How to distinguish an original painting from a reproduction. If the pictures show people with big asses, be sure - this is Rubbens
Starting a dialogue with world culture, modern man does not waste efforts in order to rise to her level, but, on the contrary, tries to lower her to his own. (someone smart)
Before the invention of photography, painting was seen as a tool for perhaps a clearer reflection of the environment. Painting was considered the better, the more reliably it showed real world. With the advent of photography in 1839 and cinema in 1895, the awareness of painting expanded significantly, although others still adhere to a narrowly functional business at the moment.
What is the difference between a photo and a painting?
Bato Dugarzhapov "Christmas".
A photo captures a moment for us, in other words, a very specific, momentary state of an object. The painter, no matter how carefully and plausibly he wrote out the details, first writes the GENERAL that he sees in the model, in other words, the most peculiar and expressive.
Therefore, a photo (except for the very infrequent works of photo artists) is an illustration similar to a picture in an encyclopedia: this is how a squirrel looks, kids, and this is how the owner of the photo album looked 20 years ago when he was bathed in a bath.
Bato Dugarzhapov "Crimea".
The modern painter has refused to copy nature - photography and filming will make it even better and faster. Naturalism pushes painting into a dead end of repetition and banality. In addition, nature cannot be reproduced. When the viewer accepts only the most superficial nuance of the picture - the transmission of information “where what stood”, then the awareness of the painting will be very depleted and distorted.
The picture is fundamentally different from the photo by the non-identity of what was done, and this has become the fundamental difference between colorful and photographic image. The painter decides of his own free will what and how to leave, what and how to highlight, what to exclude from the picture, sometimes even contrary to superficial common sense.
Bato Dugarzhapov "Terrace".
A colorful painting on canvas claims to be complete and universal in showing the painted object and in conveying memories from it. In an incomprehensible way, a volume appears on a flat canvas, alive and beautiful world made by the artist.
We can enter the picture and hear the birds sing, smell the smell of a blossoming meadow, feel the warmth of water heated by the sun, see the movement - clearly realizing that all this happens exclusively in our minds and in front of us, and that it was all given to us by the Creator.
What is "alla prima"?
Bato Dugarzhapov "Morning".
If before that the jewelry manner of writing out details to the smallest detail was welcomed, when the picture was painted for months, or even years and then painstakingly varnished, then in the 19-20th century the concept of “alla prima” appeared - from the Latin “all prima vista” (on 1- th gaze) and means spontaneous painting with impasto paint.
The painting is ready after the first session. Paints are mostly mixed on the scale, where they seem fresh and luminous. When writing in the open air, this is a very suitable method of work.
Pastosity is manifested in relief, convexity of the bright layer, in a plastic brushstroke and serves to emphasize the material side of the object and give dynamism. Paintings are more voluminous and informative than photos, they can sensually affect the audience with local color spots, without unnecessary clarifications and specification of details. From time to time even due to the lack of this concretization.
Bato Dugarzhapov "Noon. Boats.
The alternation of seemingly chaotic strokes and light spots at first glance is much more emotional than a photo, and the ancient polished manner conveys movement - the play of sunspots on the grass, glare on the water, swaying leaves, etc.
Unfortunately, the viewer, completely wild in the sense of colorful culture, having seen the works of alla prima, written in sweeping strokes and stripes, does not give himself the trouble to slow down and peer, but puffs out his cheeks and, with the words “I can also smear it like that,” with the consciousness of his own advantage goes further in search of lacquered curly-painted creations where no imagination and empathy is needed.
Let's let him go, and later we will see, for example, a painting by the artist Bato Dugarzhapov "Plein Air". What do we see in this fascinating picture?
Bato Dugarzhapov Plein Air.
Those who want to see how the shoes of the characters are sewn - nothing. The viewer, tuned in to the wave of awareness, first sees a lot sunlight. Then we see several artists in summer dresses at easels and a bearded artist in jeans and with brushes in his hand. Then there is a warm stone wall with winding wisterias illuminated by the sun above them, blue sky in the gaps of foliage, the parapet of the embankment and the sea behind it. Therefore, the foliage is not written out in details and veins, that it moves, sways, and the light also moves, shadows move, and the reflection from the sea in the distance changes every minute ...
The mood of the picture is absolutely phenomenal, it just emits light and positive. And at the same time, it is impossible to point with a pointer and explain - this is this, and here is something. It is only necessary to see this by moving a little away from the picture and looking at it for quite a long time. At the same time, this is only a file, I imagine for myself - how it should act in the original!
Bato Dugarzhapov "Sketches".
Similarly, the painting “On Studies” “manifests itself”. At first - chaotic spots of sunlight and reflections of the sea. Then - a gray-haired painter bent over an easel. Then - the sea itself: the gaping sea, it moves, worries, the sun glare from the waves actually blinds the eyes (how it is made - it is unrealistic to realize), in the sea - mountains, pebbles and boats, on the left again a climbing plant, maybe grapes.
The atmosphere of a hot morning is indescribably conveyed (and this is morning, because when the sun is high, the sea does not sparkle like that, it turns blue), beauty south coast and admire this beauty.
Bato Dugarzhapov "Southern Evening"
Bato Dugarzhapov's paintings are immersed in an unusual luminous environment, which speaks of the artist's highest colorful culture, of a narrow awareness of color and spatial relationships. His works are notable for their freshness, rapidity of the rhythm of lines and color spots, romantic elation, narrow perception of light-space ratios.
