The image of a person in a work of art. The image of man in the fine arts of the Italian Renaissance

Lesson summary

Nosova Irina Valerievna

Item ISOClass 6

Lesson topic« Image of a person - main topic art.. Learning new material .

Class characteristics:

There are 16 students in the class: 6 boys and 10 girls.

The team is united, the relationship between boys and girls is friendly. The class is functional. Students have the skills of independent mental work. .

Tools that support the learning process in the classroom: multimedia presentation, textbooks, album, brushes, paints, pencils, reproductions of paintings depicting portraits different eras; reproductions of Leonardo da Vinci's painting "La Gioconda".

The purpose of the lesson: introduce the image of a person in the art of different eras, with the history of the emergence of the portrait.

Lesson objectives:

Develop an understanding that a portrait image should express a person’s character, his inner world;

Develop memory, attention and abstract thinking;

To develop the ability to find beauty, harmony, beauty in the internal and external appearance of a person;

Activate cognitive interest in the world around us and interest in the learning process.

During the classes

Organizing time.

(Greeting, checking students’ readiness for the lesson.)

1. Greeting.

Teacher

Listen to the poem. Choose a title for it. We'll see if it lives up to the name the author gave it.

Portrait

Love painting, poets!

Only she, the only one, is given

Souls of changeable signs

Transfer to canvas.

Do you remember how, from the darkness of the past,

Barely wrapped in satin.

From Rokotov's portrait again

Was Struyskaya looking at us? (slide3)

Her eyes are like two fogs,

Half smile, half cry,

Her eyes are like two deceptions,

Failures covered in darkness.

A combination of two mysteries

Half-delight, half-fear,

A fit of mad tenderness,

Anticipation of mortal pain.

When darkness comes

And the storm is approaching

From the bottom of my soul they flicker

Her beautiful eyes.

N. Zabolotsky

What is the topic of our lesson? (Students' answers)

2. Checking students' readiness for the lesson.

II . Communicating the topic and purpose of the lesson . (slide4)

1. Reading and discussion of the text.

For centuries, thinkers and artists have tried to find universal criteria for beauty and aesthetic value, but all their searches were in vain. True, in modern world Few people care about this problem. Today, unquestioned authorities have been replaced by a spirit of tolerance, and no one is anymore trying to reduce all the diversity of forms to a single ideal that the ancients were looking for. Many prominent representatives of modern art have abandoned the idea of ​​a “true” reflection of reality. We are increasingly led to believe that beauty is everywhere. Paradoxically, beauty asserts its integrity precisely through the diversity and universality of its manifestations. Beauty cannot be measured scientific methods, it is given to us in sensations. The feeling of beauty was not born today; it has always excited the imagination of man.

Formulate main idea text. Do you agree with the author’s opinion in everything? (Students' answers.)

Teacher.

Today we will learn portrait art.

What kinds of portraits are there, what kinds of faces are there? Are they all beautiful?

Listen to how the poet talks about this:

About beauty human faces

There are faces like lush portals,

Where everywhere the great is seen in the small.

There are faces - like miserable shacks,

Where the liver is cooked and the rennet is soaked.

Other cold, dead faces

Closed with bars, like a dungeon.

Others are like towers in which for a long time

No one lives and looks out the window.

But I once knew a small hut,

She was unprepossessing and not rich.

But from the window she looks at me

Breath flowed spring day.

Truly the world is both great and wonderful!

There are faces - similarities to jubilant songs.

From these notes, like the sun, shining

A song of heavenly heights has been composed.

Nikolay Zabolotsky

(The teacher demonstrates various portrait images.)

(Sl ID 5)

"The Image of Human Beauty"

With today's lesson we begin to study the basis of visual literacy when drawing a portrait.

III . Main part .

Learning new material.

1. Communication of theoretical information.

Teacher.

The portrait genre arose earlier than others - sculptural Egyptian portraits from centuries ago are known.

Portrait- an image of a person or group of people in a work of painting or sculpture. Portrait is one of the main genres of painting, sculpture, and graphics. (slide6)

A necessary requirement for any portrait is the transfer of individual likeness. (slide7) For this, the artist acts as a kind of storyteller, carefully and consistently reproducing not only appearance portrayed, 110 and his inner world, the essence of his character through thoughtful psychological analysis of the person depicted.

