Christian stories in art. "unloved" biblical scenes in painting

Department of Education of the Rechitsa District Executive Committee

State educational institution "Kholmechskaya high school» Rechitsa district, Gomel region

Competition of scientific works " Bible stories in world art"

Nomination: "Biblical stories in world art"

Topic: "Biblical stories in works of fine art"

Daria Vitalievna, 8th grade.

Project manager: Petrienko

Anna Viktorovna, history teacher

Gomel region, Rechitsa district, Kholmech,

2012

Introduction 3

Biblical scenes in the painting of the early Middle Ages 4

Renaissance artists 7

A) Early Renaissance 7

B) High Renaissance 10

C) Late Renaissance 15

Northern European Revival 18

Biblical scenes in Russian painting 22

6) Biblical scenes in the painting of the XX century 25

7) Conclusion 28

8) Literature 29

Introduction

For two millennia, the whole world has been brought up on fairy tales and legends, songs and parables taken from the Bible.

The Bible has come down to us through the ages. She was banned, burned, but she survived. It took 18 centuries to compose the Bible. More than 30 authors worked on it. 66 books of the Bible were written in different languages people who lived at different times.

The great artists of the world displayed biblical scenes in their paintings. Both artists and those who are interested in fine arts have their own idea of ​​the Bible: after all, it served as a source of plots for an innumerable number of paintings, drawings and sculptures created over a vast, almost two thousand year, historical period. Biblical stories have been given visual form in thousands of sculptures, frescoes, icons, paintings, drawings and prints. Each such work offers its own version of the plot drawn from the Bible, the originality of which is determined by the personality and talent of the artist, who was under the influence of a great many factors of the social and cultural life of his country and his era.

In the process of implementing the research, it is planned to carry out the following tasks:

generalize the study of the Bible by illustrating its individual plots with masterpieces of world art;

improve your analysis skills paintings acquired in history lessons, the ability to correlate what they read with what they saw;

learn to see beauty in painting.

Biblical stories of the early Middle Ages

We can talk about the formation of a certain artistic style from about the 10th century. Then the peculiarity of medieval art was already clearly visible. They are just as typical for the people's perception of painting, because they sound again and again in orders for the decoration of images and panels behind the altar. The devout layman desired to know more about the suffering and death of Christ than could be read in the Gospels. This desire to "see as much as possible" (or, more precisely, the desire to consider the gospel scenes in the smallest detail) was reflected both in the immediate religious experiences, and in the feeling of the closeness of religious experience to everyday life, characteristic of that era. Such an integration of eventful art into reality required new ways of seeing - ways that found expression in the development of various forms and new motives. Studying the main period of Gothic painting, which lasted from the middle of the 13th to the middle of the 15th century, we will easily trace this process of aesthetic and thematic reorientation in the early Dutch art, and especially in the work of Jan van Eyck. His famous work is the Ghent Altarpiece (see next page 3) created by order of Jos Veidt for his family, V . The inscription on reports that it has been started, "greatest of all", and finished by his brother, "second in art". consecrated. consists of 24 panels, which depict 258 human figures. The height of the altar in the central part reaches three and a half meters, the width (opened) is five meters. The paintings that make up the altar are located on the outer and inside altar. In the closed state - on the outside of the altar is depictedand his wife praying in front of statues And . The scene in the middle row. Shapes and separated by an image of a window in which one can see, which is believed to match the view from the window at the Veidts' house. Figures in the top row And prophetesses who foretold the coming. When opened, the dimensions of the altar are doubled. In the center of the top row, God the Father is depicted sitting on a throne (some sources write Christ). At the feet of God the Father lies a crown, symbolizing superiority over all kings.

To the left and to the right of the throne are images of the Mother of God and John the Baptist. This is followed by images of musical angels. Angels are without wings. One of the angels (St. Cecilia) plays the organ with metal pipes. The series is completed by nude figures and. Above Adam and Eve are scenes of the murder and sacrifice of Cain and Abel. In the middle of the lower tier there is a scene of worship of a sacrificial lamb symbolizing Christ. In front of the altar is located - a symbol of Christianity. To the left of the fountain is a group of Old Testament righteous people, to the right - followed by both, and the laity. Processions and pilgrims are depicted on the right side panels. On the left wings - the procession of the army of Christ and the Righteous Judges.

Van Eyck's first dated work, Madonna and Child, or Madonna under the Canopy (1433). Madonna sits in an ordinary room and holds a child on her lap, leafing through a book. The background is a carpet and a canopy, shown in perspective reduction. In The Madonna of Canon Van der Pale (see fol. 4) (1434), the aged priest is depicted so close to the Mother of God and his patron, St. George, which almost touches the white clothes of her red cloak and the knightly armor of the legendary dragon slayer.

It should not be forgotten that big role early Franco-Flemish illustrations for handwritten books and the work of Robert Campin (Master of Flemal) played in painting - one of the founders of art Northern Renaissance, was among those masters who laid the foundations for a new, freer approach to displaying the surrounding world and man, to the interpretation of religious images. Unfortunately, only fragments have come down to us from most of the early works, which were significant altarpieces. However, they also allow us to judge the characteristic properties of the artist's work. Attention is drawn to Campin's desire to "earth" the gospel stories and emphasize the common people's solidity of the characters. The composition "Nativity" (see next page 5) is one of Campin's most striking works. All the characters in this picture - from the majestic kneeling Mother of God to the ox looking through the shingles of the dilapidated barn wall - are conveyed vividly and convincingly, with remarkable perfection. At the same time, they are not related to each other, they can be considered only by

separately. The master came close to solving the problem that invariably faced the painters at that time: how to “put in their places” various figures and objects, how to bring order into the world of painting? Campin found a surprisingly simple answer to this question: he subordinated the composition of the picture not to the laws of geometry and optics (as his contemporaries did in Italy), but to the simple logic of home comfort, so familiar to any Dutchman. Campin builds the compositions of his paintings with the same familiar ease with which a caring and experienced hostess puts things in order in the house. "The Evil Thief on the Cross" (see next page 6) (1430-1432) is the only surviving fragment of a large triptych. The golden background is traditional, on which the figures of the crucified and two witnesses of his torment are depicted. At the same time, the plasticity of the naked body in Kampin's painting is devoid of conventionality; it is as if painted from nature. The faces of those present at the execution are very individual and expressive. Using a golden background, the artist, as in the Frankfurt altarpiece, leaves open the lower part of the picture, in which a distant landscape space appears. A tiny Hermitage diptych, on the wings of which depicts the Trinity and the Madonna and Child by the Fireplace, can be attributed to approximately the same time (see next page 7). The image of God the Son here is close in solution to Christ in the Frankfurt Trinity, but his dead body does not imitate sculpture, but is subordinate to the general pictorial structure of the composition. If the left wing gives a picture of the supersensible world, then in the right wing the artist turns to showing the real environment: in front of the viewer is a typical room of a burgher's house with a characteristic setting of that time. Behind the lattice window you can see the houses of the town. Maria is depicted in a cozy interior: with the naturalness of a simple woman, she is located by the fireplace, she is surrounded by ordinary household items. However, at first glance, the viewer sees in this picture something more that goes beyond the ordinary: the life of the space depicted by the artist seems to have stopped, not subject to the usual flow of time, things, for all their concreteness, are perceived as belonging not to prosaic reality, but to some other, ideal world. Each depicted object, becoming a symbol, seems to radiate imperishable beauty from itself: for example, a washbasin and a towel symbolize the purity of Mary, open window and the light pouring out of it - the presence of a spiritual principle, a fireplace - evil forces from which Mary protects the baby.

Renaissance artists

The Renaissance is a very difficult era. Here we see hundreds of names, dozens of treatises on art, and only a part of them is devoted directly to aesthetics.

The Renaissance culture is rich in names, especially the names of the artists Michelangelo Buonarotti (1475-1564), Raphael Santi (1483-1520), Leonardo da Vinci (1452-1519), Titian Vecellio (1488-1576), El Greco (1541-1614) and others

Artists tend to generalize the ideological content, synthesis, their embodiment in images. At the same time, they are distinguished by the desire to highlight the main, the main thing in the image, and not the details, particulars. In the center stands the image of a man - a hero, and not a divine dogma that has taken on a human form. The idealized person is increasingly interpreted as a citizen, a titan, a hero, that is, as a modern, cultured person.

Many artists of this time create one thing, but think something completely different. They often create really new art forms, so there is no doubt about their novelty, but these same masters at the same time in their inner and spiritual life are literally torn to pieces, do not know what to do, endlessly repent and alternately rush from one artistic position to another.

The Renaissance itself is conditionally divided into a number of stages:

· Early Renaissance (trecento and quattrocento) - the middle of the XIV - XV centuries;

High Renaissance (cinquecento) - until the second third of the 16th century;

Late Renaissance - second third of the 16th - first half of the 17th centuries.

A) Early Renaissance - the middle of the XIV - XV centuries.

In the early Renaissance, free human individuality comes to the fore and that this individuality is usually expressed here very strongly.

Giotto di Bondone (a key figure in the early Renaissance, the first to endow the figure that determines the composition with feeling and individualize space and event). His painting style was mandatory for the 14th century. With the name of Giotto di Bondone (1266/1267 -

1337) is associated with a decisive turn towards realistic art. The most famous works of Giotto that have come down to our time are murals on gospel stories in the Arena Chapel in Padua and murals on themes from the life of Francis of Assisi in the church of Santa Croce in Florence.

In these masterpieces, the master refuses the planar nature of icon-painting images on the basis of a synthesis of volume and plane. One of the most touching images created by Giotto is considered to be the image of Christ in the scene "The Kiss of Judas" (see next page 9) (frescoes of the Arena Chapel in Padua, 1304-1306). The master managed to convey the high drama of the scene through the intent and meaningful look of Christ, turned on the traitor. At the same time, Giotto managed to convey the calmness of Christ, combined with a clear awareness of the fate destined for him.

The theme of the fresco “Christ and Judas” runs like a leitmotif throughout the entire Padua cycle (“Meeting of Mary and Elizabeth” (see next line 10), “Flight into Egypt” (see next line 11), “Lamentation of Christ” (see next line 12). ) and etc.). Giotto's innovation had a tremendous impact on the fine arts of the Renaissance.

Sandro Botticelli (1445-1510) is considered an outstanding master of the Early Renaissance. His works are built on religious and mythological subjects, they are marked by spiritualized poetry, the play of linear rhythms, and subtle coloring. The Crucifixion (see ff. 13), The Christ Carrying the Cross, and the Mystical Nativity (see ff. 14) are the embodiment of Botticelli's unshakable faith in the rebirth of the Church. These two paintings reflect the artist's rejection of the secular Florence of the Medici era.

great painter early renaissance was Masaccio (1401 - 1428) - a painter, in whose paintings the conciseness, energy of the development of the action, the expressiveness of facial expressions and movements opposed the former leisurely verbosity, replete with inserted episodes of the story. “The Miracle with the Stater” (see sl 16-17) (1428) is a multi-figure composition: at the entrance to the city of Christ, he and his disciples were asked to pay a fee - a stater (coin). By order of Christ, Peter caught a fish in the lake and found a stater in its mouth, which was handed over to the guard. The majesty of the figures of the apostles entering the city, the masculinity of faces with individualized features of people from

people, the naturalness of gestures and movements, the introduction of genre moments in the scene of Peter's search for a coin - everything is bright, deeply truthful.