With particular ease, with large strokes, he makes a complete, integral image of nature in color, light and actual dynamics ... everything sparkles in the rays of the sun, even where there is a shadow, reflections sparkle, which is especially striking and amusing. Freely thrown, the colors lie on top of each other and form a multi-colored harmony and rhythm, in which the overflows of colors are of particular importance.
Bato Dugarzhapov "Lake Como".
Bato Dugarzhapov was born in 1966 in Chita. He graduated from art school in Tomsk and the Metropolitan Municipal Academic Art Institute. IN AND. Surikov. The artist's works are in private collections in Russia, USA, France, Italy and Spain.
K. Yu. Starokhamskaya
Wow, great painting! - complimented the work and immediately offended the artist with incorrect terminology
You probably know, friends, that a good, but impressionable artist can be offended if you tell him that he paints his own picture. It's like saying that ships sail in the sea... but we all know that ships sail in the sea!
Still, a person who is far from fine art often cannot say exactly what painting is, what drawing is and how they differ from each other. Therefore, “drawing” and “writing” are one and the same for him. But try to tell the master that he has a good "drawing" on the canvas!
no more easy way to injure a sensitive creative nature, even though a simple viewer will not immediately understand what is wrong and offensive here.
Painting and drawing are close and even related concepts, but clearly separated from each other. As well as it is well known when pictures are painted and when they are painted.
Let's try to figure this out terminology in fine arts . Believe me, this is not only important for those who are engaged in creativity, but also interesting.
The difference between painting and drawing
Speaking in strict formal language, drawing - this is an image of any images, objects and phenomena on a plane. You can draw with chalk, pen, pencil, paints - everything that leaves traces on a particular surface.
In general, even scratching with a diamond on glass or, for example, graphics with a pen in a lesson and tattooing is also drawing.
And here painting - this is also an image of objects and phenomena, but only with the use of paints. That is, speaking in a dry and formal language, painting is one of the options for drawing, in which a brush is used as a tool, and paints are the means that create an image.
In other words, drawing is graphics and is considered officially, everything that is done on paper is graphics, and oddly enough, watercolor is also considered graphics. Although many works are considered as pictorial and on paper too
So, everything that is on paper is graphics, and everything else is painting ... on canvas, wood, glass, wall
Remember drawing lessons at school? There the whole subject was called that: fine art. There were no separate lessons in painting or drawing, just today they were taught to work with oil, and the next day - with pencils.
Hence the widespread belief that painting is just a variant of drawing. Formally, this is so, in reality - otherwise.
Visual arts - Art of Capturing Images = ART, association various kinds painting, graphics, sculpture
In fact, such a hierarchy is a real bureaucracy. In the visual arts today there is a clear division: painting- this is work with a brush and paints on dense materials, drawing is the use of all other materials on paper.
It may not be so strict and scientific, but the world of art is loved by many because it is not subject to science, and therefore its laws do not have to correspond to strict classification and terminology.
There is another nuance: think about the word "painting"- it consists of two parts: "live" And "write". This can be interpreted in different ways, but many artists say that working with paints is alive precisely because the paints themselves dry out after being applied to the canvas and change their properties somewhat, that is, they live their own lives.
And the image itself has its own dynamic life, the picture is alive. Or depiction- to write in a lively way. ... In general, the word depiction sounds high and beautiful, in my opinion
Looking at and reflecting on living pictures
So, we figured out this part: painting is working with paints, drawing is the use of other means. Moreover, easel painting, both monumental and decorative, also differ from similar forms of drawing.
Putting paint on the walls we are talking about about painting, decorate them with crayons - this is already drawing.
Painting or painting?
Other, no less hot topic- how to call the process of creating a picture. It seems that if an image is created, then it is being drawn. And if they talk about a letter, they usually mean a text.
Here the terminology has deep historical roots. Painting in Rus' gradually developed from icon painting, when the masters began to try to revive, make biblical motifs more vivid, using the same techniques, and then completely switched to paintings that had nothing to do with religion.
But since icons originally "wrote", then this word migrated to painting and today oil paintings are also painted.
I often sin and usually "paint" my pictures
If we are talking about drawing, then all the works here are painted, no matter how significant they may be. You can, of course, say that the artist "wrote" an epic canvas with a pencil, but this is nothing more than a liberty.
Can you paint on canvas?
In general, it is customary to say that they paint on canvas with oil, but, for example, they simply draw on paper. But these are not absolute rules.
For example, before painting with paints, the artist may make a pencil sketch on the canvas. This is a drawing, its author draws. And only when paint is applied to this drawing, the picture begins to be painted.
Although, no one forbade drawing with pencils, charcoal on canvas ... the only question is that drawing on a fabric canvas is not very convenient for dry techniques, unless, of course, this is a place where everything can be used.
The same is true for any other basics, not only easel painting allows you to paint pictures. For example, monumental painting involves painting pictures with paints on various architectural objects facade, decorative painting - this is a letter on various objects and details of the interior, - these are wall paintings inside the room with various frescoes and murals - snags
At the same time, if we take a glass or a jug and paint it, for example, with ink, it will already be decorative drawing . This means that it does not depend on the basis whether we are engaged in painting or drawing. It's all about the materials with which the picture is created.
