality in our society. However, no one guarantees you that you will succeed. And I don’t guarantee that you will succeed. This leads to the second quality.


2. Humility. It sounds very strange in our society. Humility when you realize that you can't do everything. But you understand that you can’t do everything and still try. This requires courage, which is often lacking. modern people. Courage is when you understand that failure may await you and you go anyway.

When it's possible? When there is love selfless love to art, without benefit for oneself. This is very important for a person who enters the art space. Then art will open up to you.

Art is the world of the human soul. This is not a phrase - this is reality. And it's not black and white. This is contradictory. It's complicated. It's multi-part.

So, the first thing we must understand is what art is. In our society there is a completely wrong idea about what art is and what an art connoisseur is.

We often think that an art connoisseur is a person who knows facts about art, has read Vasari, knows what Florence is like in the 14th-15th centuries, etc.

All that I have just listed are facts of culture or history. Facts are certainly important for the perception of art. For a person who does not know the facts of art, art is closed.

You can master cultural facts on your own. I have a list of references in my LiveJournal.
However, cultural facts are not art.

What is art?

Art is a specific work, or rather, it is many, many different specific works. And each work is unique. And if it is not repeatable, it means that every time you stand in front of a specific work you new task. You cannot do the same as yesterday, before another piece.

The core of a work of art is the artistic image.

An artistic image is an idea expressed in a vivid artistic form.

An idea is not a thought, it is not the result of logical thinking.

An idea in an artistic image is always a feeling.

An idea is not a thought.

It is not art, but science, that is built on the basis of thought. The basis of any science is logical constructions. The result of logical construction is thought.

Thought is the result of science.

The result of art is an embodied feeling. What does embodied mean?

The feeling cannot be conveyedto another person. We cannot understand another person's feeling. We can only align ourselves with the other person's feelings. Try to join. And in art, feelings are embodied in artistic form. Any human feelings must be embodied in artistic form.

The artistic form makes human feeling visible and accessible to perception. We can see this feeling in visual art. We can hear this feeling in music. We can smell this feeling in the art of perfumery. We can taste this feeling on the tongue in the culinary arts. It's all an art form.

Ideas in all types of art are drawn from one source - from the human soul, these are human feelings. and therefore passion or tenderness can be embodied in music, in color composition, in color spots, but it will be passion and tenderness. They can be embodied in a fashionable image, or rather in the art of great fashion designers, passion is embodied and tenderness is embodied. Despair is embodied and proud faith, various feelings are embodied. Vivienne Westwood, Gaultier, Gogliano, Yves Saint Laurent, McQueen are based on Feeling. But the feeling is incomprehensible, which means you need to learn to perceive this feeling.

Before moving on to this topic, I want to give you an example. We will dwell a little on the artistic form.

So, once again, an artistic image is an idea (human feeling) expressed in artistic form.

Ideas are drawn from one source - the human soul.

And the artistic form is specific to various types of art. That is, each type of art has its own artistic form. In music, these are sounds, melodic rhythms, sound volume. A quiet melody, or a loud one filling the entire space - these are certain feelings. And the choice of volume is work on the embodiment of feeling in music. Rhythms are measured, smooth, melodic or ragged with percussion instruments - these are different feelings.

Likewise in perfumery, culinary arts and of course a certain specificity in visual arts.

What is an art form in visual arts?

An artistic form consists of individual elements and connections between these elements.

An art form has distinct parts and connections between those parts.

Structure is construction artistic form: what parts and how they are connected to each other - this is the structure.

Elements of artistic form, that is, what we see. What are these elements?

1. This is primarily a line. First of all, because this is how the human eye developed, first we saw contour line. That's what scientists say, and most likely it was so. After all, many people see lines, but do not distinguish shades of color. Green has hundreds of shades, but you need to know at least a dozen names. And many people don’t understand that these are different colors.


2. Color spot (color-ratio of color spots)


3. Texture - the nature of the surface. All subjects in art, in real world have some kind of surface. For example, in the art of costume, the texture of the fabric is of enormous importance for creating an image. Sanjen is one thing. The fabric is very complex in color, it changes under different lighting conditions. Its texture is rough and even different threads stand out, and this rustling texture creates a certain image.

Cloth is a completely different matter. Cloth does not reflect color, silk (sanjen) reflects color. With

A completely different Atlas, there is a different weave (through five threads). here a completely different texture and surface is created. And satin is in demand in a certain Baroque style. In a sensual, vibrant style.

the same thing in decorative applied arts furniture. The same thing in Architecture is how stone is processed. All this creates an artistic image.