Each person portrayed carries within himself both the author’s subjective interpretation of his personality and the features of his time, social environment. Usually the main means of transmission are the detail, color, and background on which the figure of the person being portrayed is located. However, methods of human reproduction were not formed immediately. History of the portrait- this is practically the history of painting, the formation of the basic principles of image, genre forms, technique and writing, color scheme

The portrait can be individual or depict several people at the same time (double or group - include at least three characters).

A specific type of portrait is a self-portrait.

There is also satirical portrait, where the negative features of the model determine the appearance of a portrait caricature - a charade.

2. Teacher’s story - “From the history of the emergence of a portrait.” (slide8-9)

Teacher .

The art of portraiture originated several thousand years ago. The first portraits were created by the Egyptians. They performed a religious and magical function: the soul of the deceased had to leave the body, and then return after the judgment of the gods to the mummy of its owner and settle in it forever. She felt calm in the majestic statues created. It was also necessary to maintain portrait resemblance so that the soul could find the body from which it flew out.

Of course, huge majestic sculptures were created to perpetuate the appearance of not ordinary people, and the rulers are the pharaohs, the governors of God on earth. One of famous portraits from that time is a portrait of Nefertiti (circa 1360 BC). (slide12)

The tradition of exalting outstanding people was also widespread in Ancient Greece, where during the classical period idealized sculptural portraits of poets, philosophers, public figures. The authors sought to emphasize the range of activities of the person being portrayed, his public function, but did not care about preserving the individual traits of the person depicted (Homer as a poet, Pericles as a strategist). Portraits with a pronounced personality were the exception rather than the rule for that time (the portrait of Themistocles).

The turn of the 19th and early 20th centuries, at first glance, led to the abandonment of the principles created over the centuries portrait painting: the proportions of the model were destroyed, geometric figures. Attention was focused on revealing the complex range of human experiences, so external similarity turned out to be secondary (the work of the impressionists, cubists, avant-garde artists, etc.). Among outstanding masters this period - E. Degas, A. Toulouse-Lautrin, M. Chagall, P. Picasso. (slide 14-15)

In the twentieth century, Russian portraits are distinguished by genre and style diversity. Among its authors are painters M. Nesterov, I. Brodsky and others.

3. Conversation on Leonardo da Vinci’s painting “La Gioconda”.

(Slide 17-18)

Teacher.

Only out of all the huge number of portraits in the world, there is one that almost every person on earth knows about, but which, even after many years, keeps its own mystery. What kind of portrait do you think this is? (Students' answers.)

Gioconda! This name has become a household name.

Why does this portrait of Leonardo da Vinci still amaze people? Why does everyone who looks at the portrait try to solve the mystery of this painting, but it remains unsolved?

In the preface to the publication " Selected works“Leonardo da Vinci art critic A. M. Efros wrote that Gioconda is less of all a portrait of the wife of Francesco Del Giocondo, but an image of some kind of half-human, half-earthly creature, either smiling or gloomy. And A. M. Efros noted that Leonardo da Vinci did not do anything in vain. Each of his ciphers has a key and that for five centuries no one has found this key.

Some authors explain this impression from the face of Mona Lisa with Leonard’s famous “sfumato”. A prominent scientist, expert on the history and culture of the Italian Renaissance A.K. Dzhivigelov believes that with the help of “sfumato” it is possible to create “a living face of a living person.”

What is “sfumato”?

This Italian word means: soft, unclear, dissolving, disappearing. IN in this case This is a technique of chiaroscuro introduced into painting by Leonardo.

But “sfumato” is present in almost all the paintings of Leonardo da Vinci, and in the paintings of other artists, and, apparently, this is not enough to explain such an unusual, “now smiling, now frowning” expression on the face of the Mona Lisa.

A major researcher of the work of Leonardo da Vinci, M. A. Gukovsky, wrote about Mona Lisa that she herself peers at the viewer, and not just the viewer at her, and that the viewer feels awkward and anxious under this gaze and at the same time is unable to look away from a wonderful portrait.

So, in the face of Gioconda there is not only an extraordinary expression, but this expression changes all the time!

Consequently, in the person of Gioconda - movement. But all movement occurs in time. And the painting is static; it captures a moment!

Shortly before his death, a very large and almost paralyzed Leonardo da Vinci, with painful efforts, applied more and more brush strokes to his great picture, looking for how to give Mona Lisa’s face more and more contradictory expressions, how to achieve variability in facial expression in the same portrait, that is, variability over time.

And he didn’t write anywhere about his latest discovery - a miracle, but the expression on the portrait’s motionless face changes all the time!