And finally: do not assume that painting is for professionals, and drawing is for amateurs. Not at all! Often, pencils, pastels or crayons create works that are no less grandiose and magnificent than oil or acrylic paintings.
And the complexity of creating a work, for example, only with pencils, is very high. Therefore, if you like to draw, it is not at all necessary to torture yourself and force yourself to write with paints without fail - it is quite possible to create masterpieces with what you like best.
Masters of portraits in graphics
Only in this case, by the way, you will be able to fully express yourself and your emotions in your work, whether on canvas, paper, glass or on the wall! They are the primary ones, and materials and techniques are just tools, among which you choose the most convenient for you.
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Ask your questions below in the comments, I usually answer all questions quickly
For many, it seems an impossible task to remember the artists and their paintings. For hundreds of years, history has entered the names of many artists whose names are well-known, unlike paintings. How to remember the peculiarity of the artist and his style? We have prepared brief description For those who want to understand the fine arts:
If the pictures show people with big asses, be sure - this is Rubbens
If people in beautiful clothes are relaxing in nature - Watteau
If men look like curly-haired women, with wild eyes - This is Caravaggio
If a picture with a dark background depicts a person with a blissful expression on his face or a martyr - Titian
If the picture contains multi-figured compositions, many people, objects, Christian and surreal motifs - this is Bosch
If a painting contains multi-figure compositions and complex plots, but they look more realistic than Bosch's paintings, you can be sure that this is Brueghel.
If you see a portrait of a man against a dark background in a dim, yellow light - Rembrandt
Biblical and mythological scenes depicting several plump cupids - Francois Boucher
Naked, pumped up bodies, ideal forms - Michelangelo
Ballerinas are drawn, this is Degas
Contrasting, sharp image with emaciated and bearded faces - El Greco
If the picture shows a girl with a unibrow - this is Frida
Fast and light strokes, bright colors and an image of nature - Monet
Light colors and rejoicing people - Renoir
Bright, colorful and rich - Van Gogh
Gloomy colors, black outlines and sad people - Manet
The background is like from the movie "The Lord of the Rings", with a slight blue fog. Wavy hair and aristocratic nose Madonna - Da Vinci
If the body depicted in the picture has an unusual shape - Picasso
Colored squares like an excel document - Mondrian
“I realized a long time ago that for art historians, self-expression is more important than substance.”
Eldar Ryazanov
“Why am I, the son of a famous Moscow painter, spending my childhood and youth among artists, in whose collection more painting and graphics than otherwise regional museum, should listen to art historians, who, having never been born, did not hold brushes in their hands?
Alexander Gremitskikh
In Wikipedia, the term "picture" in relation to painting is defined as "a work of art that has a complete character (as opposed to a sketch and study) and independent artistic value." The concepts of “etude”, “sketch” and “sketch” in relation to painting are generally lumped together on Wikipedia and boil down to one concept - a sketch, preparatory material for the artist’s own painting.
Let's see if this is true in practice:
I must say that all artistic terminology was formed back in the 19th century, if not even earlier. In those days, not only here, but throughout Europe, decent people were supposed to speak exclusively in French, as evidenced by the terminology still used in painting. So the word "etude" comes from the French "étude", and "sketch" - from the French "esquisse", for example. The painters' customers lived mainly in very spacious, to say the least, rooms that required decoration with huge canvases, which, naturally, were impossible to paint from nature. It is clear that in such conditions only the final product was valued - a big picture (but, by the way, it was paid exclusively). Since the natural works, to which the sketches, in fact, belong, it never occurred to anyone to hang on the wall, it was impossible to get money for them, and therefore, if they were written, it was only as supporting visual material for some big picture and were even less important than sketches, which were carefully written out because they had to be submitted for approval to the customer.
That's where, from the "time of Ochakov and the conquest of the Crimea", long-obsolete definitions migrated artistic terms to Wikipedia! Yes, and in other dictionaries, alas, too, and from there - into our heads.
However, by late XIX centuries, with the democratization of society, views on what the final product in painting could be, so to speak, have changed dramatically. If French Impressionists they still blamed the etude of their work, then A.K. Savrasov urged his students to "learn from nature." Of the Russian artists, Konstantin Korovin, for example, became famous precisely for his natural studies; he practically did not write thematic paintings at all. We are already living in the 21st century, but in relation to painting we continue to use the understanding of its terminology 200 years ago, a paradox, and nothing more!
The misunderstanding of the simplest terms of painting used in everyday speech, on the basis of such an ancient understanding of them, deliberately imposed on the general public by respected art critics, who, as it is quite obvious, precisely because they PROFESSIONALLY understand nothing in art, can put ordinary person into a dead end. Therefore, in this article I would like to consider the main commonly used terms in painting in relation to the current situation.
MEANINGS OF THE WORD "WRITE"(with the accent on the second syllable, of course)
In Russian, the word "write" has the basic meaning "to write letters and numbers." In painting, professionals use the word "paint a picture" as a term. If the artist says: "I painted a picture," then in this case he does not use professional terminology, but simply speaks everyday language, as ordinary people, unrelated to artistic activity. In the terminological sense, they draw with charcoal, sanguine, pencil, pastel, but not an oil painting. “This picture of the artist is painted in oil,” only a person who is far from painting can say. And there is nothing terrible in this, it is not so important. It doesn’t matter that you don’t know what red kraplak or cadmium yellow is and have never heard of some kind of umber or burnt sienna. Titles artistic paints, which accurately designate certain colors (after all, both red, and yellow and blue are different), it is absolutely not necessary for a non-specialist to know, and art historians do not encroach on such narrowly professional precise terms.