These are the three main elements. But structure is not only individual elements, but also the connections between them. That is, not just the nature of the line, not just the color, not just the color spots, not just the nature of the texture, but the connections between them. These elements should not exist separately in an artistic image, they are connected and connected not by the mind, not as a result of reflection, but as a result of insight.

These are words for you for now, but remember them, they will be useful to you later, because you will be present at these insights.

The nature of communication in the visual arts is performed by rhythms.

Rhythm is the repetition of something. There are simple rhythms when the same form is repeated. Where can we find this? For example in Egypt. The colonnade consists of completely identical columns - it's a simple rhythm. In the art of costume in the fifties, when a red handbag was combined with red shoes. There is nothing like it in contemporary art for changing simple rhythm comes a complex rhythm, a nuanced rhythm. When, during repetition, a change occurs in this element that will be repeated. Often a nuanced change is not large, and sometimes a complex, invisible change.

Example. Let's take a red bag, open scarlet. The red pigment is the basis of the red open color. If we add blue pigment to this red pigment, we can achieve different gradations from crimson to purple, and the shoes for this bag can be crimson, or they can be thick purple. This is a nuanced rhythm, it is not open, not obvious. This is the second type of rhythm.

But there is another rhythm, hidden. This is a semantic rhythm. I won't talk about this now. But write it down now. so that you know that there is nothing simple in art at all. If you lived in a world where everything was black and white, forget about it. Because in reality there is no black and white in the world, it’s all black and white in your heads. And in art, too, nothing can be simple. Art is the spiritual experience of great artists, which reflects the human soul and everything complex, sometimes inaccessible to understanding and perception.

Any training is always a simplification. You can't teach without simplifying. So I try to simplify, but let you know that I'm simplifying. There is a lot that you won't understand. This needs to be understood. I have dedicated my life to art, I am moving forward, I am trying to understand what is not available today. I'm trying to have this available to me tomorrow. and this process is endless until my death. If there is anything I can learn from my journey, when I never calmed down and said, “Oh, you’re an expert.” I always looked with surprise and delight and I realized that every day new worlds were opening up before me. And this ability of mine has allowed me to grow throughout my life.

You must clearly understand that art is a huge pit, and in our classes we will try to remove the top layer from it, the most accessible one. I select examples so that they are accessible to you. But there are hundreds and hundreds of layers going deeper. And somewhere very deep there is Rembrandt, Velasquez, McQueen, in contrast to Chanel, which is on the surface.

So, we found out that the most important thing in a work of art is the artistic image. An artistic image is a feeling embodied in artistic form. And not just in form, but this image always has a structure. Not just individual elements of an artistic form, but connected by complex connections with each other. These connections are not born out of thinking, “I will wear this handbag of this color with these shoes.” It never happens like that.

The artist's soul is human soul. Not all people have a soul.

The ancient Japanese have brilliant words that reveal a lot about art: “When the artist’s soul is filled to the brim with impressions, what overflows the soul is a work of art.” But we live in a society of people without souls. The system of upbringing and education in our society destroys feelings. A child up to the age of six has feelings, but by the age of six, society and education have dealt with this problem. Feelings are destroyed. And with the loss of the skill to feel, the soul is lost.

Style is the height of art. Most tall image in art it is style. Where will he come from if there is no soul?

The perception of art requires the experience of the senses. If people make decisions from the mind and do not give themselves the opportunity to see the world. If you live within the framework of the ideas of a consumer society, when only what gives money is valuable.

One day I realized that when I stand in front of different paintings, my body lives its own life. I realized that I was breathing differently, that my muscles were in different states. And then I realized that it was me who responded to color, line, composition, scale, proportion, etc. I realized that my body responds to these things. It lives the life of the work of art in front of which I stand.

Without a living body, perception of the world and art is impossible. No body response - no perception.

Essentially, if you see the gentle coloring of the painting, your breathing should become softer.

Image perception is a response to hidden structure artistic image. This cannot be taught at all. because structure is very complicated thing. Perceiving it is an intuitive process. Any intuitive process cannot be taught. this is bad news. And now it’s good - you can teach to respond and perceive individual elements of the structure.

As you gain personal experience of individual elements of the structure, the entire image may suddenly open up.

Intuition is always the result of experience. The more experience, the sooner intuitive processes will come into motion. And when there is no experience, style has nowhere to come from.