In another creation by Masaccio, the painting "Expulsion from Paradise" (see next page 18), for the first time in Renaissance painting, an image of nude figures is given, powerfully modeled by side light. Confusion, shame, remorse are depicted through movements and facial expressions. Innovative searches of Masaccio - ways of further development of realistic painting.

A completely different artistic phenomenon is the great Dutch painter Bosch. He had an encyclopedic knowledge of theology and science, literature and medicine. In some incomprehensible way, he managed to combine medieval fantasy, folklore, satirical and moralistic tendencies. All the artist's work is permeated by one theme: the struggle between good and evil, divine and infernal forces. "Garden of earthly joys" 9cm. sl 19-20) or The Garden of Delights (1503). Paradise is depicted on the left side of this triptych, Hell is depicted on the right side, and an image of earthly existence was placed between them. The left side of the "Garden of Delights" depicts the scene of the "Creation of Eve", and paradise itself shines and shimmers with bright, accomplished colors. Against the backdrop of a fantastic landscape of Paradise, filled with various animals and plants, the master shows the awakening Adam. Adam, who has just woken up, rises from the ground and looks in amazement at Eve, whom God shows him. The well-known art historian C. de Tolnay notes that the amazing look that Adam casts on the first woman is already a step on the path to sin. And Eve, extracted from Adam's rib, is not just a woman, but also an instrument of seduction. In the composition “The Garden of Earthly Delights”, three plans are distinguished: in the foreground “various joys” are shown, the second is occupied by a cavalcade of numerous horsemen who ride various animals, the third (farthest) is crowned with a blue sky, where people fly on winged fish and with the help of their own wings. The whole picture can appear before the viewer in a different light: the artist himself invented this nightmare, all the agony and torment are committed in his soul. However, Bosch was a deeply religious person, and he could not even think of placing himself in Hell. Most likely, the artist should be looked for among those images that carry Light and Goodness in his paintings, not without reason he belonged to the Brotherhood of the Virgin.

B) High Renaissance - until the second third of the 16th century.

The period of the High Renaissance was relatively short and is associated primarily with the names of three masters of genius- Leonardo da Vinci (1452-1519), Raphael Santi (1483-1520) and Michelangelo Buonarroti (1475-1564).

Leonardo da Vinci was the most striking personality, revealing to the world the ideal of the "universal man" of the Renaissance. Combining the development of new means of artistic language with theoretical generalizations, he created majestic canvases, among which the most famous are The Last Supper (see next page 22) and La Gioconda. The composition of The Last Supper by Leonardo da Vinci was commissioned by Duke Lodovico Moro, who ruled Milan. From his youth, revolving in the circle of cheerful bacchantes, the duke became so depraved that even a young innocent creature in the form of a quiet and bright wife was unable to destroy his pernicious inclinations. But, although the duke sometimes spent, as before, whole days in the company of friends, he felt sincere affection for his wife and simply revered Beatrice, seeing in her his guardian angel.

When she died suddenly, Lodovico Moro felt lonely and abandoned. In desperation, having broken his sword, he did not even want to look at the children and, moving away from his friends, languished in solitude for fifteen days. Then, calling for Leonardo da Vinci, no less saddened by this death, the duke threw himself into his arms. Impressed by the sad event, Leonardo conceived his work - The Last Supper. Subsequently, the Milanese ruler became a pious man.

For his fresco on the wall of the refectory of the monastery of Santa Maria della, Grazie da Vinci chose the moment when Christ says to his disciples: “Truly I say to you, one of you will give me.” These words precede the culmination of feelings, the highest point of incandescence of human relations, tragedy. But the tragedy is not only the Savior, it is also the tragedy of the highest Renaissance, when faith in cloudless harmony began to crumble and life seemed not so serene.

"One of you will betray me..." - and the icy breath of inevitable fate touched each of the apostles. After these words on their faces

the most diverse feelings were expressed: some were amazed, others were indignant, others were saddened. Young Philip, ready for self-sacrifice, in tragic bewilderment shrugged his hands, shrugged Jacob, just about ready to throw himself at the representative, Peter grabbed the knife, Judas’ right hand clutches a purse with fatal pieces of silver ... For the first time in painting, the most complex range of feelings found such a deep and subtle reflection. All this in the fresco is done with amazing truth and care, even the folds on the tablecloth that covers the table look real.

In Leonardo, all the figures of the composition are located on the same line - facing the viewer. Christ is depicted without a halo, the apostles without their attributes, which were characteristic of them in ancient paintings. By the play of faces and movement they express their spiritual anxiety.

The most famous were also his paintings such as "The Annunciation", "Madonna with a Flower" (see next page 23) (Madonna Benois), "The Adoration of the Magi" 9cm. sl. 24), Madonna in the Grotto (see next page 25). Before Leonardo da Vinci, artists usually depicted large groups of people, with the faces of the first and second plan standing out. The painting "Madonna in the Grotto" depicts four characters for the first time: the Madonna, the angel, the little Christ and John the Baptist. But each figure is a generalized symbol. "Renaissance" knew two types of images. It was either a static image of a solemn anticipation, or a story, a narration on any topic. In “Madonna...” there is neither one nor the other: it is not a story, and not an anticipation, it is life itself, a part of it, and everything is natural here.

Usually, artists depicted figures against the backdrop of a landscape, in front of nature. Leonardo - they are in nature, nature surrounds the characters, they live in nature. Da Vinci moves away from lighting techniques, sculpting images with the help of light. It does not have a sharp border between light and shadow, the border is blurred, as it were. This is his famous, unique "sfumato", haze.

A younger contemporary of Leonardo, great painter Raphael went down in history as the creator of a cycle of masterpieces associated with the image of Madonnas (artistic images of the Mother of God).

The greatest creation of Raphael is the "Sistine Madonna" (see sl.27). In the painting by Raphael, the appearance of the Madonna to the deceased Pope Julius II

turned into a phenomenon to her people, which was told in ancient legends. In such legends, the aspirations of the people for justice, the desire and need for ordinary people imagine the heavenly queen and patroness in close proximity. However, Raphael did not limit himself to just retelling the medieval legend. In the history of the creation of the most famous work of Raphael, much is still shrouded in mystery, some art historians believe that his Mary almost lost the halo of holiness on her head, her crown does not flicker, brocade fabrics are not kept behind her, on the contrary, she is wearing a veil and a cloak made of smooth fabric, legs her barefoot, and in essence this is a simple woman, it was not for nothing that many people noticed that she holds a baby the way peasant women usually hold them. corner. The earthly lord, like the Magi in front of a Christmas manger, bared his forehead, and an old man almost trembling with excitement appears before the viewer. In the picture there is neither earth nor sky, there is no familiar landscape or architectural scenery in the depths. All the free space between the figures is filled with clouds, thicker and darker at the bottom, more transparent and radiant at the top. The heavy senile figure of St. Sixtus, immersed in the heavy folds of the gold-woven papal vestments, froze in solemn worship. His outstretched hand to us eloquently emphasizes main idea pictures - the appearance of the Mother of God to people. On the other side, Saint Barbara is leaning, and both figures seem to support Mary, forming a vicious circle around her. Some call these figures auxiliary, secondary, but if you remove them (even if only mentally) or even slightly change their position in space, the harmony of the whole will immediately collapse. The meaning of the whole picture and the very image of Mary will change. Reverently and tenderly, the Madonna presses her son to her chest, sitting in her arms. Neither mother nor child can be imagined separately from each other, their existence is possible only in indissoluble unity. Mary, the human intercessor, carries her son towards the people. In her lonely procession, all that mournful and tragic sacrifice to which the Mother of God is doomed is expressed.

The last titan of the High Renaissance was Michelangelo - the great sculptor, painter, architect and poet. Despite his versatile talents, he is called Italy's first draftsman.

thanks to the most significant work of an already mature artist - the painting of the vault of the Sistine Chapel in the Vatican Palace (see page 27) (1508-1512). The total area of ​​the fresco is 600 sq. meters. She represents art illustration biblical stories from the creation of the world. On the ceiling of the Sistine Chapel, almost all the key moments from the Bible are depicted, from the creation of the world to “ Doomsday". On the ceiling of the Sistine Chapel, Michelangelo created images in which, to this day, we see the highest manifestation of human genius and human daring. Meanwhile, the thought that some enemies were plotting against him did not leave him. “I don’t care,” he said in one of his letters, “neither about health, nor about earthly honors, I live in the greatest labors and with a thousand suspicions.” And in another letter (to his brother) he stated with full right: "I work through strength, more than any person who has ever existed."

The Greatest Representative Venetian school- Titian Vecellio (c. 1489/90-1576). Titian's works attract with their novelty of solutions, primarily coloristic and compositional problems. For the first time, the image of the crowd appears on his canvases as part of the composition. The most famous works of Titian: "Penitent Magdalene" (see ff. 28-29), "Saint Sebastian" and others. The gallery of portraits of his contemporaries made by him was the subject of deep study and imitation for subsequent generations of European painters.

The German Renaissance was the work of one generation of artists and was exhausted by the end of the 16th century. Simultaneously with Dürer, the largest artist worked - Mathis Nithardt (1460/1470 -1528), nicknamed Grunewald. This is a master of expressive, dramatic religious images imbued with mystical visionaryism. Grunewald is more connected with the legacy of the Gothic than Dürer, but with the power of images and the grandeur of a sense of nature, he is inseparable from the Renaissance. The color richness of his painting belongs to top achievements national artistic culture.Dürer was only 27 years old when he conceived the "Apocalypse" (see ff. 30-31). A brave decision! Even the form of publication was unusual. Contemporaries got used to religious books with engravings-illustrations, which were bought for the sake of the text, illustrations played a modest role in them.
Dürer conceived something completely new: 15 engravings with short quotes on

turns combined into one whole - Album of illustrations. Album of images. At the time of Dürer, there was not even a name for such a publication!
"Apocalypse" is the most mysterious, darkest, most confusing part of the "New Testament". Dürer erected stone cities on the sheets of his "Apocalypse" and grew mighty trees, brought crowds of people, made rivers flow, forests rustle, grasses rustle, ships rock on waves, while swans slowly glide across the water. And in the heavens above this beautiful world, he placed visions - sometimes mysterious and formidable, sometimes remaining in the mountain heights, sometimes flying to the ground.

"Adam and Eve" by Albrecht Dürer is one of the artist's greatest creations. This is a masterpiece of world painting of all times and peoples. For centuries, the story of Adam and Eve was told as the story of the fall, for which the ancestors of mankind were expelled from paradise ... Durer forgot everything that he knew and taught about this from childhood. And he remembered everything he knew about beauty and love.

Along with portraits, Albrecht Dürer also painted altarpieces and compositions traditional for Northern Europe. The most tragic of them is "The Seven Passions of Mary" (see f. 32), where Dürer dressed the torturers of Christ in the clothes of his fellow tribesmen and contemporaries. And to those he said: Golgotha ​​is not somewhere and sometime. It is here and now. Golgotha ​​is everywhere where defenseless people are persecuted and tortured, where heavy crosses of suffering are heaped on them, where they are crucified. Golgotha ​​is everywhere where there are people who are willing to knock these crosses together, to put them on other people's shoulders, to pierce other people's hands and feet with nails, to torture and crucify those given into their power. The most festive, bright with an impeccable color scheme is "The Feast of the Rosary" (see next page 33), where, enjoying his skill, the artist wrote red brocade, purple and violet velvet, dark blue silk, a formidable brilliance of steel, dark cloth, sparkling gold and precious stones, the noble pattern of the carpet, the tenderness of pale red and white roses.