On the other hand, these gentlemen, "in charge of art", or, more simply, critics, that is, journalists writing on the topic of art, successfully imposed on all other people the false idea that art, they say, "should be understood." Who knows about art? Of course, no one but art historians!
Thus, we were successfully explained that in the fine arts we do not know and do not understand anything. And the most interesting thing is that we completely agree with this! Whom you will not ask: “I don’t understand painting”, “I don’t understand art” ..., and in this spirit.
And what is there, in fact, to understand? Art, including fine art, is created for us, ordinary people, and not for "specialists", it appeals to aesthetics, which is inherent in all of us by nature. In art, for the viewer, reader, listener, there are only two criteria - like and dislike. Will you read a boring book? Look bad movie or a play? Will you listen to opera, music, a song that you don't like? Do you think Kazimir Malevich brilliant artist, and Velimir Khlebnikov - brilliant poet? No? Bravo! You are great at art!
But in order for you and me to be, as Peter I put it, “to recognize from other unknowing fools,” it is necessary, nevertheless, to clarify for ourselves a few common, often found in everyday speech terms related to painting in this case.
MATERIAL FOR THE PICTURE OF THE ARTIST
Non-professionals, at the suggestion of all the same art historians, usually believe that real picture oil should be painted exclusively on canvas, and other basics like artistic cardboard generally do not deserve attention. Then the Mona Lisa should not be considered a painting, because Leonardo used a linden board for his work.
Cardboard primed so that paints do not soak into it with a white compound, the so-called primer, consisting of chalk and glue, or colored primer, if the artist requires it, that is, special art cardboard, is surprisingly convenient for work, especially in the open air. Cardboard is a compact, rather dense material that does not spring under the pressure of a brush, unlike canvas. Under the influence of changes in temperature and humidity in the room, canvas sometimes sags, sometimes stretches, paints from it crumble over time, but not from cardboard. Painting on cardboard is as durable as the cardboard itself, and canvas even surpasses cardboard in terms of durability.
The same can be said about hardboard, although it is much heavier than cardboard. Soviet artists often primed the hardboard themselves, or even simply, in order to make it more convenient to write and the brush did not spring, they specially pasted the primed canvas onto the hardboard. There you are a prime example, still life with lilacs is quite picture size:
And what about the canvas? Exclusively with him artists Russian Empire worked until 1862, when the Russian industry began to produce artistic cardboard.
The canvas requires a heavy stretcher plus a good stretch of the canvas on it. At the same time, you have to wait a long time until the paint dries after the end of the work, otherwise the canvas cannot be rolled up, since the wet paints will stick together and the picture will be completely ruined. Paints can dry for a whole month. Here the artist begins a forced downtime. For transportation, the picture, if it is large, is removed from the stretcher, carefully folded onto a large babbin with the painting up so as not to damage the painting. The next stage - after delivery to the place, re-stretch the canvas on the stretcher, correctly, without distortions, wrinkles in the corners and sagging, but without excessive tension (all this can also damage the painting layer). And over time, a canvas stretched on a stretcher, under the influence of changes in humidity and temperature, can sag or, conversely, stretch too much, which can even threaten to tear the canvas. This, in turn, can cause the paint layer to flake off, ruining or ruining the painting. That's why in the halls and storerooms art museums so strictly monitor the constancy of humidity and temperature.
Artistic cardboard has many advantages. It is light, leaving for the open air, it can be placed in a special wooden frame with clips, which has a belt handle on top for carrying. An idea of this useful device is given by a drawing of such a frame for sketches, preserved in my father's papers, which my father ordered from some carpenter. Here's the drawing:
Sometimes the painter takes two cardboards with him to sketches at once. One is used first and then if
the lighting or mood has changed, or some other motive has attracted attention, the artist takes a second cardboard and writes on it already. Having finished the work, he turns the cardboards, still raw, inside the frame and fixes them with clamps. Cardboards do not touch each other. At the same time, the painting remains intact and unharmed. It will dry in the workshop.
Therefore, after 1862, when it was established industrial production primed art cardboard, painters gradually began to travel more and more to the open air with cardboard.
Gentlemen, art historians, who know nothing at all about all this, and have not written a single sketch themselves, are contemptuous of artistic cardboard, for some reason considering painting on cardboard to be obviously unfinished, proceeding only from the fact that mostly they are written on cardboard. etudes, which, as we shall see below, are always finished, carefully worked out works, often requiring very great labor. Moreover, the word "etude" was also invented, used as a synonym for unfinished work, negligence and ... incompleteness! But let me ask, what does the carelessness of execution or the incompleteness of the picture have to do with what it is written on? Yes, and there are no sketches on canvases, are there?
By the way, the painting is in the style of socialist realism Soviet artist Nikolai Ovchinnikov "In the shop", which in September 2016 V.V. Putin gave D.A. Medvedev is written on cardboard.
Strictly speaking, this is not a painting, but a full-scale study made by the artist directly in the factory workshop, but this terminology will be discussed below.