This is how one portrait has occupied the minds for many, many years large number earthlings trying to unravel the discovery of a great scientist, artist, delights, amazes the audience, disturbs and disturbs some.

How does this portrait make you feel? (Students’ answers.)

4. Consideration of the tasks facing the artist when working on a portrait.

Teacher . Every realist artist must be able to depict a person in various positions, turns, and movements. Human - main object interest and images among artists.

The most important thing, the most expressive thing about a person is his appearance and especially his face. Therefore, an artist’s study of a person traditionally begins with drawing a head.

Of course, some amateurs, even without any preparation, draw “portraits” of their friends, especially in profile. Sometimes it turns out to be even similar. But in fact, these drawings, despite some similarities, remain flat and dead. In order for the head in the drawing to be alive, so that the artist can depict it in any tilt and rotation, he must study its anatomy. In order to clearly understand what and how any form is formed, he

must develop his artistic three-dimensional vision and master the correct sequence Images.

The study of anatomy gives the artist an idea of ​​what is common to every human head. This serves as a basis, a standard for comparison, for identifying that characteristic, individual thing that distinguishes each individual human head from a million others. And the heads are really all very different. This affects age, gender, and structural features of the skull.

In a child, for example, the facial part is relatively small compared to the entire skull, the bones of the skull are poorly developed, the face is plump, smooth, and the skin is tender. Over the years, the face lengthens, the protrusions of the chin are clearly defined, and folds appear at the eye sockets. In old age, the bony protrusions stand out even more. The muscles become flabby, the skin becomes wrinkled. In addition, each person's ears, nose, eyes, lips have their own characteristic features. The artist must notice all this. Of course, the resemblance to the original is the first and required quality portrait. But this, as mathematicians say, is a necessary but not sufficient condition. Behind external features we must guess the person, feel thoughts, experiences, inner life depicted. We must also feel the artist’s attitude towards him. Only all this will make the image a portrait, only this will make us peer, think and worry, even when the people depicted are completely unfamiliar to us.

Portrait is artistic image person. It should feel like a specific personality with the peculiarities of appearance, psychology, and moral character inherent in her, and only in her.

The portrait must perpetuate in a true, truthful, undistorted form the appearance of a certain real person. How can this be achieved? By copying it? No, the point is not to copy your appearance exactly. The main thing is to convey the essence of the person being portrayed.

Moreover, it is necessary to convey the object correctly, but not “ideally”, for which only the defining features of the original can be revealed.

A portrait should not flatter the original or “improve” it, but only strive to depict it in all its diversity of true features. Outstanding art critic V. Stasov wrote: “The task of a portrait painter is not to find beauty and ideality, but to represent existing things, life and nature, such as they are, with all truth and depth.”

Therefore, great artists in portrait works, with all the love and respect for those whom they depicted, could not help but perpetuate their weaknesses, their negative traits.

Physical education minute

1. Exercise for the neck.

Cross the fingers of your hands, place them on the back of your neck (tilt your head slightly forward) and try to straighten your head back with small swaying movements. Hands on your neck should provide some resistance. Such movements should be made 15-20, the pace is average.

2.Self-massage of the shoulder area.

Right palm Rub the left shoulder area in a circular motion. Perform similar rubbing with the left palm of the right shoulder. At first, the movements are light, superficial, and then with some pressure. Make 20 circular movements on one shoulder and the same on the other.

3. Exercise for arms.

Rocking movements with arms bent at the elbows. One hand goes forward and the other back, that is, approximately the same as when running. Make 20-30 movements, average pace.

IV. Practical work .

Exercise : image of female and male Russians folk images

(individual work or creating a common panel), developing skills in depicting a person. Pay attention to the fact that the figures in children's works should be in motion, they should not resemble an exhibition of clothes.

With additional possibilities - making dolls similar to folk rag or stucco figures for an already created village.

Task option : depiction of scenes of labor and peasant life. (slide 19-20)

During practical work The teacher makes targeted rounds:

1) control of workplace organization; 2) monitoring the correct execution of work methods; 3) providing assistance to students experiencing difficulties; 4) control of the volume and quality of work performed.

V. Conclusion

Lesson summary.

1. Exhibition of works.

2. Final word. Repetition and consolidation of material.

3. Analyze the lesson..

What did we review in class?

What did you learn in class today?

What was difficult? What worked and what didn’t?

How would you rate your work and the work of your classmates in class?