The ability to respond to meanings in art reveals worlds to us, and not only art, but the world around us. Peace of your husband, child. Often women raise a child based on their selfish ideas, without trying to perceive the child at all. Without trying to open his soul, because it is not your soul. He's different.

But are there many wives who accept their husbands, understand them, abandoning their ideas of what they should be? And they love them, not their fantasies. They love real people.

Don't get married if you don't see the world around you. This necessarily means disappointment. Learn to see the world.

Art is a spiritual experience. Art is not entertaining. Art does not give pleasure. Art teaches you to live. Art teaches you to respond to your soul and shape your soul. Art teaches you to be human or teaches you how to become human.

I have an absolutely amazing friend - Lyubov Mikhailovna Popova. Of course, I call her Lyubochka, but that’s just between us girls. For everyone else, it is only Lyubov Mikhailovna, and it is usually pronounced with awe and respect, bordering on adoration. Such love among students for Lyubov Mikhailovna arose from the fact that her lectures, and teaching in general, are at an incredible intellectual level. The School of Style she founded is a child Great love and understanding of everything that is included in the concept of “style”. I did not study with Lyubov Mikhailovna, but I attended her lectures, where I was amazed not only by her knowledge and logical adherence to the artist’s style, but also by the artistry with which she lectures.
Do you know how it happens that you give to a person without receiving anything in return? Lyuba and I always have only mutual contact: she inspires me with her reasoning, I share my conclusions.
Here I am posting “for starters” a piece of L.M.’s most wonderful post. Popova, published in her School’s community.

"Master Class. Transformation as a path to style

The stylist creates Worlds. And therefore he is somewhere there, next to God.
It is clear that it is impossible to climb there of your own free will.
That's why I perceive the professional skills of a stylist as a GIFT.
But a gift that is not given to everyone. This is a gift for your passion for art.

I decided to post some of my materials training courses.
Today we will talk about transformation as the only possible way for a stylish look.

Training a stylist, no matter what area he works in ( stylish interior, photo, individual image man) presupposes mandatory comprehension (precisely comprehension, and not just knowledge) of large historical styles.
Firstly, this is a support in the work of a professional: there is no need to reinvent the wheel. And secondly, in the learning process a SENSE OF STYLE is developed, without which there is no stylist.
Large historical styles are classic, baroque, rococo, classicism, romanticism, religious-symbolic style direction. They were called large because they most often cover all or the most characteristic types of art for a given period.

When you get acquainted with the work of artists of certain styles, you get the impression that they lived on different planets. Thus, in the Baroque era, the world was rich in natural gifts: shops were bursting with various living creatures, and interiors were buried in flowers. Dimensions of many Baroque architectural structures suggest that Baroque people loved to spend time in public, filling these colossal spaces. The women were distinguished by their bodily splendor, and the men, although somewhat rude, were extremely healthy. Finding yourself in the baroque world, you seem to be infected with energy, a somewhat rough cheerfulness: you push, passionately squeeze in your arms, press your lush breasts and laugh loudly.

You can listen to what Lyubov Mikhailovna says endlessly, and now you can endlessly re-read it. I took notes on the first lecture of the “I am a Creator” course. I want to say that immersion in the material and awareness of what you hear is qualitatively different after the work done.
I really hope that soon it will be possible to get acquainted with Lyubov Mikhailovna’s methodology in her published books, the publication of which she spoke at preparatory classes. In the meantime, for myself and, I hope, my colleagues, I’m posting a hint - a method of multi-stage in-depth perception of works of art and the surrounding world, the authorship of which belongs entirely to the incomparable Lyubov Mikhailovna Popova http://popova-art.livejournal.com/:

The first is careful, concentrated examination in order to capture the nuance. Not to think, but to see.

The second is an attempt to respond with the body. Not on the structure, at least on individual elements of the structure: lines (linear or pictorial structure), color spots/color/contrast, texture/character of the surface, rhythms. You cannot learn to respond to structure; it is too complex and invisible; its perception is always intuitive. But this skill can be formed as a result of systemic experience in the perception of individual elements of structures.

Third - trying to capture the feeling. A feeling that should begin inside as a result of a bodily response.

Fourth, we need to name this feeling. We need to find a word. Moreover, the word must be nuanced, the word must express exactly this feeling, exactly this shade of feeling. And for this you need to have a rich vocabulary. Thought is expressed only in words.