The most important thing is not the material on which the painting is applied, but how the artist managed to reflect reality, mood, his feelings and betray them to the viewer. The base material, whether it be canvas, cardboard, hardboard, paper, board or even thin galvanized iron, has nothing to do with it. Talent, experience, good art school. They say that in Abramtsevo S.I. Mamontov once changed the roof on the house. M.A. Vrubel picked up a piece of roofing iron and wrote lilac on it. So what now, this is not Vrubel?
Here is the “Portrait of D.P. Smirnova, an employee of the Tryokhgornaya manufactory, a deputy of the Supreme Soviet of the USSR”
works of the Soviet artist Sergei Fedorovich Solovyov. It is also made on galvanized iron. The portrait, due to its more than modest size of 37.5x31.5 cm and such an official name, is clearly a real study for a large custom-made portrait of a production leader. Apparently, when the model came to pose in the artist’s studio, he didn’t have anything else at hand, so he wrote a completely finished small female portrait, which then, with perhaps some minor changes, was transferred to a large canvas.Sometimes, due to the then shortage in everything, Soviet artists wrote oil paints even on paper, which is not intended for this at all. So, in particular, sometimes my father acted. Then, after the death of my father, I had to stick this paper on cardboard. ("Snow fell" paper on cardboard, oil; 61.5x82; 1969)
Why, they even wrote on burlap from ripped sacks! And it worked out well!
Here, for example, is the work of the father "Chairman". Her story is as follows: her father received a business trip to one of the collective farms in Altai, somewhere near Biysk, with the task of writing the chairman there, the Hero of Socialist Labor. Naturally, there was no canvas on the collective farm, let alone a primed one, so my father ripped open some huge bag, pulled it on an impromptu, immediately knocked together stretcher, primed the burlap and painted a portrait of the chairman. Subsequently, already 50 years after the events, I had to drag this work onto an already normal stretcher.
Or here autumn landscape"Crimson Autumn", written by my father somewhere in a remote village, also using a similar technology:
Thus: IF YOU WRITE A HUGE MULTI-METER PICTURE, willy-nilly, you will have to paint it on canvas EXCLUSIVELY FOR SUBSEQUENT TRANSPORTATION, and not for it to be of artistic value!
In other cases, it doesn’t matter what to write on, otherwise the first ones bought by P.M. Tretyakov two ETUDE M.A. Vrubel ON CARDBOARD, no way artistic value did not represent.
STUDIES AND SKETCHES
An etude is, after all, whatever you say, quite finished, relatively small in size, namely natural work that is done in the open air (landscape) or, say, in a workshop (still life, portrait) and is quite independent work. However, sketches can also be used in the future to paint a large picture, sometimes even a huge multi-meter canvas, which is already possible only in the studio. A study, especially for landscapes, most often has dimensions, roughly speaking, not exceeding 60 by 80 cm, that is, a size convenient for carrying by one person. Here is an example of such a field study:
An etude can be one-session, written in one session, that is, in one day. But this happens quite rarely, much more often a study requires several, or even many sessions. A multi-session study, especially if it is a natural landscape, sometimes requires several years of work. This usually happens when the weather changes sharply and for a long time, and the desired state will now appear already next year. Well, for example, you write golden autumn in the bright sun, there are still a couple of sessions left, and then it rained for a whole month, involuntarily it will be necessary to come to this place next year.
Thus, etude is a natural work, a finished work of art, on which a fair amount of labor has been spent by the painter, that is, in everyday language, a finished oil painting is relatively big size.
Of course, there are also unfinished etudes, but a multi-meter large picture can also be unfinished. So, as we see, the idea of respected art historians, which has long been outdated, has lost its former meaning for more than 100 years, is that an etude is necessarily something unfinished and of little artistic value, which, unfortunately, they have firmly invested in us in the head, and what is reflected, alas, even in dictionaries, today has not had the slightest foundation for a long time.
SKETCH
A sketch differs from an etude in that it is always done solely in order to prepare for a large thematic painting ( multi-figured composition on some specific topic. "Morning of the Streltsy Execution" by Surikov, for example). Completeness is not always present in the sketch, and in this case it has the character of a sketch. Let's compare two sketches to great work Soviet artist Claudia Tutevol. In the first case, the sketch was made for myself, as a working material (Sketch for a panel for the Cosmos pavilion at VDNKh)
In the second case (Sketch of the ceiling plafond of the Abai Opera and Ballet Theater in Alma-Ata), the sketch was made for approval by the artistic council, as evidenced by the signatures and stamps in the lower and upper left parts of the sketch. Therefore, it is completely completed and finished, no sketchiness, i.e. there is no smell of negligence or incompetence here. In architecture, for example, this would be a model of the corresponding architectural structure.
A sketch for a painting can be a completely finished, and even carefully drawn or drawn, image of a hand, foot, ear, face, figure or head of a person, horse, dog, other animals, or even a tractor, truck, some object, or piece of clothing, everything that interests the painter at the moment, in general, anything that can enter the future big picture artist. Moreover, all this can sometimes fit on the same piece of canvas, cardboard or hardboard.
Such sketches, sometimes unfinished, carelessly, hastily made, are also called sketches, that is, what the artist, in the process of designing a large multi-figure composition, “sketched” on a sheet of paper, cardboard, canvas, etc.