In addition to altar compositions, many images of the Mother of God have been preserved. Durer's Madonna (see ff. 34) - most often young, charming, with a soft face, with tender lips, with thoughtfully half-closed eyes. When you peer into her incarnations, it seems that they all go back to the real image.

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C) Late Renaissance - second third of the 16th - first half of the 17th century

The Late Renaissance period is marked by a number of important changes in art. Many painters, poets, sculptors, architects abandoned the ideas of humanism, inheriting only the manner and technique (the so-called mannerism) of the great masters of the Renaissance.

Among the major founders of Mannerism are Jacopo Pontormo (1494-1557) and Angelo Bronzino (1503-1572), who worked mainly in the portrait genre. Mannerism can be attributed entirely to the work of Jacopo Tintoretto (1518-1594), a representative of the Venetian school of the Late Renaissance, who tried to compete with Michelangelo in the grandeur of designs. He creates an unreal world in which the personal emotions of the artist are always present.

Pontormo Jacopo (1494-1557) - the founder of the so-called manneristic, or anti-classical direction. The term mannerism is based on the word "manner", that is, the method or nature of writing, in the narrow sense - the style of a work of art.

The greatest place in the work of Pontormo is occupied by deeply tragic images, expressed primarily in his church paintings and paintings, in the Entombment created in 1525-1528 (see f. 35) for the church of Santa Felicita. The action takes place against a fantastic neutral background. The figures are piled one above the other along the plane of the picture, and they seem to be devoid of gravity, as if they are floating in various poses. Color is built on pure, dissonant colors. They are placed in large spots and create mystical illumination.

One of the greatest painters in Venice was Jacopo Robusti, nicknamed Tintoretto (1518-1594), who created his own artistic style. His complex compositions with an abundance of figures and the action of large masses in rapid motion are full of dynamism and expression. He is characterized by a tragic perception of life, caused by the discord between the ideal and the real. He turned to biblical themes. The paintings of this period are imbued with a certain amount of mysticism (“The Introduction of Mary into the Temple” (see next page 36), murals in the building of the brotherhood of St. Rocco). Tintoretto worked continuously, intensely and selflessly, often for free.

Domenico Theokopuli (1541-1614) (this is the real name of El Greco) is a legendary master whose fate is mysterious and full of miracles. His painting occupies a very special place in the history of European art. El Greco is one of outstanding painters late Renaissance, the author of paintings on religious and mythological subjects and genre paintings.

Thanks to the altar paintings "Trinity" (see page 37), "The Resurrection of Christ" and others, the artist became widely known.

In 1579, for the Toledo Cathedral, El Greco performed "Espolio" (see line 38) ("Taking off Christ's clothes"). The composition was an unprecedented success.

The main motive for El Greco's work has always been religious paintings, executed for churches, monasteries, hospitals in Toledo, Madrid and other cities. The artist is occupied with the motifs of the martyrdom of the saints (“The Martyrdom of St. Mauritius”), the theme of the “holy family” (“Holy Family” (see fol. 40)), scenes from the life of Jesus Christ (“Carrying the Cross” (see fol. 39) , "Prayer for the Chalice"). A special place in the art of El Greco is occupied by images of saints; the artist often depicts them talking to each other (“St. John and St. Francis”, “Apostles Peter and Paul” (see f.41)). El Greco's late works ("Laocoön", "The Opening of the Fifth Seal" (see page 44)), in which the artist's imagination assumes bizarre, unreal forms, were not understood by his contemporaries.

The founder of the realistic trend in European painting of the 17th century is Michelangelo da Caravaggio (1573-1610). The master's canvases are distinguished by their simplicity of composition, emotional tension, expressed through contrasts of light and shadow. Among the paintings of Caravaggio there are no festive subjects - such as "Annunciation", "Betrothal", "Introduction to the Temple", which the masters of the Renaissance loved so much. He is drawn to tragic themes. On his canvases, people suffer, experience severe torment. Caravaggio observed these hardships of life. In the painting "The Crucifixion of St. Peter" (see f. 43), we see the execution of the apostle, who was crucified upside down on the cross. "The Conversion of Saul" (see f. 44) shows the ruthless persecution of Christians, their death under the heel of a horse, and the moment of Saul's enlightenment. On the way to Damascus, he was suddenly blinded by a heavenly ray, and, falling from his horse, he heard the voice of Christ: “Saul, why are you persecuting me?” After Saul's epiphany

becomes one of the most devoted disciples of Christ - the apostle Paul. How folk drama Caravaggio shows the scene of "The Entombment" (see next page 45). The lifeless body of Christ is carefully supported by the disciples. The frozen hand of the Savior hangs down to the tombstone, over the black expanse of the grave.

IN paintings by Caravaggio on gospel stories, the everyday appearance of the characters is striking. In gospel scenes, he shows the life of the common people. Contemporaries of Caravaggio testify: he despised everything that was not copied from life. The artist called such paintings trinkets, children's and puppet things.

Europe adopted the innovative spirit of the Italian, and in Italy the Church strongly rejected the naturalism of Caravaggio. And, apparently, not by chance, because the Italian Renaissance has already ended. Italy has said almost everything it could say. It was the turn of the Northern European Renaissance.

Northern European Renaissance

The pinnacle of the Northern European Renaissance was the work of Harmens van Rijn Rembrandt (1606 - 1669). Rembrandt, perhaps more than anyone else, was able to deeply disturbingly, truthfully reveal the inexhaustible richness of the inner world of man.

Dutch painters for the first time saw a person as he is in life, and reflected in art various aspects of his everyday life. Some of them approached the solution of a more difficult task - to reflect the beauty and significance of the spiritual world of an ordinary person.

It would seem that, turning to biblical and gospel themes, Rembrandt is moving away from the image of the society of his time. In fact, his biblical and gospel heroes in many ways resemble ordinary people of his day, who invariably attract the sympathy of the artist. In his mind, the biblical heroes serve as a vivid personification of the beautiful human qualities. The artist sees in them spiritual greatness, inner integrity, severe simplicity, great nobility. They are not at all like the petty, self-satisfied burghers - his contemporaries. Genuine human passions are increasingly reflected in the artist’s canvases, more and more often theatrical drama, a “terrible” event will be replaced by a genuine drama of life. These new features stand out clearly in the Hermitage painting The Descent from the Cross (see page 46), painted in 1634. Night. Mournful silence. A silent crowd of people surrounded the huge cross on which Christ was crucified. They came to Golgotha ​​to pay their last debt to their teacher. By the cold light of torches, they remove his dead body from the cross. One of the men, climbing up the ladder, pulls out the nails with which Christ was crucified on the crossbar; others pick up his slumping body; women prepare a bed for the remains, spreading a large heavy cloth on the ground. Everything is done slowly, in respectful and sad silence. The experiences of those gathered are different: some faces express bitter despair, others - courageous grief, others - reverent horror, but each of the people present is deeply imbued with the significance of the event. Boundless is the sorrow of the old man who receives the dead Christ. He holds it with noticeable effort, but very carefully, gently, touchingly touching his cheek to

lifeless body. Maria is exhausted from grief. She is unable to stand, loses consciousness, falls into the hands of the people who carefully surrounded her. Her emaciated face is deathly pale, her eyelids are closed, the weakened hand of her outstretched hand drooped helplessly. The picture captures with deep penetration, vital truth. Only the exaggeration of some movements and gestures reminds of Rembrandt's baroque hobbies.

During the 40s, Rembrandt repeatedly refers to the theme of the holy family. One of the best solutions to this theme is the Hermitage painting The Holy Family (see page 47), created by the artist in 1645. The gospel scene gives the viewer many associations with everyday life. folk life, contemporary Rembrandt. Silence, peace are broken only by the familiar sounds of life at home. Burning firewood crackles, a low monotonous knock of a carpenter's ax is heard. The room is shrouded in gentle twilight; from different sources light gently pours in, quiveringly sliding over Mary's face, illuminating the cradle, giving the depicted a touch of spirituality. The child stirred slightly in her sleep, and the woman, obeying a subtle maternal instinct, breaks away from reading, raises the curtain and looks at the baby with concern. She is the very sensitivity, the very alertness. In essence, the great humanity and penetration of the picture is created only by one of its glances. The bright elevation of the captured moment is also reflected in the fact that angels descend inaudibly to the mother and the boy.

In 1660, Rembrandt creates the famous painting "Assur, Haman and Esther" (see fol. 48) . The plot of the picture was the biblical myth, known as "The Feast at Esther." Haman, the first vizier and friend of the Persian king Assur, cruelly slandered the Jews before the king, hoping to achieve their extermination. Then Queen Esther, who came from Judea, stood up for her people. Inviting Assur and Aman to the feast, she told about the slander of the vizier, and the treacherous face of the man whom he considered his friend was revealed to the king. The artist depicts the moment of the feast when Esther finished the story and a deep, painful silence reigned. The queen's beautiful eyes are sad. Without looking at her hands, Esther automatically crumples her handkerchief. She is still entirely in the power of the experience. It was painfully difficult for her to utter the words of reproof; like the king, she believed the vizier, treated him like

friend. Shocked by what he heard, bitterly disappointed Assur. His large eyes fill with tears. At the same time, noble anger awakens in him, and he grips the scepter imperiously. In deep shadow, alone, Haman is depicted. An invisible abyss separated him from the king and queen. The consciousness of doom crushes him like an unbearable burden: he sits hunched over, head bowed, eyes closed; the hand holding the bowl lies helplessly on the table. It is not even the fear of death that oppresses him, but the heavy consciousness of moral loneliness. He understands that Assur and Esther will never forgive him, no matter how hard it is for them to condemn a friend.

There are few personalities in the history of art as mysterious and ambiguous as Bruegel. The Renaissance idea of ​​the importance of the human person did not fit into artistic concepts Brueghel. In his drawings and paintings, he often hides faces altogether, depriving the figures of any individuality. A similar trend can be traced in the depiction of biblical characters. He shifts them somewhere to the side, hides them among ordinary people. This is how we see Mary and the Lord in the village square, John the Baptist with Christ in the crowd of people, and the "Adoration of the Magi" (see f. 49) is generally hidden behind a veil of snowfall.

Brueghel's man has freedom of choice, and he bears responsibility for his misfortunes. The choice between good and evil, between faith and disbelief, a person is forced to make constantly, throughout his life - just as his ancestors were forced to make this choice and how many other people make it today. Hence - another sign of the works of Brueghel, which makes them related to icons, but very rarely found in modern art - the combination of temporal and spatial layers. In such paintings as "Procession to Golgotha" (see fol. 50), "Census in Bethlehem", "Massacre of the Innocents", "Sermon of John the Baptist" (see fol. 51), "Conversion of Paul" (see fol. 52), "Nativity", in the engraving "Assumption of Our Lady" biblical characters are present among Brueghel's contemporaries leading their daily normal lives, biblical scenes are played out against the backdrop of Flemish urban and rural scenery. For example, the figure of the Savior bent under the weight of the cross is almost lost among the many other impressions of any of the people depicted in the picture, and these people make their moral choice, not realizing that they see God in front of them. IN later works Brueghel deepens the mood of pessimistic reflection.

In the famous "Blind" (see ff. 53) (1568), the gospel parable is used to embody the idea of ​​a blind humanity that has lost the will to fight and passively follows fate-fortune. The leader at the head of the line of crippled-blinds falls, the rest stumbling and uncontrollably follow him; their helpless gestures are convulsive, in their faces, numb with horror, the seal of destructive passions and vices sharply appears, turning them into deathly masks. The intermittently uneven rhythm of the movement of the figures develops the theme of imminent death. However, the serenely harmonious nature of the background, with its idyllic peace, as if suggesting a way out of a tragic dead end, still appears as a contrasting alternative to human bustle.