4. Reports grades for the lesson.

Teacher. In your best works, you were able to express your personal attitude towards what you depicted. Expressive compositions and original coloristic ideas add uniqueness to your works.

Homework : select pictures - illustrations with images different images of a person, try to describe the state, inner world, features, experiences of the depicted

Good afternoon dear guys!
We are with you today in class
let's get acquainted with the image
people in the art of different eras, with
the history of the emergence of the portrait.
Let's look at reproductions of paintings from
depicting portraits of different
eras, reproductions of paintings by Leonardo
da Vinci.

Drawings by students of Municipal Educational Institution "Secondary School" No. 9

Portrait is an image of a person or group of people in works of painting or sculpture. Portrait is one of the main genres of painting

10. The art of portraiture originated several thousand years ago. The first portraits were created by the Egyptians. They performed religiously magical

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17. Mona Lisa! this name has become a household name.

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Good afternoon dear guys! Good afternoon dear guys! Today in our lesson we will get acquainted with the image of a person in the art of different eras, with the history of the emergence of the portrait. Let's look at reproductions of paintings depicting portraits from different eras, reproductions of paintings by Leonardo da Vinci. Today in our lesson we will get acquainted with the image of a person in the art of different eras, with the history of the emergence of the portrait. Let's look at reproductions of paintings depicting portraits from different eras, reproductions of paintings by Leonardo da Vinci.

Love painting, poets! Only she, the only one, is given the ability to transfer the Soul of changeable signs onto the canvas. You remember how from the darkness of the past, barely wrapped in satin. Was the woman looking at us from Rokotov’s portrait again? Her eyes are like two fogs, half a smile, half a cry, Her eyes are like two deceptions, covered in the mist of failure. A combination of two riddles, half delight, half fear, a fit of insane tenderness, anticipation of mortal torment. When darkness sets in and a thunderstorm approaches, Her beautiful eyes flicker from the bottom of my soul.

For centuries, thinkers and artists have tried to find universal criteria for beauty and aesthetic value, but all their searches have been in vain. True, in the modern world this problem is of little concern to anyone. Today, unquestioned authorities have been replaced by a spirit of tolerance, and no one is anymore trying to reduce all the diversity of forms to a single ideal. In the modern world, it is believed that beauty is everywhere.

Classic canons of beauty still exist. They are changeable; what was beautiful from the point of view of the Greeks did not at all attract the Hindus and vice versa. In ancient India, the biggest compliment a woman could receive was when she was told that she had hips like an elephant. In Japan in the eleventh century, during the Heian era, it was considered good manners among aristocratic women to paint their teeth black. The Africans used special tricks to stretch their necks. And the Indians of the Amazon basin pulled back their lower lip excessively. No one really knows what it is (for example, in India) the beauty of a woman is, first of all, the inner content, the deep individuality that permeates all life, its drachma. Therefore, they rarely say that a woman is beautiful until she is fifty years old. Classic canons of beauty still exist. They are changeable; what was beautiful from the point of view of the Greeks did not at all attract the Hindus and vice versa. In ancient India, the biggest compliment a woman could receive was when she was told that she had hips like an elephant. In Japan in the eleventh century, during the Heian era, it was considered good manners among aristocratic women to paint their teeth black. The Africans used special tricks to stretch their necks. And the Indians of the Amazon basin pulled back their lower lip excessively. No one really knows what it is (for example, in India) the beauty of a woman is, first of all, the inner content, the deep individuality that permeates all life, its drachma. Therefore, they rarely say that a woman is beautiful until she is fifty years old.

There are faces like magnificent portals, Where everywhere the great appears in the small. There are faces that look like pitiful shacks, where the liver cooks and the rennet gets wet. Other cold, dead faces are closed with bars, like a dungeon. Others are like towers in which for a long time no one lives or looks out the window. She was unprepossessing and not rich. But from her window the breath of a spring day streamed onto me. Truly the world is both great and wonderful! There are faces - similarities to jubilant songs. From these notes, shining like the sun, a song of heavenly heights is composed. / Nikolay Zabolotsky /

Portrait is an image of a person or group of people in works of painting or sculpture. Portrait is one of the main genres of painting, sculpture, and architecture. Portraits can be: individual, double, group, intimate self-portrait, ceremonial, satirical.

The art of portraiture originated several thousand years ago. The first portraits were created by the Egyptians. They performed a religious and magical function: the soul of the deceased had to leave the body, and then return after the judgment of the gods to the mummy of its owner and dwell in it forever. It was necessary to maintain a portrait likeness so that the soul could find the body from which it flew out. Huge majestic sculptures were created in those days, one of the famous portraits is the portrait of Nefertiti (circa 1360 BC).