They can help in the multi-stage process of perception correctly questions asked:
What structural elements do I see?
a) line (solid or fractional? nervous or calm? tender or passionate? energetic or sluggish? rocaille or baroque? flexible?). Remember that the nature of the line depends on the nature of the movement of the artist’s hand, which in turn depends on the state of the artist’s body, the nature of his sensory experience at that moment.
b) color spot (rigidly outlined, graphic or with soft transitions, picturesque? Are the colors warm or cold?) / color (based on similarity or contrast? If in contrast, is the contrast hard or soft? Remember that a color spot does not exist on its own , but only surrounded by other color spots) Remember that the nature of the stroke depends on the consistency of the paint (liquid or thick, with or without solvent), on the brush (on its size, on the hardness/softness of the bristles)
c) surface texture
d) composition (where is the center of the composition)? Proportions?
e) rhythms (horizontal or vertical? hidden rhythms or obvious rhythms?)

What happens to the body when I see individual elements of the structure?
a) What about the spine? (Does it straighten or curl?)
b) What about breathing? (Is breathing deep or shallow? Is there an irregular rhythm - a tense rhythm or a measured rhythm? The inhalation and exhalation are sharp or soft? Long or short? Ragged or calm breathing?)
c) What about the muscles? (Are they twitching? Are they tense? Are they swelling because the blood is rushing?)
d) What about the blood flow? (is there a lot of blood pulsating in the body? or is the pulsation elusive and flowing unnoticed?)
d) What about the bones?
f) What about the tendons?

What feeling is born inside? What emotion?

Techniques that can help you perceive a work of art:
- Find yourself inside the painting in question.

Nadezhda Azarova for the portal Osinka.ru

Osinka: Lyubov Mikhailovna, individual style- the category is fashionable, but quite mysterious. What is it - a person’s style?

Lyubov Mikhailovna: A person's style is an expression of a vibrant personality. You can't be stylish and not have a bright personality. You can't live a boring, standard life and be stylish. People often live exactly the same as their neighbors, and for some reason they are confident that with such a life they can be stylish. Style is a natural, organic continuation of the essence of a person, and a bright, unique essence. Therefore, style seems to sprout from the human core, as naturally as a swollen grain sprouts in good soil.

You cannot be stylish on the outside and not stylish on the inside. Besides, individual style in external expression is an artistic image. And an artistic image is an internal, immanent feature of a work of art. That is style is always art . Therefore, individual style is a mandatory manifestation of the artistic capabilities of the individual, therefore, it requires certain knowledge in the field of art. You need to realize that style is formed at a certain, quite high, cultural level

Osinka: person.

Please give examples of stylish people. What makes them stylish? L.M.:

Sophia Loren.- a classic example of a tragic search for style: I suffered, tried, spent money on clothes, jewelry, furs, and all in vain. She called herself a “hairy potato.” There is so much despair in this! But she passionately loved music, played the violin herself, read poetry, and to express this inner self in a full-fledged way visual image failed. Why? I lacked artistic skill, artistic taste, and sense of style. And then a meeting with director Sternberg, the film “The Blue Angel”. And it becomes not just stylish, but a symbol of style! How did this happen? What and how did Sternberg have to change in the provincial actress?

For me one of the most bright examples was and remains a stylish person Maya Mikhailovna Plisetskaya. There is nothing artificial, superficial, or unusual in her style. Flight and energy are still preserved in her appearance. But this originality of hers did not manifest itself so immediately and so clearly. And this could be said about all our heroes. Look at photos of them when they were young. The style seemed to grow in them as their personality formed.

What makes people stylish? Their life, their creative attitude to life, their meetings, their environment. It's always bright personalities. They are different, and they value this uniqueness.

It's important to find yourself! This is the beginning of the birth of a person’s style. Individual style is always a manifestation of personality and a manifestation of creativity, regardless of the type of activity. I am often asked: can there be stylish people, for example, in business, politics, or science? Of course yes! And I have met them in my life. Many of them would probably be surprised to be called stylish. After all, they hardly thought about style. They lived a vibrant life, and they had enough culture to express themselves appropriately, that is, artistically, externally.

Academician V.Ya. Propp, philologist, author famous work"Morphology of a Fairy Tale" is certainly a stylish man. His life, his bright characteristic appearance with a sharp beard, a semi-military tablet instead of a briefcase - everything is solid, organic, despite a certain negligence, and, perhaps, thanks to it.

True style matures gradually, because the question of individual style is a question of development!

Osinka: Why are there so few stylish people?