Biblical scenes in Russian painting

The images of the Holy Land, the gospel events that took place in the holy places, became the object of reflection and depiction on canvas for many Russian artists. Some of them personally visited the countries of the Bible region, incl. and with the assistance of the Imperial Orthodox Palestine Society. Unforgettable experience, unusual colors, oriental flavor were reflected in the work of pilgrims with easels, which made it possible to make the impact of their paintings on the viewer stronger.

The beginning of time and everything that exists on the planet, the creation of the world and man, the fall in paradise, the first murder of brother by brother, the global flood - reflection on these global philosophical topics described in the Bible has invariably provided food for artistic comprehension of the Old Testament events in Russian painting. These key subjects for the human worldview were addressed by the masters different schools and trends, they all wanted to convey to the audience their own vision of the images generated by their imagination and transferred to the canvas. One of these masters was Ivan Aivazovsky. Belonging by religion to the Armenian Apostolic Church, Aivazovsky created a number of paintings on biblical subjects. Painting «Chaos. The Creation of the World” (see page 54) by Aivazovsky was honored to enter the permanent exhibition of the Vatican Museum. Pope Gregory XVI awarded the artist a gold medal. On this occasion, Gogol jokingly told the artist: "Your" Chaos "raised chaos in the Vatican."

All evangelists describe the miracles that Jesus Christ performed during his earthly life. These were both phenomena that change the nature of things, as well as the healing of the afflicted or even the resurrection of the dead. All miracles were performed not as tricks, but were aimed at assuring people and their salvation, not one of those healed or resurrected returned to their former sinful life. Thus, the Divine essence of the Son of God was manifested, the witnesses of miraculous deeds were able to believe themselves and spread the doctrine of the Truth to others. An example is the painting “Jesus Christ Saves the Drowning Peter” (see next page 55) by N. M. Alekseev (1813-1880). 1850

The allegorical and metaphorical nature of Christ's preaching made it easier for followers to perceive His teachings. In gospel stories

more than 30 complete stories are described in the form of parables - instructive figurative stories told by Christ to the people. The plots of the parables were simple, usually taken from everyday life, and were understandable to the listeners. Christ Himself explained to the apostles the reason for using parables as follows: “because it has been given to you to know the secrets of the Kingdom of Heaven, but it has not been given to them… therefore I speak to them in parables, that seeing they do not see, and hearing they do not hear, and they do not understand.” Russian artists willingly used the plots of the gospel parables for their paintings. “The Conversation of Christ with the Disciples” (see page 56) Botkin Mikhail Petrovich. 1867, "The Sermon on the Mount" (see page 57) Lomtev Nikolai Petrovich (1817 - 1859). 1841, "Christ's Preaching in the Temple" A. A. Ivanov. 1850s, "Christ the Sower" (see line 58) Kuzma Sergeevich Petrov-Vodkin. 1915, The Prodigal Son (see page 59) Nikolai Dmitrievich Losev. 1882

popular in western fine arts and the biblical plot of the flight of the Holy Family to Egypt, quite rare for Russian painting, reflects the events after Christmas. The mention of the flight to Egypt is contained only in the Gospel of Matthew. After the Magi, having brought their gifts to the infant Jesus, did not return to King Herod, an angel appeared in a dream to the righteous Joseph, commanding: “Get up, take the Baby and His Mother and run to Egypt, and be there until I tell you, for Herod wants to seek the Child in order to destroy Him” (Matthew 2:13). Joseph fulfilled this order and at night with the Virgin Mary and baby Jesus went to Egypt, where he stayed until the death of Herod. This plot is displayed in the paintings “Flight to Egypt” (see page 60) by N. Koshelev (1890)

Passion cycle is a series of stories based on concluding parts Gospels that tell about the last days of the earthly life of Jesus Christ, His sacrificial death and suffering (passion) on the cross: from the Last Supper with the disciples to the “Laying in the tomb” (see sl.61) and the Resurrection. In this cycle, one can single out such plots as “Prayer for the Cup” (see f. 62), “Pilate’s Judgment”, “Christ’s Mocking”, “Christ’s Scourging”, “Carrying the Cross”, “Crucifixion”, “The Entombment ".

After the Last Supper, Christ withdrew to the olive grove (Gethsemane) and prayed to the Father: “My Father! If possible, let this cup pass from me” (Matthew 26:39). This episode is called "Prayer for the Chalice". Next to Christ, they show three sleeping disciples who were with Him in the garden: Peter, James, and John.
This is followed by episodes: “Carrying the Cross”, Crucifixion, “The Entombment”. The image of the suffering Savior in the crown of thorns with arms folded on his chest or with open palms,

demonstrating wounds from nails, in ancient Russian art is called “The Man of Sorrows”.

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Biblical stories of painters of the XX century.

Marc Chagall h a man-torch, illuminating with spiritual light that which is difficult to see with the eye, but which every soul aspiring to yearns for to God - such is the image of Mark Zakharovich Chagall. "The Bible Message of Marc Chagall" has 17 canvases and is thematically divided into two parts. The first part of the "Message", united by a common blue-emerald scale, is mainly connected with the five books of Holy Scripture, called the "Pentateuch of Moses". The second part, painted by the artist in bright red tones, is inspired by one of the most mysterious books of the Bible - "The Song of Solomon". The exposition of the "Bible Message" opens with a large multi-figured canvas "The Creation of Man" (see page 65). I note that the picture is programmatic for the entire first part of the "Message". I would like to start the story about her with words from “Genesis” - the first book of Holy Scripture: “And God created man in His own image” (Genesis 1:26). The Bible describes a lot and in some detail how God communicated with people. The Creator appeared to the prophets or other chosen people, but He always remained invisible. Therefore, they could not imagine the appearance of the Creator, as well as comprehend all of His infinite depth. On this basis, in the ancient Jewish and early Christian traditions, the image of God was absent. Hence, in this picture of Chagall, we do not see the Creator, but we contemplate His deed: the creation of the first man. And although the artist follows the tradition, nevertheless, it is in this canvas that he touches on the theme of the similarity of the Creator with His creation, that is, with man. He solves it to the point of genius simply and at the same time deeply sacred.

The image of Jesus Christ depicted by Chagall in the most complex and fate-determining humanity moment - crucifixion - is the key figure of the circle. The traditional Jewish prayer scarf (tales), depicted by Chagall in the form of a loincloth of Jesus, emphasizes His belonging to the chosen people. It is known that the New Testament is opened by four books of the Evangelists, who describe the life of Jesus, supplementing and deepening one another, considering history as if from the four corners of the world. So, in the third chapter of the Gospel of Luke (Luke 3.23-38) the genealogical tree of Christ is recorded. Among His relatives or ancestors are the names of David, Jacob, Noah and Abraham. Here is the answer to this riddle. Chagall placed on the canvas "The Creation of Man" only those heroes of the Bible who have

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relationship with Jesus Christ. The first canvas of the second part is called "Paradise", the second - "Expulsion from Paradise". Along with Adam and Eve, a full-fledged hero of these two works is an unusually beautiful Chagall's paradise. In the Bible, Paradise - "the garden of Eden" or "paradise" - is the earthly place of the creation of man. As in The Creation of Man, Chagall placed the sun in the center of the canvas Paradise (see next page 66). Compositionally, it divides the canvas into two parts, which in turn display two events: on the left - Adam and Eve before the fall, on the right - after it. Chagall filled his fabulous paradise with fantastic plants, mythical birds, animals and hardly noticeable, as it were, otherworldly creatures. He created a special world where everyone who lives there moves in space as they please. Fish here swim in the sky along with people, and birds swim in the depths of the water, not paying attention to the people frolicking nearby. More precisely, there are no such concepts as heaven and earth, there is another dimension here. The life of creatures in Chagall's paradise is very similar to a dream in which any person can pass through a stone mountain or fly like a bird from branch to branch, or can feel like an animal, fish, or even an unknown fantastic entity. The canvas "Expulsion from Paradise" (see page 66), saturated with emerald and cornflower blue tones, is an even brighter picture than the canvas "Paradise". It is known from the Bible that a river flowed through Eden. In Holy Scripture, water, whether it be a river or a stream, is associated with life, and the absence of water is associated with death. Therefore, in biblical texts, rivers were often mentioned along with saving blessings. Thus, God directs the world like a river (Ex. 66:12), or the wisdom of the book of the covenant is compared to the watery richness of rivers (Sir. 24:27). The Chagall River, reminiscent of a fluttering azure ribbon, is swift as a mountain stream, and extraordinarily beautiful, it is truly a heavenly river, personifying life. Life inside and around her just boils. Before the fall, people did not know what death was. Their life was endless, like this river. After people encroached on the forbidden paradise fruit from the "Tree of Knowledge", they were forbidden to live in Paradise. In the language of Chagall's painting, God separated the first people from the endless river of life. It is no coincidence that the Archangel with his blue, like water, rod drives Adam and Eve not from paradise in general, but from the river. The river separates their former paradise life from future life outside of paradise. Ahead of people is not only goodness and love, but also the knowledge of evil and death. The next two canvases of the "Message" are dedicated to the forefather Noah. In "Noah's Ark"

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(see f. 68) depicts Noah with downcast and tired people, sailing in an unknown direction during the flood.

Salvador Dali also turned to biblical subjects in his work. Dali turned to the classical artistic heritage and became an ardent supporter of Catholicism. In 1949 he created the paintingMadonna of Port Lligat» (See next 70)which was presented to Pope Pius XII. One of the brilliant paintings of this period -"Christ San Juan de la Crusa" (1951. Glasgow. Art Museum). The pinnacle of Dali's spiritual quest was the canvas"The Last Supper" (see next page 69)(1955. Washington. National Gallery). It, like many other works of the artist, is built as a ciphertext.

Conclusion

The Christian religion has always given the fine arts a service. Supporting role of mediator, illustrator Holy Scripture. But this service function revealed the centuries-old vitality of Christian art. The works of the early Middle Ages, the Renaissance, Russian painters invariably demonstrate spiritual power, artistic power and the inexhaustibility of the religious canon. But since the era Italian Renaissance fine arts gradually moved away from the power of the church, a special religious mission and Christian spirituality retreated before pragmatism, mercantile interests, sensuality and the bustle of the material world. The rapid secularization of fine arts, the improvement of the methods of shaping led to a noticeable rebirth of biblical subjects. They began to be used speculatively. Already in the paintings of Raphael, the Madonna seemed to be a simple, only slightly idealized Italian girl, John the Baptist by Leonardo da Vinci was a sugary handsome man, the apostles in the image of Caravaggio were rude peasants. Angels became indistinguishable from cupids. Despite these pernicious tendencies in the art of the old masters, the harmony of the image and the word, the moral purity of the Christian idea and the sublime beauty of the form have been preserved. In the 17th century the baroque style is still great, Rembrandt is surprisingly spiritual; Flemish and Golan painters of the 17th-18th centuries in their small paintings developed in detail the plots of the Old and New Testaments. In the European Academies of Arts, the tradition of obligatory “programs” has been preserved - painting a picture on a biblical story.

Biblical subjects found their own reflection in Russian academic art; of particular importance is the work of A.A. Ivanova. A list of names of biblical subjects developed in the history of world fine arts, even the most famous ones. Huge.