The masters of the High Renaissance - Leonardo da Vinci, Raphael, Titian not only created images of their contemporaries, but also reflected a whole world of feelings, experiences, moods. The masters of the High Renaissance - Leonardo da Vinci, Raphael, Titian not only created images of their contemporaries, but also reflected a whole world of feelings, experiences, moods. The models of Rembrandt and Velazquez (XVI-XVII centuries) enter into complex contradictions with the surrounding world, in whose portraits the lyrical and dramatic, bright and sad, cheerful and tragic are reflected. Velazquez (XVI-XVII centuries), whose portraits reflect the lyrical and dramatic, light and sad, cheerful and tragic.

Portrait in Russia Russia is developing its own school of portraiture, distinguished by its genre diversity. What is a genre? -Parsuna – techniques of realistic painting and icons. -The ceremonial portrait is characterized by a gradual departure from the customer’s requirements to reflecting him as a personality of his time. A large number of portraits from this time can be seen in the Irkutsk Museum of Art. In the 20th century, Russian portraits are distinguished by genre and style diversity.

Only out of all the huge number of portraits in the world, there is one that almost every person on earth knows about, but which, even after many years, keeps its own mystery. Only out of all the huge number of portraits in the world, there is one that almost every person on earth knows about, but which, even after many years, keeps its own mystery. What kind of portrait do you think this is? What kind of portrait do you think this is?

Gioconda! this name has become a household name. Why does this portrait of Leonardo da Vinci still amaze people? Why does everyone who looks at the portrait try to solve the mystery of this picture, but it remains unsolved. Some art critics believe that this is a portrait of the artist’s wife, others, a self-portrait, and others an image of a half-human, half-earthly creature. Why does this portrait of Leonardo da Vinci still amaze people? Why does everyone who looks at the portrait try to solve the mystery of this picture, but it remains unsolved. Some art critics believe that this is a portrait of the artist’s wife, others, a self-portrait, and others an image of a half-human, half-earthly creature.

Every artist must be able to depict a person in various positions, turns, and movements. Man is the artist’s main object of interest and depiction. Every artist must be able to depict a person in various positions, turns, and movements. Man is the artist’s main object of interest and depiction. The most expressive thing about a person is his appearance, and most importantly his face. Therefore, an artist’s study of a person traditionally begins with drawing a head. The most expressive thing about a person is his appearance, and most importantly his face. Therefore, an artist’s study of a person traditionally begins with drawing a head. Of course, some amateurs, without any preparation, by drawing a person in profile, achieve some resemblance, but such images turn out flat and dead. In order for the head in the drawing to be alive, so that the artist can depict it in any tilt and rotation, he must know anatomy in order to clearly know how any form is formed, but at the same time he must consistently depict the face, taking into account that the image of the head is different depending on age and gender and structural features of the skull. Of course, some amateurs, without any preparation, by drawing a person in profile, achieve some resemblance, but such images turn out flat and dead. In order for the head in the drawing to be alive, so that the artist can depict it in any tilt and rotation, he must know anatomy in order to clearly know how any form is formed, but at the same time he must consistently depict the face, taking into account that the image of the head is different depending on age and gender and structural features of the skull.

In a child, the facial part is relatively small, the face is plump and smooth, over the years the face lengthens, the protrusions of the chin are clearly defined, and folds appear at the eye sockets. In old age, the bone protrusions stand out even more, the muscles become flaccid, and the skin becomes wrinkled. In a child, the facial part is relatively small, the face is plump and smooth, over the years the face lengthens, the protrusions of the chin are clearly defined, and folds appear at the eye sockets. In old age, the bone protrusions stand out even more, the muscles become flaccid, and the skin becomes wrinkled. In addition, each person's ears, nose, eyes, lips have their own characteristics. But it is also important to guess a person’s character, feelings, thoughts, experiences behind external features. In addition, each person's ears, nose, eyes, lips have their own characteristics. But it is also important to guess a person’s character, feelings, thoughts, experiences behind external features.

He created incredible images, surely endowed for him deep meaning. Certainly, direct meaning We will not be able to find symbols of ancient images, but from rock paintings, bone sculptures, petroglyphs that have come down to us, we can judge how a person of that era imagined himself, what he considered essential and important.

To replace conditional and schematic images The Stone Age brings more personalized images next periods, indicating an increase in subjectivity.