Please give examples of stylish people. What makes them stylish? The reason is that one person does not often combine the uniqueness of personality and knowledge, moreover, practical skills in the field artistic creativity. Hence the blind imitation. It is blind precisely because a person does not have enough culture to understand that this image, although it is fashionable and stylish, may be in itself, but has a very distant relation to it. Often there is no desire to understand oneself. So it turns out that the dress screams about one thing, the lady’s face whispers about another, and the bag creaks about a third!

Osinka: Lyubov Mikhailovna, please give examples of obvious stylistic mistakes?

Please give examples of stylish people. What makes them stylish? I often see: a girl in high heels, “on parade,” and next to her a young man almost in tracksuit. I note that modern fashion favors mixing various styles, but it requires exceptional skill. This can also be seen at social evenings. The elegant appearance of a lady is often discordant with the appearance of her companion: baggy jacket, blue striped shirt.

The couple should be in the same style space. If you have the appropriate knowledge, taste and use different stylish images, That they must be woven into one story: they seem to cling to each other, like a puzzle, complementing each other and emphasizing something important.

Johnny Depp and his wife, actress Vanessa Paradis, always pleasantly surprise. They are not just organic next to each other, but each time it is new fascinating story, told with subtle taste and completely in keeping with their personality.

Look at the photos of this couple. Please note that Johnny is wearing a tuxedo, but on his feet are not shoes, as one might expect, but boots with thick soles, and on his head is a felt hat with a rather high, not at all classic, crown. Johnny seems to be laughing at himself, at his pretentious tuxedo. And Vanessa is very organic next to him: she resembles a disheveled bird with wet feathers. In her image, Johnny's mockery has turned into a warm smile, and this enhances Vanessa's touchingness.

Look at the next photo. Johnny is dressed according to the laws of the classics, and Vanessa, it would seem, is simply a tastefully dressed young woman. But there is something in this pair that makes you stop looking and respond to feeling. What? And how did it happen?

Just imagine, I see Vanessa in a classic white dress, straight, without details, of medium length. Suddenly something happens to Vanessa, something changes in her condition, and the dress begins to flow down in tiers of flounces. And immediately Johnny responds to this emotion, and his short-cropped hair urgently grows, falling in a careless forelock. Touching, funny and a little sad. Try to mentally comb your forelock: no style, no history.

What is the secret of the fourth image? The classicity of Vanessa's black jacket is reflected in Johnny's round glasses, somewhat incongruous in their extreme traditionality. The images come to life. Such images are not invented. They are seen in the imagination, and they are seen already ready.

Osinka: But then, is style achievable for ordinary people?

Please give examples of stylish people. What makes them stylish? If by “ordinary” people we mean standard people, then no. If to identify and preserve one’s uniqueness, and not to be an automaton, then style can be accessible to everyone. In any case, this is what we should all strive for. Finding your style means looking for yourself: what you love, where you would like to work, who you would like to see next to you. And, note that this will not always coincide with generally accepted ideas.

Osinka:Lyubov Mikhailovna, how do you come to style?

Please give examples of stylish people. What makes them stylish? Modern man wants to have everything at once. It is important to realize that a truly stylish person is not a mask, but a certain stage of human development. In addition, we must remember that The formation of an individual style is not a craft process, but a creative process: after all, as a result, a one-of-a-kind, inimitable image is formed. Art plays a huge role in this process.

Look at female images different eras. Art teaches us to see and appreciate the diversity of femininity. For Botticelli, this is an image of poetic melancholy. Titian has the luxury of life-affirming sensuality. In Fragonard's rock image there is a flirtatious playfulness. The lady with a fan in the painting by Velazquez represents severity, dignity and piety.

In the image of Proserpina there is a tragic sensuality with a hint of barely perceptible poison. Rene Notgaft on Kustodiev’s canvas is the embodiment of female intelligence. The image of Countess Carpio on the canvas by Francisco Goya, somewhat reminiscent of a fragile insect, remains mysterious and inaccessible.

In the luxurious Monna of the Pre-Raphaelite Gabriel Rossetti romantic tradition overlapped with echoes, as if memories, of the Baroque: its sensuality is aggressive, and therefore dangerous. They are different. And everyone is beautiful.

Art shapes personality and helps to find oneself. And at the same time, it develops the skill of perceiving an artistic image. But a stylish appearance is always an image.

That's why master art. And remember that to know the biographies of artists, directors, to know what Baroque and Rococo are, Italian neorealism, to list all the surrealists in French literature- important, but this is not yet knowledge of art. After all, these are all facts artistic culture. Art is an artistic image. And to know art is to be able to comprehend an artistic image. Style is always an image, and an image born in the space of art.

Osinka: Where would you advise starting your path to understanding art?