Literature

V.S. Koshelev /N. I Kosheleva / S.N. Temushev / The World History Grade 8 / Minsk "Publishing Center of BSU" /2010

ON THE. Ionina / One hundred great paintings / Moscow "Veche" / 2001

Thein de Vries / Rembrandt / Kyiv, Artistic / 1995

Internet sites:

ICON PAINTING

In the seventh grade, without a doubt, one of the most difficult is the "Bible theme in the visual arts." This is due to the fact that fine art teachers themselves cannot always explain to students how to complete the task.

Studying this topic, the children should get acquainted with the special language of depiction in the Christian art of the Middle Ages, with paintings on the themes of the Bible, created in Western Europe and Russia, with the art of Russian icon painting and perform practical work on biblical theme. Unlike a teacher of world art culture, a teacher of fine arts cannot limit himself to an interesting display and story in the lesson, he must teach the child to create an independent composition.

Bible topics can be difficult and boring for modern children, because they do not understand the plot of the picture. In order not to waste class time on conversation, some teachers follow what they think is the simplest path: they offer children to draw an icon, believing that any student can cope with such an “elementary” task.

An icon is not an illustration of the Bible, an icon is an image painted according to the canons (rules) that the icon painter must obey. An illustration is an artist's view of the events described in the Bible, an independent choice of plot, composition, his ideas about how the characters look. In icon painting, the number of plots is limited, the composition and appearance of the characters are strictly regulated.

Inviting children to write an icon as an illustration to the Bible, the teacher does not fulfill the program of the general education school. By the way, even in Sunday schools at churches and in Orthodox gymnasiums in fine arts classes, children do not paint faces on icons, since they still lack the skill to do this. In addition, we must not forget that children not only from Orthodox, but also from Muslim families and from families where the parents are atheists study in the general education school; and an icon is a prayer, only written in the language of colors. Inviting children to write an icon is the same as offering to learn or compose a prayer in a literature lesson.

The teacher can interest children in the world of biblical paintings and help them understand the language of the icon by talking about the symbolism of icon painting, introducing them to the work of an icon painter and giving them the opportunity to try themselves as an experienced master of the “signner”, who independently creates a composition for a given plot, or as a student in the squad of icon painters. Novice icon painters depicted the details of the icon: slides, trees, architecture and animals, using "drawings" (1-4) - a contour drawing made on paper in one or two colors (black and red-brown).

Without the help of a teacher, only a few will be able to cope with practical work, and the task of the teacher is to make sure that every child in the fine arts class can feel like a real artist, able to create paintings on difficult topics.

To illustrate the Bible, the easiest way is to choose scenes not from the New, but from the Old Testament, and to create a composition, use the genre of landscape already familiar to children. The landscape can form the basis of the paintings "Creation of the World", "Garden of Eden with the Tree of Life", "The Deluge" and "The Flight of the Israelites from Egypt through the Red Sea". As an example, we can show the illustrations of the Bible by our famous marine painter K. Aivazovsky (see "Creation of the World" (5) , "Global flood" (6) ).

The topic "Portrait" was devoted to the entire third quarter of the sixth grade, and in the seventh, you can create a whole gallery of portraits of biblical characters. The Bible describes the events taking place in Ancient Egypt (characters Joseph the Beautiful, Moses) and Mesopotamia (the construction of the Tower of Babel), which means that children can use the knowledge gained earlier in the lessons of history and fine arts.

Thus, in one practical task, historical and biblical topics can be combined. For illustration, you can also use the gospel parables, as an example, showing different paintings by Rembrandt (7) and Bosch (8) about the parable of the prodigal son.

Acquaintance with biblical stories must begin with a conversation. In the event that the teacher himself is poorly oriented in them, the engravings of G. Doré will help to conduct a conversation, since in books with his illustrations there are always brief explanations for each engraving. Children should not be overloaded with new information, so during the conversation it is necessary to show such well-known stories as "Expulsion from Paradise", "Flood", "Noah releases a dove" (9) , "Tower of Babel", "Annunciation" (10) , "Nativity", "Baptism", "Transfiguration", "Resurrection of Lazarus", "Entry of the Lord into Jerusalem", "Crowning with thorns", "Flagelling", "Jesus under the weight of the cross", "Crucifixion", "Descent from the cross ".

When demonstrating paintings on biblical subjects by Western European and Russian masters, it is necessary to show the different attitudes of artists to the same subject. It will be easier for the children to discuss the pictures if the teacher leaves reproductions of the engravings by G. Doré on the board. Pictures should be not only famous, such as "The Appearance of Christ to the People" by A. Ivanov, but also very emotional, like "Golgotha" by N. Ge, "Annunciation" (11) , "Derision" (12) Fra Beato Angelico, The Dead Christ (13) Andrea Mantegna, Crowning with Thorns (14) , "Carrying the Cross" (15) Hieronymus Bosch, "In the Shadow of the Cross" (16) and "Annunciation" (17) Helia Korzheva, "Pieta" by Michelangelo. Such works of art will never leave children indifferent.

When talking about Russian icon painting, it is necessary to explain the difference between a painting and an icon, showing reproductions of icons (Annunciation. XII century. (18) ; Annunciation. 14th century (19) ) in parallel with reproductions of graphics and paintings. As a result of the conversation, each student should understand that a picture is an object of aesthetic pleasure, and an icon is an object of both aesthetic pleasure and prayerful veneration.

PRACTICAL WORK

Topics: "Garden of Eden", "Noah's Ark". "Tower of Babel". Before proceeding to the image, it is necessary to discuss with the guys the event that is chosen for illustration.

Work on illustrations for the Bible can be done using the details of the iconic landscape. The teacher explains the stages of work step by step on the blackboard (20 a, b). So that the children do not repeat each stroke after the teacher and perform their own individual composition, it is better for the teacher not to use paints for display, but to draw on the blackboard only with chalk and water. The water dries up quickly, the children have time to understand how to draw and how to work with strokes, but at the same time they do not copy every stroke made by the teacher from the board. As a result, interesting compositions can turn out. (21-23) .

Drawing mountains and water can be done immediately with paint. The background is painted over with strokes (paints are mixed right on the sheet): day - white and yellow gouache, night - blue, purple and a little white.

The color of the slides is made up of three colors: yellow, red and a small amount of black. If the sheet depicts night or rain, then you need to take blue and purple paints (you can add a little green). Paint the water blue with a little white paint (you can add a little purple).

Horizontal strokes for the steps are marked on the slides with white paint, then gaps are applied to the edges of the steps with a thin brush and blurred upwards with water. From below and from the side, each step is outlined with black paint and blurred vertically downwards (slides; XIV c. (24) ; slides in the Stroganoff style; 17th century (25) ).

Waves can be drawn with blue and white paint in thin lines.

Trees are depicted immediately with paint, without a preliminary drawing with a simple pencil. Animals are first outlined with a pencil, and then inscribed in the composition using pure bright colors. Against the background of slides, bright colors will not look rough.

Reproductions and drawings of icons depicting slides, trees and animals will help the children complete the work: “St. George” (26) , "Boris and Gleb" (27) , "Flor and Lavr" (28) , "Vlasy and Spiridonius" (29) .

Biblical themes in the visual arts.

Garden of Eden. Noah's Ark.

A special language of depiction in Christian art of the Middle Ages.

Iconography.

One of the most difficult topics to teach is definitely the biblical topic. This is due to the fact that teachers themselves can tell little about the Bible and cannot always explain to students how one or another task should be performed. As a result of studying this topic, at the lessons of fine arts, the children should get acquainted with the special language of the image "in the Christian art of the Middle Ages, with paintings on the themes of the Bible in the art of Western Europe and Russia, with the art of Russian icon painting and perform practical work on biblical themes.

Unlike a teacher of world art culture, a teacher of fine arts cannot limit himself to an interesting display and story in the lesson, but must teach the child to create an independent composition on the proposed topic. Biblical topics can be difficult and boring for today's children, as they do not understand the plot of the picture well. In order not to waste class time on a conversation, some teachers follow the simplest path (as they think), inviting children to draw an icon, believing that any student can handle such a “simple!” task.

An icon is not an illustration of the Bible, an icon is an image painted according to the canons (rules) that the icon painter must obey. An illustration is an artist's view of the events described in the Bible, an independent choice of plot, composition, his own view of how the characters look. In icon painting, plots are limited, the composition and appearance of characters are strictly regulated. Inviting children to write an icon as an illustration of the Bible, the teacher does not fulfill the program of a comprehensive school. By the way, even in Sunday schools at churches and in Orthodox gymnasiums in fine arts classes, children do not paint faces on icons, since they still lack the skill to do this. In addition, we must not forget that children not only from Orthodox, but also from Muslim and non-believing families study in a comprehensive school, and an icon is a prayer, only written in the language of colors. Inviting children to write an icon is the same as offering to learn or compose a prayer in a literature lesson.

The teacher can interest children in the world of biblical paintings and help them understand the language of the icon by talking about the symbolic language of icon painting, introducing them to the work of an icon painter and giving them the opportunity to try themselves in the role of an experienced “signner” master who creates a composition on a given plot on their own, or as a novice student in a team icon painters.

Beginning icon painters depicted the details of the icon: hills, trees, architecture and animals, using “copybooks” (an outline drawing made on paper in one or two colors (black and red-brown). Without the help of a teacher, only a few will be able to cope with practical work, and the task of the teacher is to make sure that every child in the fine arts class can feel like a real artist, able to create paintings on complex topics.To illustrate the Bible, the easiest way is to choose plots not from the New, but from the Old Testament, and to create a composition, use the already well-known children landscape genre Landscape can form the basis of paintings

"Creation of the World", "Garden of Eden with the Tree of Life", "The Flood" and "The Flight of the Israelites from Egypt through the Red Sea".

As an example, one can show the illustrations of the Bible by the famous marine painter I.K. Aivazovsky. The topic "Portrait" was devoted to the entire third quarter of the sixth grade, and in the seventh grade you can create a whole gallery of portraits of biblical characters. The Bible describes the events taking place in Ancient Egypt (Joseph the Beautiful, Moses) and Mesopotamia (the Tower of Babel), which means that children can use the knowledge gained earlier in the lessons of history and fine arts.Thus, in one practical task, historical and biblical topics can be combined.For illustration, you can also use the gospel parables, as an example, showing different illustrations of Rembrandt's "Parable of the Prodigal Son" and Bosch.Introduction to biblical topics must begin with a conversation.In the event that the teacher himself is poorly versed in biblical subjects, engravings by G. Doré will help to conduct it, since in books with his illustrations there are always brief explanations for each engraving.

Children should not be overloaded with new information, so during the conversation it is necessary to show such well-known stories as,

Expulsion from Paradise>, "Flood", "Tower of Babel", "Annunciation", "Nativity", "Baptism", "Transfiguration", "The Resurrection of Lazarus,. Hieronymus Bosch. "The Prodigal Son" "Noon in Jerusalem", "The Crowning of Thorns", "The Scourging", "Jesus Under the Weight of the Cross", "Crucifixion", "Descent from the Cross".

When demonstrating paintings on biblical themes by Western European and Russian artists, it is necessary to show the different attitudes of artists to the same subject. It will be easier for the children to discuss the pictures if the teacher leaves reproductions of the engravings by G. Doré on the board. Pictures should be famous, such as "The Appearance of Christ to the People" by A. Ivanov, but also very emotional, like "Golgotha" by N. Ge; "Annunciation", "Mockery" and "Annunciation" by Geliy Korzhev.