The portrait genre captures qualities and properties valued within a certain culture, a certain community. Thus, art becomes a mirror in which the external appearance and inner world of a personality typical of its time are reflected in a generalized form.

The art of modernism creates a special picture of the image of a person, refuting existing ideas about a person, forcing one to penetrate into the most hidden corners of the soul, revealing the most disgusting properties of human nature.

Romanticism

The next turn to the study of oneself occurred, perhaps, in the work of the romantics, who were trying to discover something demonic in a person, to outline the movements of his soul. Aesthetic program forerunners of new modernist movements — Romantics and Symbolists pointed to the ambiguity and duality of human nature. A similar experience is planned in artistic prose and poetry, which is characterized by the motif of duality. The important thing is that a person now tries to comprehend his shadow. It is also important that he feels an impenetrable depth within himself, intuitively felt as the true essence of a person, his authenticity. A person no longer understands himself, does not know who he is, does not grasp the impulses that guide him, as if he submits to an irresistible force within him. Very indicative in this sense is a series of portraits of mentally ill people made by the artist T. Gericault in the Salpêtrière clinic in Paris. This means that now there is interest not only in various manifestations of the soul, complex, ambiguous characters, but also in abnormal, borderline mental states.

Symbolism

Painting

According to the Symbolists, man appears fundamentally indefinable. He is always the bearer of an incomprehensible secret. His appearance contains something more that does not fit into the idea of ​​\u200b\u200bthe human. Its essence is revealed either through natural forms (“The Swan Princess” or “Pan” by M. Vrubel), or through supernatural ones (his “Demon” or “Cyclops” by O. Redon). Any real character in M. Vrubel’s portraits he looks as if he is not a person at all. The heroes of the artist’s works contain an unknown secret, unraveling which you can get closer to understanding the world. In this position of the Symbolists one can feel the closeness to the ideas of mystical ancient teachings, which considered man to be a small Universe containing all the parts of the large Universe. Therefore, the main task with this approach was to know oneself, which was the key to the mysteries of the Cosmos as a whole.

Searching for the hidden inner essence from now on, representatives of all creative directions of modernism will work. Existential breakdown and confusion from not knowing who you are are embodied in the works of P. Gauguin. Just look at the title of the painting, “Who are we?” What are we like? Where are we going?" His colleague V. Van Gogh (whose work psychologists like to consider as a product of an unbalanced consciousness) creates a lost, lonely hero who, in any situation, always finds himself alone with himself, which is why he experiences anxiety and melancholy. Depressive moods and a feeling of internal breakdown in the works of P. Picasso are replaced by inspiration and the delight of knowledge akin to the pathos of positivism. Picasso likens himself small child breaking a toy to find out how it works. The artist hacks nature to get to the essence. Like a merciless investigator, he examines the model with different sides, rips open, tears into pieces, discards the unimportant and reassembles into a single image. The artist does not experience any particular tragedy. For him, this is a natural scientific method.

Literature

The pathos of domination over nature and the world as a whole and the desire to transform human nature, to modernize it in accordance with new rhythms of life, are characteristic of the futurists, led by the poet and writer F. Marinetti. Chief ideologist movement welcomed the offensive new era, in which speed dominates. He insisted on creating a new person complete with all the spare parts, including the brain, so that in case of malfunction or damage the non-functioning organ could be replaced with a new one. For a futuristic person, the following credo was approved: “courage, courage and rebellion, risk, audacity and indomitable energy, impudent pressure and scuffles.” The program of F. Marinetti, outlined in 1909 in the “First Manifest of Futurism” published in Milan, pleased the fascist regime. Any state in the world would dream of having an army of such ideal, strong soldiers, and it seems that some governments actually financed experiments to improve the human race. Please note that intelligence and ability to think are not included in the list of established properties of a new person.

Modern Art reflects a certain tendency of self-perception, which cannot be characterized as destructive, aggressive and decadent. And, of course, the experience of modernism is not accidental, it is not the whim of single artists cultivating their genius, defending their own uniqueness. Art of the 20th century persistently shows us that the time has come to abandon the previous image of a person, since it does not correspond to reality; that you need to look at yourself from different angles, even the most unsightly ones. The plurality of views, although associated with a loss of integrity, is necessary so as not to overlook something important and significant that can easily be missed in an idealized and complete picture.