Please give examples of stylish people. What makes them stylish? Consult the books Boris Robertovich Vipper ("Introduction to Fine Arts"), Tatyana Valeryanovna Ilyina ("History of Art. Western European Art", "Domestic Art").

B.R.Whipper - recognized classic domestic art history. T.V. Ilyina is a professor at the Department of Art History at St. Petersburg University. Her books contain basic information on history visual arts. In addition, you will find lists of additional literature. Useful popular books Lev Lyubimov.

And at the same time, be sure to get acquainted with the works of art themselves in museums, at exhibitions, and on various trips. There's a lot to see! When choosing illustrations, I wanted you to see how diverse the world of art is, how much it can suggest and awaken in a person. All images on the last page can be enlarged. Take advantage of this.

Now try to perceive, for example, painting "Vase with flowers". Dive inside this bouquet. Do not hurry. Respond with feeling to each flower. Take a closer look at the heavy peony, the velvety twilight iris, the cool tulip. Feel them. Why is this bouquet illuminated so unevenly? Don't rush to answer! First respond with a feeling, and then look for answers.

Maybe you would like to see real living flowers, and you will see them differently, under different lighting and surroundings? After all, each flower has its own favorite lighting and its own space: timid morning, deepening twilight or bright day. What flower and what lighting is yours? Where is your kinship space?

Please note how the works are described in the annotations to the photos: author, title, year of creation, material, size, where it is stored. For example, Andrea Mantegna. Parnassus. 1497. Tempera on canvas. 150x192 cm. Louvre. Paris. This description of the work is not accidental: it helps to enter the space of art. Please note where the work is stored. Let this be the beginning of acquaintance with museum collections for some.

Note that the paintings were painted not only on canvas, but also on wood. And they weren’t always written oil paints, but also with tempera and in the encaustic technique, that is, with wax paints, when the coloring pigment was diluted in heated wax. Ask yourself, does the solvent (wax in encaustic, chicken yolk in tempera, and oil - these are all solvents) affect the inner meaning of the artistic image, and if so, how and why?

Art helps you see the diversity of the world, its richness, its inconsistency, its beauty. Your perception becomes more refined, your imagination develops, and you gradually develop, unnoticed even by yourself, a sense of style.

It is important that you have the opportunity to constantly look at well-published art albums, where the illustrations are adequate to the original. Unfortunately, in many publications, instead of, for example, the mustard color of the original, you see bright lemon, and instead of deep cherry, you see dirty brown. Therefore, it is important that what you purchase the books were well published: Illustrations must be clear, not blurry, and the color must match the original. Therefore, I recommend purchasing books from the publishing houses "Taschen/Rodnik", "AST" and "Astrel", which differ high quality printing execution.

Do not forget that education should be systematic: You cannot jump over three steps. First acquire the necessary minimum, with which you will later be able to read and understand Heinrich Wölfflin and move on to more complex issues.

What is style?
- How does the structure of a baroque image differ from the structure of a rock image?
- And what is this - the structure of an artistic image?
- Which fabric pattern will better convey light, changeable, flirtatious, rocking movement, and which one will be sharp and energetic, baroque?
- What coloring, that is, the ratio of color spots, should I choose if I want to convey a somewhat brazen joy, in a kitsch-baroque spirit?
- Which composition will convey a complex feeling of mixed anxiety and timid joy (which, of course, is more common in the space of romanticism), and which - unshakable confidence and strength (which is closer to the Romanesque style)?

These questions should not be terra incognito for you. You need to avoid wandering in the dark, you need to know how not to reinvent the wheel. But most importantly: look, touch, listen, feel, in a word - live creatively!

Make the art space feel like a family to you, so that you are welcomed and loved there, so that every spot of color tells you its own story, and the character of the line reveals hidden secrets. Vermeer of Delphi will teach you to see the beauty of color, Botticelli - to respond to the character of the line, Goya will allow you to see the birth of romanticism. Art will reveal the origins of the creativity of the most prominent fashion designers of the 20th century - Balenciaga, Yves Saint Laurent, Christian Lacroix, Vivienne Westwood.

Osinka:Lyubov Mikhailovna, thank you very much for the informative conversation! What would you wish for the readers of Osinka?

Please give examples of stylish people. What makes them stylish? Finding your own style is a fascinating activity. You become more mature, more whole, more active. Your life becomes deeper. Therefore, look for yourself, do not retreat when you fail.

And further. Live in art.
Along this path you will find your true individual style. And this is the only possible way.