Such works of art will never leave children indifferent When talking about Russian icon painting, it is necessary to explain the difference between a painting and an icon, showing reproductions of icons in parallel with reproductions of graphics and painting. As a result of the conversation, each student should understand that a picture is an object of aesthetic pleasure, and an icon is both an object of aesthetic pleasure and an object of prayerful veneration.

Practical work on the topic " Garden of Eden"," Noah's Ark. "Tower of Babel".

Before proceeding to the image, it is necessary to discuss with the children the event that is chosen for illustration, and such interesting sciences as biblical history, biblical archeology, biblical geography, biblical geology will help to talk about the Bible.

Practical work on the topic "Illustrations of the Bible" can be done using the details of the iconic landscape. The teacher "step by step" on the board explains the stages of work. So that the children do not repeat each stroke after the teacher and perform their own individual composition, it is better for the teacher not to use paints for display, but to draw on the blackboard only with chalk and water. The water dries quickly, the children have time to understand how to draw and work with strokes, but at the same time they do not copy every stroke made by the teacher from the board. As a result, interesting compositions made by novice icon painters can turn out.

7th grade

Lesson - conference

5. Andrei Rublev "Trinity".

During the classes:

Class organization.

Uch. Iso.

UCH PC:

Uch. Iso:

UCH. PC : Conversation.10 commandments

Uch. Iso:

Student

Uch. Iso: « Last Supper»

Student:

Student:

Student:

Uch. iso

Student:

Uch. iso

PC teacher: about the story, about the content.

Uch. Iso:

Uch. PC. (according to the plot).

Student (story)

Uch. iso

Uch. iso

Uch. PC

Student:

Uch. Iso:

Student:

Uch. iso

Uch. PC

Uch. Iso:

Uch. Iso:

Student: (about the artist's life).

Student:

Uch. PC

Question for children:

What is "canon"?

Uch. iso

Uch. PC

Student: (about the Old Testament "Trinity").

Student: (about Rublev's "Trinity").

Uch. iso

Uch. PC:

Uch. iso

(student answers).

Red - joy, delight;

Blue - depression;

Goodbye!

Preview:

7th grade

Topic: "Biblical stories in the visual arts."

Lesson - conference

Purpose: To give the concept of the meaning of the image of biblical scenes, as a special language in the Christian art of the Middle Ages. Disclosure of the essence of modern and eternal human relations and values.

Featured works on screen:

1. Raphael Santi " Sistine Madonna»

2. Leonardo da Vinci "The Last Supper"

3. Rembrandt Van Rijn "The Holy Family", "The Adoration of the Magi", "The Renunciation of the Apostle of Perth", "The Sacrifice of Isaac", "The Return of the Prodigal Son", "Christ and the Woman Taken in Adultery".

4. Alexander Ivanov "The Appearance of Christ to the People".

5. Andrei Rublev "Trinity".

View "Video Dialogue with God".

During the classes:

Class organization.

Uch. Iso. Guys, today we have prepared amazing material for discussion and knowledge of true human values.

Looking at the paintings of artists, listening to poetry and music, you do not always guess what the Bible is saying to you, that it was her stories, her word that inspired the painter's brush and the poet's pen. And when the elders tell you what is right and what is wrong to do honest man, then they themselves are sometimes unaware that their teachings are borrowed from the Bible.

UCH PC: For two millennia, the whole world has been brought up on fairy tales and legends, songs, parables.

The Bible has come down to us through the ages. She was banned, but she survived. It took 18 centuries to compose the Bible. More than 30 authors worked on it. 66 books of the Bible were written in different languages ​​by people who lived at different times.

What are the parts of the Bible?

Uch. Iso: For European art, for paintings, mosaics, frescoes, biblical themes provided material for fantasy, for expression through the plots of the Bible. own attitude to the world.

Biblical themes dominated art during the Renaissance in the 17th and 18th centuries. They have not lost their relevance even today.

Through biblical scenes in the visual arts, various complex human feelings can be expressed. The great artists of the world reflected biblical scenes in their paintings, thereby educating their contemporaries according to the laws of life taken from the commandments of the Most High.

UCH. PC : Conversation.10 commandments

Uch. Iso: One of the most outstanding paintings of the Renaissance is the painting "Sistine Madonna", painted by Raphael Santi. (1483 - 1520) born

Student : In the years 1515 - 1519, Raphael creates for the church of St. Sixtus in Piacenza the image of the Madonna with the Child, called the "Sistine Madonna".

In the center of the canvas, the Virgin Mary is depicted, as it were, descending from heaven, carrying the baby Christ. Saint Pope Sixtus shows her the way, and Saint Barbara reverently kneels before her.

Below, two angels, forgetting about their games, look up thoughtfully. You do not immediately notice that the background of the picture actually consists of many faces - this is a host of celestials looking at what is happening. And this is what happens: the Virgin Mary descends to earth to give her Son as a sacrifice for people. There is a struggle in her soul: she understands that without this sacrifice the world cannot be saved, and at the same time she cannot part with her beloved son. The artist expressed this in the movement of her hands: with her right hand she hugs the Baby to her, not wanting to part with him, and with her left hand she seems to give it to the world. In the slightly raised eyebrows of the Madonna, in the wide open eyes there is a shade of anxiety and that expression that appears in a person when his fate is suddenly revealed to him. The baby's facial expression is not childishly serious. He also knows his fate, knows who he is and why he came into this world. The Virgin Mary in the painting by Raphael is the embodiment of maternal love and Christian sacrifice and mercy. Rafael incredibly achieves an unsteady balance between the physical and the spiritual. The figure of the Virgin Mary is both light and weighty: it has the static character of an icon and at the same time moves forward towards people.

The perfection of a painting lies in the combination of its spiritual and artistic merits. This made it one of the most celebrated masterpieces of world painting. It is stored in the Dresden Art Gallery in Germany.

Uch. Iso: "Last Supper"

Many artists turned to The Last Supper. Leonardo da Vinci is the genius of the human mind. 1452 - 1519 created his fresco by order of Duke Ludovic Moreau, who ruled Milan. The fresco is depicted in the refectory of the monastery of Santa Maria della Grazie.

Leonardo chose the moment when Christ says to his disciples:

Student: “Truly I tell you, one of you will betray me…”

Student: “In Leonard da Vinci, all the figures of the composition are located on the same line - facing the viewer. Christ is depicted without a halo, a halo, the apostles without their attributes, which were characteristic of them in ancient paintings. By the play of faces and movement they express their spiritual anxiety.

The Last Supper is one of greatest creations Leonardo, whose fate turned out to be very tragic because of human barbarism. The entire composition of The Last Supper is permeated with the movement that the words of Christ gave rise to. This is the highest intensity of feelings of human relations. Jesus Christ is the center of the whole composition, the center of the whirlpool of passions that rage around him. Christ in Leonard's ideal human beauty, nothing betrays a deity in him. His inexpressibly tender face breathes deep sorrow, he is great and tragic, but he remains a man.

From the center of JESUS ​​Christ, the movement spreads across the figures of the apostles in breadth. The Eleven Apostles were painted from ordinary people whom Leonardo met in and around Milan. The type of Christ is unknown. The master was looking for Judas among the criminals, when the minister of the church expressed dissatisfaction with the delay, the wounded Leonardo suggested that the priest become a model for writing Jude.

The Last Supper fresco had a huge impact on the painting technique of artists of subsequent generations.

Student: (Tell about vandalism over the fresco)

Uch. iso : In the history of fine arts of past centuries, the brilliant Dutch artist Rembrandt Van Rijn for almost 100 years, perhaps more than anyone else, was able to deeply, truly, thrillingly reveal the inexhaustible richness of the inner world of man. In its creation, biblical heroes serve as a vivid personification of beautiful human qualities. This can be seen from his paintings "The Holy Family".

Student: During the 1940s, Rembrandt addressed the theme of the holy family several times. One of the best solutions to this theme is the Hermitage painting The Holy Family, created by the artist in 1645. The gospel theme gives rise to many associations with the everyday life of the people, modern Rembrandt. Silence, peace are broken only by the familiar sounds of life at home. Burning firewood crackles, a low monotonous knock of a carpenter's ax is heard. The room is shrouded in twilight from various sources, the light gently pierces, quiveringly sliding over Mary's face, illuminating the cradle, giving the depicted a touch of spirituality. The child stirred slightly in his sleep, and the woman, obeying a subtle maternal instinct, breaks away from reading. Raises the full and anxiously looks at the baby. She is the very sensitivity, the very alertness. In essence, the great humanity and penetration of the picture is created only by one of its glances.

The light elevation of the captured moment is also reflected in the fact that angels descend inaudibly to the mother and the boy.

Uch. iso : The theme is continued by Rembrandt's Adoration of the Magi.

PC teacher: about the story, about the content.

Questions to students on the picture: What is the main visual center? What color is the painting in?

How does the artist use the light effect (silhouette)?

Uch. Iso: Rembrandt devoted many of his masterpieces to the biblical theme. We see the Denial of the Apostle Peter. Here is the moment when...

Uch. PC. (according to the plot).

Student (story)

Uch. iso (composition) "The Sacrifice of Isaac".

Uch. iso : We got acquainted with Rembrandt's style of writing with compositional structure his paintings. For comparison, look at Brueghel's painting "Procession to Calvary". An image of a crowd of people in which the main event is barely considered. The figure hunched under the weight of the cross of the Savior is almost lost among the multitude of people.

But back to Rembrandt's Descent from the Cross.

Uch. PC : about the plot, when they removed the body, where they put it.

Student: Night. Mournful silence. A silent crowd of people surrounded the huge cross on which Christ was crucified. They came to Golgotha ​​to pay their last debt to their teacher. In the cold light of torches, they remove his dead body from the cross. One of the men, climbing up the ladder, pulls out the nails with which Christ was crucified on the crossbar; others pick up his slumping body; women prepare a bed for the remains, spreading a large, heavy cloth on the ground. Everything is done slowly, in a respectful and sad silence. The experiences of those gathered are different: some faces express bitter despair, others courageous grief, others - reverent horror, but each of the people present is deeply imbued with the significance of the events. The grief of the old man is boundless. Accepting the dead Christ. He holds it with noticeable effort, but very carefully. Carefully, touching touching the cheek to the lifeless body. Maria is exhausted from grief. She is unable to stand, loses consciousness, falls into the hands of the people who carefully surrounded her. Her haggard face is deadly pale, her eyelids are closed, the weakened hand of her outstretched hand drooped helplessly. The picture captivates with deep penetration, and vital truth.

Uch. Iso: No less plausible is the plot of the big human tragedy. After long wanderings in a hostile, uncomfortable world, the prodigal son comes to the abandoned father with a plea for forgiveness.

Student: (the parable of the prodigal son).

Student: In the painting "The Return of the Prodigal Son", a son full of shame and remorse is depicted. He is on his knees, ragged, with a shaved head of a convict, in worn-out sandals, showing the viewer coarsened heels. For the first time in many years, feeling the warmth of human affection, he clung to his father, hid his face on his chest, trying to forget himself in his father's arms. The old man expresses neither surprise nor admiration; he forgave his son a long time ago and had been waiting for this meeting for a long time. Half-blind, to the touch, he tenderly bowed his head over his son, lowering his old hands on his back. In the look of his lowered eyes one can read mute reproach and woeful humility.

Again, Rembrandt embodies his idea that the severe trials of fate bring people together. Above delusions, insults, vanity are love, trust, mutual understanding. But still, in this meeting there is more grief than joy: the tragic mistake of the son left a too deep mark in the life of both. Not only the son is broken, but also the father. It is enough to pay attention to the expression on the face, the sadly bowed head, the hunched figure, the drooping old shoulders, to feel it.