In addition, sketches are also called quick sketches made by the artist spontaneously, under the influence of the moment. An example is the sketch by V.G. Gremitskikh "Away" 25.5x17 paper, pencil; 1940s.
V.G. Gremitsky "Visiting" paper, pencil; 25.5x17; 1940s |
As you can see, the artist, on the very first piece of wrapping paper that came to hand, just like that, for himself, sketched with a simple pencil, also apparently tucked under the arm, the genre scene he is observing.
But the Moscow artist Igor Radoman painted my father, resting on a bed somewhere in the Akademicheskaya Dacha house of artists:
Artists on all sorts, numerous in Soviet time meetings and meetings in general were constantly bored, and were amused by the fact that they made pencil sketches of each other. I have many similar sketches by various artists in my collection.
A sketch can be made not only with a pencil, but also with oil paints, sanguine, pastel, charcoal, pen, and anything, even a ballpoint pen, because a true artist cannot live for a minute without his profession. For realist artists, this is just some kind of professional mania at the level of a conditioned reflex, requiring constant training, improving skills, which, in fact, distinguishes a real artist who devotes his entire life to art daily and hourly, from the so-called "modern" artists and avant-garde artists who you don’t need to be able to do anything, and therefore no training is required - there is no skill, there is nothing to hone, know yourself to paint squares and triangles!
By the way, the sketch, depending on the time that the artist has to complete it, can also turn into a completely finished drawing. Here we have a completely finished baby portrait pencil "Volodya at the game" Murom painter Vasily Vasilyevich Serov, but nevertheless - this is a sketch!
Sketches are a help in the process of the artist's work on a large thematic picture. Sketches are made not only in oil, but also in charcoal or pencil, tempera, etc. In the sketch, in addition, the entire future large multi-figure painting artist.
As an example, two sketches for a large thematic painting “Commanders civil war”by the Soviet artist Grigory Gordon, which, in fact, is a group portrait of the most famous Red commanders of the Civil War.
At first, the painter decided to simply line them all up against the background of a red banner,
but then such a composition seemed boring to him, and he decided to complicate it a little:
As you can see, in this case, the sketches are made in tempera, and in addition, despite the sketchiness of both works, i.e. incompleteness and apparent negligence of execution, all the heroes of the future big picture are quite recognizable. We clearly see Voroshilov, Budyonny, Shchors, Frunze, Chapaev, Parkhomenko, and so on.
And here is a sketch for a large thematic painting "The Arrest of Alexander Ulyanov" by the already mentioned Murom artist V.V. Serov:
Of course, the result is likely to be different from the original intent. A true artist, as a rule, new thing does not go out of my head. He is constantly delving into the topic of interest to him. He ponders it, rethinks it, observes a lot, reads the relevant literature. If there is a landscape in the future thematic picture, corresponding natural sketches are written, which are subsequently, usually in a slightly modified form, transferred to the picture. Sometimes individual details from several full-scale studies are transferred to a large picture at once.
However, a full-scale study, unlike a sketch and a sketch, is, as we have already seen, an independent and necessarily completely finished work. Here's a prime example for you. Having received an order for a large thematic painting "Lenin and Gorky in Gorki", in the spring of 1952, my father made many trips to Leninskiye Gorki near Moscow and painted two large sketches there, both on canvas. First, Gorki. Spring. canvas, oil; 60x80 cm",
and then - “In the Lenin Hills, oil on canvas; 78.5x57 cm.
Subsequently, in the final large picture, the father took the second study as a basis, slightly pushed back the steps, and placed Maxim Gorky talking with Lenin in front of them. From the etude “Gorki. Spring." he took an earlier state of nature in the background, greatly reducing the landscape itself with the pavilion compared to central figures. Nevertheless, both studies, each in itself, is a complete independent park landscape, no different from his father's numerous other natural landscapes. If I had not told this story here, you, if you were at least three times an art critic, would never have guessed that both of these works were used to create a picture of socialist realism, right? So how can we say that sketches do not have a complete character and independent artistic value? (Recall the definition in Wikipedia).
A large thematic multi-figured picture requires a huge and lengthy work on it, the presence huge amount sketches and sketches. It is written exclusively in the workshop, often for many years. Take at least A. A. Ivanov from his big picture“The Appearance of Christ to the People” on which the artist worked for twenty years - from 1837 to 1857, or Vasily Surikov, who worked on each of his paintings for three to five years.
WHAT IS THE DIFFERENCE OF A PICTURE FROM A STUDY?
Etude, being independent and completely finished artwork, differs from the picture primarily in that it is written from nature. The picture is painted exclusively in the workshop on the basis of a huge amount of material - sketches, sketches, sketches, pencil sketches and photographs. Sometimes you have to study a large number of literature and periodicals, while the plot, that is, the theme of the picture, is invented by the artist himself, or dictated by the customer. And more importantly, the painting always embodies the PRELIMINARY INTENTION of the ARTIST, while the sketch is WRITTEN MOSTLY SPONTANEOUSLY - the artist takes the sketchbook and goes to look for a motive, i.e. the kind he will write. Wherever he saw, he stopped there and wrote.
There are no exceptions and sketches, written specifically to create large thematic paintings. In the case that I mentioned above, my father first found a gazebo in Gorki Leninskie, decided that he would place Lenin and Gorky in front of it, and only then painted two studies from nature with this gazebo.