In the art movements of the late 20th century, a person finds himself deprived not only of lofty aspirations and ideal features, but also loses his face, appearance, that is, external human characteristics. The irony characteristic of the art of the last decades of the 20th century brings a new emphasis: a dismantled, fragmentary person is quite comfortable, and not at all afraid, in this ruined world.

"Frankenstein, or the Modern Prometheus" by Mary Shelley

Unlike science, which does not limit itself to any ethical rules or obligations, art constantly seems to warn us about the dangers of research on humans. In literature, the motif constantly arises of how an inventor creates a monster from human material, which becomes a danger to humanity.

Doctor Frankenstein's monster from Mary Shelley's novel is a warning about the dangers of experiments on human nature. Any attempts to interfere with genetic material, the desire to accelerate natural development or change it in order to obtain a person with given qualities is a violation of the laws of nature, which cannot but have a catastrophic effect on all of humanity.

“Heart of a Dog” by M. Bulgakov

Long before experiments with cloning and experiments in the field of genetic engineering, M. Bulgakov expressed his attitude towards such research in a sad story “ dog's heart" This literary work is not just a parody of the search for methods of rejuvenation by transplanting organs from animals to humans, it is a desperate call to think about what we are doing. The hero of the story, Professor Preobrazhensky, makes a great breakthrough in science by grafting a human pituitary gland onto a dog's brain and... repents of his crime. He is depressed by his discovery, he is sure that experiments on nature can never end in anything good. Addressing his assistant, Dr. Bormenthal, the professor says: “You know, what kind of work I have done is incomprehensible to the mind. And now the question is - why? So that one day sweetest dog turn into such scum that it makes your hair stand on end.” To the assistant’s suggestion that maybe it’s a matter of heredity, and if it weren’t for the brain of a drunkard and a boor, but normal person, then the result would have been different, Preobrazhensky sadly replies: “You can graft the pituitary gland of Spinoza or some other such devil and make an extremely high-standing dog out of him. But what the hell, one wonders. Please explain to me why it is necessary to artificially fabricate Spinoza, when any woman can give birth to him at any time.” In this case, non-interference in the laws of nature is proclaimed not by a writer endowed with wild imagination, but by the doctor M. Bulgakov, and he puts his ideas into the mouth literary character, also a doctor. Preobrazhensky reflects in a dialogue with Bormenthal: “Here, doctor, is what happens when a researcher, instead of groping and in parallel with nature, forces the question and lifts the veil! Here, get Sharikov and eat him with porridge!”

"Ultima Thule" by Vladimir Nabokov

The mystery hidden in a person may turn out to be monstrous and unbearable, and have a solution that we are not ready to accept. The hero of Vladimir Nabokov's story “Ultima Thule,” Adam Falter, accidentally discovers the answer, but the truth about man turns out to be so terrible that not a single person can withstand this knowledge. The one who received the insight himself goes crazy, and the psychiatrist to whom he told the discovery could not stand it and died on the spot from a broken heart. One would expect that the truth about the world would be so great that it would make God out of man. But in the image of Falter, the writer shows us a creature completely devoid of human qualities: “...One glance at Falter was enough to understand that you can’t expect any human feelings practiced in earthly life from him, that you can’t love someone , to feel sorry, even only for oneself, to be kind to someone else’s soul and to have compassion for it on occasion, to serve goodness within one’s ability and habitually, even of one’s own taste - Falter has completely forgotten how to do all this, just as he forgot how to say hello or use a handkerchief.”

“I was in the Land of Memories...” by Vladimir Nabokov

Art of the 20th century no longer knows the pathos and intoxication of the greatness of man. The name of Man no longer sounds proud. As the writer V. Nabokov suggests, perhaps nature itself is protecting us from the solution while it keeps the answer to the Sphinx’s problem secret. A child's adaptation of a Greek myth only brings us closer to understanding that we are talking about a person. It is he who moves on four limbs in the morning, and on two in the afternoon; in the evening - on three (infancy, maturity and old age). In fact, the essence of man is a secret that the Sphinx possesses, has not been revealed and destroys those who dare to approach its disclosure. Material from the site

"Oedipus the King" by P. Pasolini

Another image emerges in this connection. This time from the field of cinema. In the film “Oedipus Rex,” directed by P. Pasolini, the hero, when meeting the Sphinx, tries to throw the monster off a cliff, rather than answer his question. The Sphinx asks Oedipus: “Tell me your secret. Tell me, what is your riddle?” But he violently pushes the chimera into the abyss, trying to kill the creature. And already falling. The Sphinx says: “In vain, young man, the abyss into which you are pushing me is in yourself.” Pazolini, of course, had Freudian ideas about the Oedipus complex in mind, but what he did in this episode, has a deeper symbolist meaning. In his interpretation, it turns out that Oedipus suspects that there is some kind of secret in his fate, but he does not want to know the truth and kills the last one who can tell him this truth. The Sphinx is the personification of that monstrous truth hidden in the depths of the subconscious, that chimera that constantly reminds of the existence of a terrible, unbearable knowledge about oneself. It is preferable for a person to kill a chimera than to come to terms with the idea that the monster is oneself.