Uch. iso : Many artists of the 17th century depicted the prodigal son during a revelry or at a card table, alluding to the futility of worldly pleasures. But no one was able to see and embody the meaning of this parable in an artistic image as deeply as Rembrandt did in his painting. In order to create this masterpiece, he had to go through a long path of loss of loved ones, fame, wealth and recognition - and end his life in poverty and oblivion. His last picture is, as it were, the result of wise thoughts about the world and about people.

Uch. PC : And here is another plot according to the commandment: "Do not commit adultery." "Christ and the Woman Taken in Adultery". The author of the painting is Rembrandt.

Uch. Iso: about the composition of this picture ... (you can bring children to talk).

Uch. Iso: On the next slide we see the painting "The Appearance of Christ to the People" by Russian artist Alexander Ivanov.

Student: (about the artist's life).

Student: (about the painting "The Appearance of Christ to the People").

Uch. PC : For centuries, icons were the only objects of painting in Rus' and are a separate genre in the visual arts. Icon painting appeared in the 10th century, when Rus' adopted a new religion from Byzantium - Christianity.

Question for children: - In what year did the Baptism of Rus' take place? And what gods were worshiped before the adoption of Christianity?

By this time, in Byzantium itself, icon painting had finally turned into a strictly legalized one, recognized by the canonical system of representation.

What is "canon"?

Worship of the icon has become an integral part of Christian doctrine and worship. Thus, Rus' received the icon as one of the "foundations" of the new religion.

Uch. iso : Depicting events from the life of Christ, Mary, the apostles, icon painters found motifs that touched the soul of every person, tried to express their idea of ​​good and evil. The icon painter in his work could not come up with a plot himself, but he could add some details, change color relationships. The most famous in Rus' are the icon painters: Theophanes the Greek, Dionysius, Andrei Cherny, Andrei Rublev. Consider the famous Rublyov's "Trinity", which has become, as it were, a symbol of the new Rus'.

Uch. PC : There is the Old Testament "Trinity" and "Trinity", written by Andrei Rublev. Andrei Rublev wrote "Trinity" based on the plot of the Old Testament "Trinity", which depicts Abraham, Sarah, a servant killing a lamb, their house, a mountain, a Mamvrian oak.

Student: (about the Old Testament "Trinity").

Student: (about Rublev's "Trinity").

Uch. iso : Despite the fact that the biblical stories tell about bygone days, the artists turn to them to reflect the contemporary reality through the plots known to everyone.

Uch. PC: We are obliged, we must know all the commandments of God in order to live righteously, be kinder, with pure thoughts in our souls and treat people the way you would like to be treated the same way.

And now, for reflection, you can watch the Video Dialogue with God.

Uch. iso : Guys, we are finishing our conference. You were active, prepared your speeches well, thank you very much for this and for the lesson in general. And we would like to know what conclusion each made for himself, what moral qualities a person must have.

(student answers).

And now, leaving the lesson, depict your sign by choosing the color that matches in this moment your mood (circles indicating your mood are laid out on the table) and attach to the board.

Red - joy, delight;

Blue - depression;

Green - learned a lot of new and interesting things.

Goodbye!

(Fine arts, Fundamentals of Orthodoxy, Orthodox local history)

on this topic

Grade 7 lesson number 21.

Completed by: Usova Lyudmila Nikolaevna

MKOU Podgorenskaya secondary school

District: Kalacheevsky

Region: Voronezh

Lesson summary

Teacher: Usova Lyudmila Nikolaevna

Subject: Visual arts, Fundamentals of Orthodoxy, Orthodox local history.

Grade: 7

UMC:

Topic: Biblical themes in the visual arts.

Lesson type: formation of new knowledge.

Type of lesson: integrated with elements of project activities.

Lesson #21

Target: develop the artistic and creative abilities of children, educate emotional responsiveness.

Tasks:

1) To form an idea of ​​the complex world of plot- thematic picture on the example of paintings of the religious and mythological genre, frescoes and icons of the Transfiguration Church in the village of Podgorny, Kalacheevsky district.

2) Continue acquaintance with the work of great artists and the history of the creation of famous paintings, with the work of masters native land(fresco painting and iconography of the Transfiguration Church)

3) To form spectator skills and abilities.

4) Develop associative-figurative thinking, public speaking skills, emotional responsiveness to the beautiful and ugly in life and art.

5) To develop interest in art, and the art of the native land.

UUD:

1) personal - to direct the value-semantic orientation of students to achieve their goal;

2) regulatory - the ability of students to organize their learning activities;

3) cognitive - using general educational, logical actions, actions of setting and solving problems to achieve certain results in the implementation of projects;

4) communicative - to teach children to participate in a collective discussion of problems, to build productive interaction and cooperation with peers and adults.

Personal Outcomes:

- development of interest in art and the art of the native land

Development of skills of a creative approach to the task being performed, self-control, reflection and self-assessment.

Respect for the heritage of ancestors, cultural monuments, and creative individuals.

Metasubject results:

Formation of positive motivation for the study of fine arts, the Fundamentals of Orthodoxy and Orthodox local history.

Development of skills independent work, search for material.

Developing the ability to listen to the topic being studied, observe, compare and extract the necessary information.

Development of skills to compare, analyze, summarize the information received, build a message based on the knowledge gained.

Development of skills to work individually, in pairs, in a group.

Subject Results:

Introducing students to other cultures on the basis of the studied works, including Orthodox culture, national culture

Expansion of educational horizons within the framework of the topic under study, the study of the culture of the place where students live.

- extension vocabulary students within the topic.

Working methods: active, interactive, research, design.

Content: Archival and local history documents of the Museum "Living Origins", material on the topic of the lesson taken from the textbook "Biblical themes in fine arts"".

Forms of organizing the work of students: individual, couple, group.

Equipment: computer, interactive whiteboard, self-assessment sheets, Handout, emoticons for reflection, multimedia presentation for the lesson, design work of students, photographs of the Transfiguration Church Usova L.N.

Literature:

1. A.S. Piterskikh, G.E. Gurov "Fine art grade 7-8" edited by B.M. Nemensky, "Enlightenment", Moscow 2009

2. F.F. Lutsenko "Chronicle of the settlement of Podgornaya", documents of the museum "Living Origins" of the village of Podgorny, Kalacheevsky district Voronezh region"

3. V. Hugo A poem about the Bible (Internet)

4. M.N. Bosikova poem "I love my land"

5. Usova L.N. Poems for the lesson

During the classes

The main stages of the lesson

Purpose of the stage

The content of pedagogical interaction

Teacher activity

Student activities

Cognitive

Communicative

Regulatory

1. Organizational and motivational

Psychological attitude students;

ensuring a normal environment in the classroom.

Greets students, sets students up for work.

Prepare for the lesson, take their places, check the availability of materials and equipment for the lesson.

Plan learning collaborations with students and teachers. Communicate in pairs, groups. Getting ready to implement the project.

Choose funds to implement your project

2-3 minutes

Teacher:

The bell rang, friends.

The lesson starts.

All portfolios have been put aside.

All is ready? Looked.

They stood up straight, sat down quietly.

And they wanted to learn.

I'm glad to see you today.

How did it work guys?

You have learned to work.

Have all the projects succeeded?

And now, I beg you,

To be a serious class ...

2. Goal setting

Indicate the topic of the lesson, using the example of various sources.

The teacher offers to watch the video "My spring" to determine the topic of the lesson. Asks leading questions to students. Reads a poem by V. Hugo about the Bible.

Cooperation with the teacher and classmates. Goodwill emotionally - moral responsiveness.

5-6 minutes

Guys, I'm going to read a poem now famous writer V. Hugo.

Slide #2

And nowcarefully watch the video "My Spring"

Slide #3

What do you think about what will be discussed in today's lesson?

Let's try to tie the topic together.

Today at the lesson we will get acquainted with the topic related to the Bible, the history of our native land and Orthodox church. Let's define a topic.

Slide #4

Guessing riddles

So: our theme sounds -"Biblical themes in the visual arts"

Slide #5

The most interesting thing is that today we have not only a lesson in Fine Arts, but also the Basics of Orthodoxy, and Orthodox local history. Three lessons tied together. So, let's begin.

3. Updating knowledge on the topic

Lead students to determine the relevance and necessity of this topic of the lesson.

Draws a line on determining the level of preparation of material for projects.

The ability to structure knowledge, the ability to consciously build speech statements.

Cooperation with the teacher and classmates.

Highlighting the main thing and realizing what has already been learned.

10-13 minutes

Guys, in the last lesson you chose tasks for independent work at home, projects. Let's see what we got. Here is a table that you need to quickly fill out during the speech of students who have prepared homework, projects.

Student Projects

Project evaluation

What did you like?

What didn't you like?

New words

Project "History of the Church of the Transfiguration in the village of Podgorny, Kalacheevsky district, Voronezh region"

Project "Frescoes of the Church of the Transfiguration in the village of Podgorny, Kalacheevsky District, Voronezh Region"

Project "Icons of the Church of the Transfiguration in the village of Podgorny, Kalacheevsky district, Voronezh region"

Project on the history of the Transfiguration Church in the village of Podgorny Kalacheevsky district of the Voronezh region"

1. Project "History of the Church of the Transfiguration in the village of Podgorny, Kalacheevsky district, Voronezh region"

Slide number 6 (group work of 3-4 students)

2. Project "Frescoes of the Church of the Transfiguration in the village of Podgorny, Kalacheevsky district, Voronezh region"

Slide number 7 (group work of 3-4 students)

3. Project "Icons of the Church of the Transfiguration in the village of Podgorny, Kalacheevsky district, Voronezh region"

Slide number 8 (group work of 3-4 students)

During the show, from 6 to 8 slides, students perform a project on the history of the Transfiguration Church in the village of Podgorny (group work of 3-4 students)

The history of the village of Podgorny and the history of its Transfiguration Church is very old. After settling in the settlement Podgornaya at the beginningXVIIIcentury there was a need to build a temple. The tsarist government, at that time, demanded the presence God's temple in every major locality. And so, the citizens' gathering made a decision to build a church. But for what money? Our ancestors were not rich people, not everyone could donate a large amount.

Over time, a solution was found. At that time, neighboring Kalach was already built up. Quite a lot of rich people lived in it, engaged in arable farming and trade. Since the black earth lands of our region have always been highly valued, there was one rich man, nicknamed "Naked Pan", who, on favorable terms for him, received land for use for a fee. He got on the northern outskirts of the settlement, on the river under Sapozhkova Gora, a square of land of 50 acres, of which 15 acres were usable, and the rest were small marshy swamps overgrown with alder, willow, vine and reeds.

For the money received from the pan, the society of the settlement of Podgornaya bought a finished wooden church on the side, which in 1730, according to other sources in 1740, already stood on the square. It got its name in honor of the feast of the Transfiguration of the Lord.

Time passed, the church dilapidated, the population of Podgorny increased greatly. The Podgornaya Settlement Society decided to build a brick church. It was built at the expense of believers. Wealthy peasants were not particularly generous to donate larger sums to the church, and the poor had nothing to give. Therefore, everything had to be done by collecting money from the “Churchmen” on the side. Selected people from among the believers walked around the yards with bells all year round and collected who would give what for the construction, a decent amount of money was obtained over a number of years. The Transfiguration Church was built for 12 years, after which it was completed 2 times. The church was finally completed in 1822.