Basically one can say that everything that is written from nature is an etude, be it a landscape, a still life or a portrait, and everything that requires a preliminary plan, long-term work with numerous and varied preparatory materials- This is a picture .
Definitely, a painting can be called an epoch-making canvas of a large, and sometimes simply huge size. There was such an artist Heinrich Ippolitovich Semiradsky. So he painted such large paintings that they were hung from the ceiling in the studio and reached the floor, and, mind you, this was far from happening in the Khrushchev. Therefore, the academician and professor of the Imperial Academy of Arts had to constantly climb the stairs, he sometimes had such huge works. G.I. Semiradsky were mostly large fantasy paintings on antique themes, the plots of which he took out of his head, because real life Ancient Greece and Rome during the time of Emperor Nero to observe with his own eyes, he, of course, could not.
However, the picture can be quite modest in size, especially for genre paintings, that is, paintings by artists depicting everyday scenes. For example, the famous "Courtship of a Major" by Pavel Fedotov has a quite etude size - only 58.3x75 cm. But, as you yourself understand, it was clearly not written from nature right in the merchant's living room.
The historical picture in general is an exclusively fantasy thing. Both brothers Vasnetsov, for example, wrote on historical material, but very different. One recreated the life and architecture of Moscow in the XIV and XVII century, the other took the Russians as a basis folk tales and epics. But if Apollinaris, seriously, on scientific level, who was engaged in history and archeology, was a member of various historical and archaeological societies, being a passionate supporter of the dissemination of knowledge on history, sought to recreate the life and views of medieval Moscow "as it was" on the basis of ancient documents and the results of archaeological excavations, in which sometimes he personally took part, then the paintings of his older brother, Victor, were already purely fantasy in nature.
Battle paintings are in the same category. To paint them from life right on the battlefield, as some ladies from art history imagine, is simply ridiculous. The famous Russian battle painter V.V. Vereshchagin, who personally observed many battles, and sometimes even took a direct part in them, painted his paintings exclusively from memory, naturally in the studio, based on numerous sketches he made in theaters of military operations. In addition, Vasily Vasilyevich read a lot, interviewed eyewitnesses, spent a lot of money on props - he bought weapons, uniforms, equipment, which he then drew from nature, thus preparing sketches for the paintings that he conceived.
Large paintings depicting a landscape are also things not natural, but invented by the artist from his head and made on the basis of natural sketches. Once I happened to see a sketch, about 60 by 80 cm in size, on the basis of which I.I. Shishkin painted his famous large painting “Rye”, already 107 by 187 cm in size. The sketch was on canvas and depicted everything the same as in the picture, only the road did not go straight from the viewer to the pines, but somewhat sideways and the number of pines was different . In this case, the natural study clearly served as the basis for creating a large landscape painting, but in itself it is a completely finished and carefully crafted work.
Thus, one can speak not only of a sketch for a painting, but also of a sketch for a painting, if the sketch is written specially for it. Most often this applies to the landscape. If I.I. Shishkin limited himself to the sketch mentioned above, and for some reason did not write a large work on it, now art historians would Tretyakov Gallery boasted of a picture of I.I. Shishkin "Rye" 60x80 cm, not suspecting that this is a study from nature.
LET'S SUMMARIZE:
A painting, unlike a sketch, necessarily requires the artist's preliminary plan, long reflection, and is always distinguished by the thoroughness of execution and decoration, so to speak, by being written out. A painting of any size is always painted by the artist in the studio on the basis of the most diverse material: photographs, preparatory sketches and sketches, and, if necessary, based on pre-written field studies. A picture, even a small one, and even more so of a large size, is always painted not in the open air, even if it is a landscape (try to drag such a colossus with you into the field or into the forest!), But in the artist’s studio. A large picture is certainly written on canvas, which is due to nothing more than the exceptional convenience of large canvases for transportation.
Thematic picture - as follows from the term itself, this is a picture on a specific topic. Most often it is a multi-figure composition of a large size. This term arose already in Soviet art history, so it is most often used for works of so-called socialist realism, for example, on the theme of the Civil, Great Patriotic War, or, say, "Lenin in October". Since the size of such works is often simply huge, the painter, of course, works on such a picture in his studio, and writes it on canvas. The Cossacks write a letter Turkish sultan» I.E. Repin, whose size is 2.03 by 3.58 meters, can in principle also be called a thematic painting, although socialist realism there is no smell. It was also written by Ilya Efimovich in the workshop on the basis of many sketches and sketches, as well as, for example, "Barge haulers on the Volga" (1.31 by 2.81 m).
Genre painting - the name comes from French word"genre" is work usually
small conversation piece can be made not only on canvas, but also on cardboard or hardboard. This material began to be widely distributed already in the 20th century.
There is also such a thing as genre portrait. Just a portrait is a portrait of a person on a neutral background, but when there is a background that depicts objects, people or even an industrial landscape that prompts the viewer, for example, the occupation of the depicted person, then this is already a genre portrait. An example is the genre female portrait "Veteran miner's labor"the work of the Soviet artist Claudia Alexandrovna Tutevol already mentioned here:
Etude, as we said above, is a completely finished independent work, but certainly natural. It is a completely independent work of art, but it can also act as an auxiliary material for a large picture of the artist, which by no means detracts from its artistic value. It can be still life, portrait, landscape, interior. The study, due to its relatively small size, is written on all of the above materials, but the main thing in it, of course, is the quality of the painter’s work, his ability to build a composition in a still life, reflect the character of the model in a portrait, convey the excitement or peace of the sea, cold winter forest, the beauty of a sunset, the charm of a golden autumn or the spring mood of nature in a landscape.