S. Freud's theory

S. Freud's theory revolutionized art. A movement arose in painting and literature that turned the teachings of psychoanalysis into its own methodology. Trying to move towards the inner, to reach the depths, the surrealists, following S. Freud, present a person as a being whose activity is motivated exclusively by subconscious impulses. Trying to get to the contents of the unconscious, which can reveal themselves in dreams, fantasies, delusions and other states in which the power of consciousness is weakened, the surrealists actively used alcohol and hallucinogenic substances.

Salvador Dali

S. Dali did without these means and acted differently. He fell into a half-asleep, trying not to fall asleep and at the same time not to stay awake. In this state, he waited for the visions to appear, which he then transferred to the canvas. He called his artistic method paranoiac-critical, since the images themselves and their origin are akin to the delusional visions of a paranoid person. But since Dali seemed to be observing his illusions from the outside, without surrendering to their power, he believed that he could be critical of them. The artist argued that no one could understand these fantasies and the works that arose from them: neither himself, nor art critics, nor a simple viewer. Man is closed to knowledge here too. Monstrous hidden thoughts and desires, manic ideas and perverted desires - all this became the theme of art. Man can no longer hypocritically hide from himself those passions and vices with which he is endowed and which, it seems, are part of his nature.

6th grade Fine Arts teacher Victoria Viktorovna Matypova The image of a person is the main theme in art 900igr.net

goal To acquaint students with the image of a person in the art of different eras, with the history of the emergence of the portrait; develop an understanding that a portrait image should express a person’s character, his inner world; activate cognitive interest in the world around us and interest in the learning process.

Portrait is an image of a person or group of people in works of painting, sculpture, and graphics. Necessary Requirement presented for a portrait, the transfer of individual likeness. The word “portrait” itself comes from Latin. It can be translated as "extracting the essence", i.e. identification of internal content.

Art has brought to us the faces of different eras and peoples. We see them as they imagined themselves, but each image for us is more than a likeness of one person. In each image you can see the ideals of the era, an understanding of the world around us, and the nature of life. And this is exactly what we especially value in portraits. An artist's understanding of life enriches our understanding of ourselves. F. Lippi. Fragment of a temple painting. Fresco. Italy. XV century

The art of portraiture originated several thousand years ago. The first portraits were created by the Egyptians. One of the famous portraits of that time is the portrait of Nefertiti.

During excavations in Fayum, near Cairo, tablets with portraits made with wax paints were found. Stunning, realistic images of people who lived two thousand years ago appeared before the amazed researchers. Their gaze is turned to us, in their images there is clearly a predominance of the spiritual over the physical.

Roman portraiture is characterized from the very beginning by close attention to the depiction of individual features. Portrait of Emperor Philip Marble. Ancient Rome. I century

In Russian art, artists first turned to creating portraits in the 17th century. And at first they were painted using exactly the same method as icons - on a board with tempera paints. Such portraits were called parsuns, from the word “person”. Since the time of Peter I, portrait art in Russia began to develop rapidly.

By the end of the 18th century. Russian painters have achieved perfect mastery. Portraits were usually divided into ceremonial and chamber.

The ceremonial portrait was usually intended to show the hero's social position. Such paintings have an upbeat, solemn character. O. A. Kiprensky. Portrait of E. V. Davydov. Oil. Russia. XIX century

Of no less importance was the chamber portrait, in which great attention was paid individual characteristics person. His face is usually close to the viewer, confidentially revealing the hero’s inner world. At this time, the very complex and subtle ability to convey subtle, reverent shades of experience was especially valued. The portrait of Maria Lopukhina is the most famous of the portraits - images of youth, a thoughtful and at the same time slightly playful girl in a white dress against the backdrop of a landscape

Conclusion: a portrait is an artistic image of a person. It should feel like a specific personality with the peculiarities of appearance, psychology, and moral character inherent in her, and only in her.