The Church of the Transfiguration is located in the center of the village. It has, characteristic of the churches of the southeast of the Voronezh Territory, the endXVIII- startXIXV. bulk composition. Three rectangular apses with rounded corners and a wide refectory adjoin the temple part elongated from north to south (the core of the temple and aisles) winter church. The core of the temple is crowned with a high octagon of light with an eight-tray dome and an octagonal blank cupola. A three-tiered bell tower with side volumes of the first tier adjoins the refectory from the west. The bell tower is completed with a cupola on a high octagonal foot.

The decor of the facades is made in the Russian style, typical for the 3rd quarterXIXV. Paneled pilasters flank the facades of all volumes and divide the side chapels into sections, each of which is completed with a pediment-kokoshnik. The tympanums of the pediments have an ornamental carpet filling with plaster rosettes and semi-rosettes. Similar pediments complete the northern and southern facades of the first tier of the bell tower. The facades of the refectory and apses are surrounded by several frieze rods. Window openings - arched withinwith keeled archivolts. The entrances to the church with arched lintels are framed by pilasters, on which baroque sandriks rest.

The church is made of locally produced bricks. Under the mountain (rich in red clay) the manufacture and firing of bricks was established. We do not know what the building was where the bricks were made. But the pits from which the clay was taken are still visible.

The foundation of the building is not high, about 50 centimeters high, made of limestone with a volume of 100x50 x50 centimeters. Since the stone is very strong, we can conclude that it was brought from other places. Our local stone is not suitable for such work. Over a period of 200 years, the church has not sagged or cracked only thanks to the foundation.

The walls of the temple are over half a meter thick. The windows are barred with homemade wrought iron gratings, painted blue (traces of paint are still visible in some places).

The floors in the temple have been preserved since the time of construction. They are made of local material (willow and oak).

Our church is three-altar. Its limits are consecrated in honor of three holidays. The Transfiguration of the Lord is in the center. WITH right side- the limit of the Holy FathersIEcumenical Council". On the left side is the limit of the "Our Lady of Sorrows of All Joys."

There were many frescoes inside the temple, most of which have survived to this day. The icons hanging on huge columns were painted on canvas with oil paints. In the village, local residents still have icons from the Transfiguration Church. The central part of the temple was decorated with a seven-row iconostasis. That was a great rarity for the rural temples of our region at that time. The other two limits were decorated with three-row iconostasis. The decoration of the church was also beautiful. Under the central dome was a large chandelier with candlesticks. Exactly the same, but smaller chandeliers were in the central part of each limit.

Decree of the Head of Administration of the city of Voronezh "On the adoption under state protection monuments of history, archeology and architecture of the city of Voronezh "of October 22, 1992 No. 472. The Church of the Transfiguration was assigned No. P (P - object cultural heritage regional significance).

The church closed in 1936. The temple restoration project started in 2004. The temple was opened in 2008.

Teacher: Guys, turn in your notes, they will help me evaluate your homework and make out incomprehensible things in the next lesson: words, statements, clarify data on topics.

Physical education minute

To teach students to relax, rest, relax, switch from one activity to another.

Shows various physical exercises for warm-up.

They will learn how fun and unusual it is to spend a physical education minute.

Learn to work in a group.

2-3 minutes

(a set of exercises conducted by class attendants)

Teacher:

Guys, let's rest.

We perform a physical minute.

We rest for two minutes.

And let's get to work.

The guards are coming to us

They'll do a physical.

4. Learning new material

Immersion in the problem of this topic, work on projects.

The teacher organizes an immersion in the problem of the lesson.

Acquisition of new knowledge. Construction of a logical chain of reasoning.

Initiative cooperation of students in the search and selection of information, in the choice of a way to implement it, present it to the class.

Extraction of new information.

15 minutes

Teacher . Listen to the poem. Explain what "trace" the poet is talking about. What mark would you like to leave on the earth?

They say talent comes from God

This is given, and this is not...

Everyone is given a path

Who will leave a trace?

S. Vikulov.

In this quarter, we will get acquainted with the thematic picture.

What genre did we talk about in the last lesson? (About historical )

What other genres of thematic picture do you know? (Household, fabulously epic, religious and mythological )

Students are offered a handout, a table that must be filled in the process of explaining new material.

Artists

Paintings

The Bible is the most important treasury of spiritual and cultural heritage. It embodies the ideals of goodness, justice, selfless service to humanity, faith in the value of the human person. The Bible, like life itself, suggested to artists, sculptors, architects the most important, vital images for them, optimal artistic solutions. Biblical themes permeated the work of the greatest masters of world culture: Leonardo da Vinci, Michelangelo, Rubens, Rembrandt, Rublev, Kramskoy, Surikov, Ivanov. For European art, for paintings, mosaics, frescoes, Biblical themes provided material for fantasy, for expressing one's own attitude to the world through the stories of the Bible. In the easel art of Western Europe and Russia, there is a rich range of brilliant works here. In today's and subsequent lessons, we will talk about biblical themes in painting, and in the next lesson we will make drawings ourselves on scenes from the Bible. To do this, you were given the task to repeat the material studied in the lessons of Orthodox culture, to choose for yourself the most interesting plot for further illustration. But first, in today's lesson, we will get acquainted with the work of famous painters.

Slide number 10 "Biblical themes in the visual arts"

1. Leonardo da Vinci "Annunciation".

The plot of the picture is based on the Bibles of the 15th century. Archangel Gabriel appeared to the Virgin Mary with the news.

He kneels before her and tells her the good news that she has been chosen to give birth to the Son of God. The scene on the right corresponds to the architecture of that time. Archangel Gabriel holds a lily in his hand (a symbol of Mary's purity). Leonardo for the first time masterfully used the landscape, enhancing the impression of the picture.

2. Michelangelo Buonarroti "Separation of Light from Darkness".

A story from the Bible about the creation of the first people on earth.

In the image of God - the majestic, mighty star, the creative impulse is emphasized, expressed in the movements of his hands, as if they were really capable of creating worlds and giving life to man.

3. Peter Paul Rubens "The Adoration of the Shepherds".

The bright, lush Rubensian style is characterized by the depiction of large, heavy figures in rapid movement, an emotionally charged atmosphere. Sharp contrasts of light and shadow endow the picture with an emotionally charged atmosphere. Rich colors endow the image with seething energy. Although he painted rough biblical scenes, the highest life drama was always on the canvas.

4. Rembrandt Harmenszoon van Rijn "The Return of the Prodigal Son".

Rembrandt "The Return of the Prodigal Son" The story of the prodigal son is one of the most famous biblical stories. It has been used by many artists. Rembrandt was no exception and repeatedly turned to him. in the bible we are talking about about the son of a rich man who asked his father to allocate his part of the inheritance to him, who left native home and who spent money in revelry and debauchery. The poor and sick son returns to his father, and he joyfully greets him, which causes anger on the part of the second son, who spent his whole life in labor. The father explains to him that his brother "was dead, but has come back to life." The exact date of the painting has not been established, but it is believed that this is one of the last works of Rembrandt.

5. Andrei Rublev "Trinity".

The main creation of Andrei Rublev, the pinnacle of his art was the "Trinity" (1420s), the most beautiful and perfect Russian icon, executed in memory and veneration of the great enlightener of Rus' St. Sergius Radonezh (XIV century). The "Trinity" presents a triune deity in the form of three angels seated around a table with a sacrificial bowl. The image on this icon is interpreted in different ways. According to one interpretation, the angel placed in the center personifies the second person of the Trinity - God the Son, Jesus Christ. The left angel is the first person of the Trinity - God the Father, the right angel is the Holy Spirit. At the time of Andrei Rublev, the theme of the Trinity, the triune deity, was perceived as the personification of spiritual unity, harmony, mutual love and humility.

6. Kramskoy Ivan Nikolaevich "Christ in the Desert".

“Christ in the desert”, “My God is Christ,” wrote Kramskoy, “because He himself dealt with the devil. He draws strength from himself…” The plot is taken from the Gospel. He tells how the Savior was in the desert for 40 days after Baptism, tempted by the devil. Struggled. And won.

7. Surikov Vasily Ivanovich "Merciful Samaritan".

The plot of the picture is written in one of the famous Jesus Christmentioned in . She talks about mercy and disinterested help to a person in trouble from a passerby. - representative ethnic group which the Jews do not recognize as co-religionists. According to some theologians, this parable shows that "examples of human kindness are found among all peoples and in all faiths, that the Law and the commandments of God are fulfilled by the people of the most different nationalities and different religions ».

8. Ivanov Alexander Andreevich "The Appearance of Christ to the People".

On the canvas, the viewer sees people walking from the hill, as well as those who have already performed ablution and are located to listen to the prophet. And he says that you need to meet a certain guest who is still far away, but will soon be here, although not everything is as it should be. A. Ivanov attached particular importance to the authenticity and expressiveness of the landscape. He "sat for several months in the unhealthy Pontic marshes and desert places of Italy, transferred to his sketches all the wild outbacks around Rome, studied every pebble and tree leaf." First of all, the compositional mastery with which Ivanov turns many clearly individualized characters towards a single lofty goal is striking. At a very favorable distance for the picture, the One, whose path was supposed to be strewn with flowers, walks along a hard rocky path. With a quiet and firm step, He goes to take upon Himself the sins of the whole world and die on the cross. How could an artist in the figure of the Savior (and at such a distance) express his divine wisdom, greatness, meekness of spirit and determination for a feat? the picture was written for 20 years, but was never finished. But it is still considered one of the world's masterpieces.

5. Reflection

activities:

- analysis and evaluation of the success of achieving the goal

- analysis of the success of the activity

students in general and self-assessment of their work result

(3 min)

Summarize the lesson, evaluate the activities of comrades. Choose your homework individual opportunities students.

Summarizes: what they did in the lesson and why, how the lesson went, what mood the children have.

Implementation of self-assessment of own activities.

The ability to express one's thoughts with sufficient completeness and accuracy.

Recognize cognitive reflection.

5-7 minutes

So we got acquainted with the work of the great painters. Each in his own way reflected the biblical story in the picture, having deeply experienced it, passing it through his soul. And now you have to present one of the biblical stories in your own way. in the next lesson you will start working. In the next lesson, you will complete the drawings in the albums, and now we are with you.

The teacher organizes reflection, offering to continue the statement:

-I know pictures...

-I know artists who worked on biblical themes...

-I understand…

-It was a revelation for me...

-I managed…

-I like it…

- I would like to know...

- We need to work on this...

6. Homework

1 minute

Teacher: Guys, work on the plot future picture on a biblical topic. You can make several sketches on a topic of your choice.

7. Org. end of lesson

1 minute

Teacher: Guys, today we have worked very fruitfully at the lesson. I would like to acknowledge everyone, especially...

Spiritual masterpieces of painting, stories about native places and works of art of our native land make us kinder, morally richer. Remember: Christ was resurrected after the way of the cross and the crucifixion. May the resurrection begin today in every family, in every soul. Let the images of the Bible and the greatest paintings come to your mind in the days of sorrow and joy, in moments of difficult choice of your path.

I would like to finish the lesson with the words of a poem by our poetess, countrywoman Bosikova M.N.

I love my region.
How strange to hear
After all, every person loves his land!
But the sky is blue
the sun is higher!
And May is painted in the color of lilac here.
Summer smells like rain and hay,
The river calls with coolness ...
And autumn is dressed in gold,
Clouds are floating,
Winter beckons into the distance,
On a frosty morning, the snow crunches,
And the river will come out of its banks in April.
The forest rustles in spring
I love my region!
I have seen many places
And you can even go around half the world,
But closer and dearer to the native land,
I don't think I can find it anymore.