A sketch is an auxiliary work, its purpose is to fix the idea of the composition of the future
thematic picture. As an example, let's take a sketch for the painting "Virgin Lands" by E. D. Ishmametov. In it, the artist developed the composition and color, characters, poses of the characters, and then painted a large picture on this topic. The painter always thinks over the sketch for the picture very carefully. Usually, a sketch is characterized by a certain incompleteness, incompleteness. This is due to the fact that the artist most often does not need to finish it, here is another task - the development of composition options future picture, refinement of its original intent. Therefore, the sketch most often has the character of a sketch. But it can also be a completely finished, carefully drawn work, especially when the sketch is intended for approval by the selection committee, as we have already seen in the example of the ceiling sketch for the theater. Abai in Alma-Ata by Claudia Tutevol.A sketch, if it is done in the process of working on a picture, is also a purely auxiliary work, unfinished, not drawn in detail.
It is written or drawn quickly, but carelessness good artists does not happen in it. You can quickly write, say, the head of a model, which will later turn into a magnificent finished portrait, or you can make a quick sketch of some figure that may later be needed to create the composition of a large picture, and the sketch will remain an independent work, interesting for collectors and amateurs. Here, for example, is a sketch by V.G. Gremitsky "Dance":However, as we saw above, sketches can also be completely independent.
A sketch also usually has the character of a sketch, but a sketch is essentially a plan for a future picture, its entire composition, while a sketch for a picture is quick sketch something that can in principle be included in the future picture.
ABOUT SOME OTHER COMMON TERMS IN PAINTING:
Once I was very surprised to learn that staffing is “an oil painting without a clear drawing of the figures of people or animals.” In fact, staffage is small figures of people or animals, inscribed by the artist into the landscape to revive it.
Another term from landscape painting- tuning fork. This is a bright spot, contrasting in the general background of the landscape. Usually it's some sort of staffing. An example is the work of a Tashkent artist
V.M. Kovinina " Mountain landscape with the figure of a girl dressed in bright red national clothes.
It's strange when a canvas is called any oil painting, even a small size, and even written on cardboard. “Linen is a smooth and dense linen fabric of the simplest weave; the thinnest varieties were called cambric, the coarsest - canvas, canvas, equals, etc. (Wikipedia). Thus, the canvas cannot be either cardboard or hardboard, in relation to painting it is definitely a canvas.
In painting, paintings of huge sizes are called canvases, and usually on some epoch-making theme. Thus, we can say that only canvases came out from under the brush of Vasily Surikov, but Konstantin Korovin became famous mainly for his etude works. If Aivazovsky's "The Ninth Wave" can be fully called a canvas, then in relation to the already mentioned small work "Fresh Cavalier" by Fedotov, it will be simply ridiculous, despite the fact that it is also painted on canvas.
A little more about soils: What is gesso? This is a special primer, also based on chalk, which is used to cover a wooden board. Earlier in Western Europe pictures were often written on the boards, in Rus' - icons, and always. This is extremely uncomfortable stuff. In Holland, at one time, the boards were dried for 50 years, only after that they were taken to work. Now artists rarely use gesso, since the paint, together with a thick layer of primer, easily chipped over time or from a light blow. Yes, and modern icon painters use it less and less.
In conclusion, I will give a few more illustrations for clarity:
The work of V.G. Gremitsky, which is called "Etude". This is, in fact, as the name implies, a full-scale one-session genre portrait of a worker, painted right at her workplace at the construction of the Kuibyshev hydroelectric power station.
And here is a genre portrait by the Tashkent artist Valery Kovinin:
This is clearly not a single-session portrait, here the artist clearly tormented his colleague, who served as his model, with the number of sessions, which is evident both from the careful writing of the work and from its size. But nevertheless this male portrait not a painting, but a multi-session natural study, which in no way detracts from its artistic value.
In proof of this last assertion, consider the famous female portrait "The Girl in the Sunlight". His cousin, Maria Simonovich V.A. Serov painted from nature throughout the summer of 1888, catching every sunny day (on cloudy days he painted the landscape “Overgrown Pond”). Preliminary design (we said above that famous artist was also absent, he just wanted, in his words, "to write something encouraging."
Thus, here we are dealing with nothing more than a typical multi-session natural study, written on a whim, at an instantaneous desire. Fortunately for P.M. Tretyakov, who bought this work, did not yet know that "A study - in the fine arts - is a preparatory sketch for a future work." (Wikipedia) Yes, and Valentin Serov showed an extreme degree of unprofessionalism, spending on some two preparatory sketches - a portrait of a girl and a landscape with a pond, as much as 90 days!
Many more similar examples could be cited, but I'm afraid I have already greatly tired the reader. I hope I still managed to make my modest contribution to explaining to the general public some of the most commonly used artistic terms, in which sometimes, to be honest, even the artists themselves get confused.
Alexander Gremitskikh
On the avatar: V.M. Kovinin "To the Sunday Bazaar. Karakalpakstan." oil on canvas 98x178. 1971 (This is a typical big genre painting)
