Runge is an artist. See what "Runge, Philipp Otto" is in other dictionaries. Philip goes and tells Andrey about this; and then Andrew and Philip tell Jesus about it
- (Runge) (1777 1810), German painter, graphic artist and art theorist. One of the founders of romanticism in German painting. He studied at the Academy of Arts in Copenhagen (1799-1801) and Dresden (1801-03). In symbolic and allegorical compositions, Times of Day... ... Art encyclopedia
Runge Philipp Otto- (Runge) (1777 1810), German painter and graphic artist, art theorist. One of the founders of romanticism. He painted portraits, which are characterized by close attention to nature combined with latent emotionality (“The Three of Us,” 1805); V… … encyclopedic Dictionary
Runge, Philip Otto- Philipp Otto Runge. Portrait of the Huelsenbeck children. RUNGE (Runge) Philipp Otto (1777 1810), German painter and graphic artist, art theorist. Representative of early romanticism. Poignant portraits (“The three of us”, 1805), allegorical compositions... ... Illustrated Encyclopedic Dictionary
Runge Philipp Otto- Runge Philipp Otto (23.7.1777, Wolgast, Mecklenburg, ‒ 2.12.1810, Hamburg), German painter, graphic artist and art theorist. He studied at the Copenhagen (1799‒1801) and Dresden (1801‒1803) Academy of Arts. One of the founders of romanticism in German... ...
RUNGE Philipp Otto- (1777 1810) German painter and graphic artist, art theorist. Representative of early romanticism. True, poignant portraits (The three of us, 1805), allegorical composition Morning (1808) ... Big Encyclopedic Dictionary
Runge- Last name Runge, Karl (1856 1927) German mathematician and physicist Runge, Boris Vasilyevich (1925 1990) actor of the Moscow Runge Satire Theater, Vladimir Fedorovich (born 1937) Soviet and Russian designer. Runge, Friedlieb Ferdinand (1794 ... Wikipedia
Runge- Philipp Otto (Runge, Philipp Otto) 1777, Waolgast, Pomerania 1810, Hamburg. German painter, draftsman. He studied in 1799-1801 at the Copenhagen Academy of Arts with N. Albigor, then in Dresden (1801-1803). From 1804 he worked in Hamburg. In the early... ... European art: Painting. Sculpture. Graphics: Encyclopedia
Runge- (runge) Philipp Otto (1777, Wolgast, Mecklenburg - 1810, Hamburg), German painter, graphic artist, poet and art theorist; representative of romanticism. He received a commercial education, then studied at the Copenhagen (1799–1801) and Dresden academies... Art encyclopedia
Runge- (Runge) Philipp Otto (23.7.1777, Wolgast, Mecklenburg, 2.12.1810, Hamburg), German painter, graphic artist and art theorist. He studied at the Copenhagen (1799-1801) and Dresden (1801-1803) Academy of Arts. One of the founders of Romanticism in German... ... Great Soviet Encyclopedia
Runge F. O.- RUNGE (Runge) Philipp Otto (17771810), German. painter and graphic artist, art theorist. One of the founders of romanticism. He painted portraits, in which close attention to nature was combined with latent emotionality (The three of us, 1805); V… … Biographical Dictionary
Books
- Classicism and romanticism. Architecture. Sculpture. Painting. Drawing 1750 - 1848, This book is dedicated to the fine arts and architecture of the era of classicism and romanticism. Richness and diversity artistic creativity in the period between Rococo and realism, of course... Category: Cultural studies. Art history Publisher:
German romantic artist, the largest - together with Caspar David Friedrich - representative of romanticism in German fine art
Biography
Was born in large family shipbuilders in Western Pomerania, which was under Swedish control at that time. His schoolteacher was Ludwig Kosegarten. Since 1799 at financial support brother (subsequently his works were published articles, letters and notes by the artist) studied painting with Jens Juel at the Copenhagen Academy. In 1801, he became close in Dresden with K. D. Friedrich and Ludwig Tieck, and delved into Boehme’s mystical treatises, to which Tieck drew his attention. In 1803, he met and became friends with Goethe, with whom he shared an interest in the problems of color - the natural philosophical and natural science searches of both, fed by different sources, went in a similar direction: Goethe, who was always more than reserved about romanticism, spoke with constant approval about creativity and theorizing Runge. In 1804 he married and moved to Hamburg. In 1810 he published a treatise on color separation and color classification, The Color Sphere (Goethe's Doctrine of Color appeared in the same year). Last years worked on a large mystical-philosophical painting project, Four Times of the Day, the work remained unfinished. Died of tuberculosis.
Creation
- Triumph des Amor (1800)
- Die Heimkehr der S?hne (1800)
- Die Zeiten (1803)
- Die Lehrstunde der Nachtigall (1803)
- Die Mutter und Kind an der Quelle (1804)
- Pauline im gr?nen Kleid (1804)
- Wir drei (1805)
- Die Ruhe auf der Flucht (1805-1806)
- Die H?lsenbeckschen Kinder (1805-1806)
- Der kleine Morgen (1808)
- Der gro?e Morgen (1808)
- Arions Meerfahrt (1809)
In addition to portraiture and visionary painting, book illustrations to the works of L. Tieck (1803), acted as a poet and prose writer, processed folk tales(two of these adaptations were included in Grimm's Fairy Tales). Of great historical and cultural interest are letters from Runge to his brother Daniel, Goethe, Tieck, Clemens Brentano and other addressees.
Posthumous fate
Much of Runge's heritage was destroyed in a fire
Germany in early XIX V. experienced a socio-political upsurge, resistance to the conquests of Napoleon and liberation war 1813 made German patriotism universal, and the subjects of three hundred German dwarf states realized themselves as a single people.
In a fragmented country, almost every city was a capital or university center. German sovereigns often sought to compensate for their political weakness by patronizing the sciences and art.
The most enthusiastic and generous of these patrons on the throne turned out to be the Bavarian king Ludwig I.
In those years in Germany there was a strong passion for the Middle Ages, interest in national history and culture. Celebrations in memory of the German Renaissance master Albrecht Dürer were periodically held in Nuremberg. The Boisseret brothers - Sulpicius (1783-1854) and Melchior (1783-1859) - collected monuments of ancient art. Their gallery in Stuttgart numbered over two hundred works of the 14th-16th centuries, most of which in 1826 joined the collection of the Munich Pinakothek (now this museum is called the Old Pinakothek, in contrast to the New, where works of painting of the 19th-20th centuries are stored).
Germany played an exceptional role in the history of romanticism - a movement in European culture late XVIII - first half of the 19th century V. Exactly German writers and the critics were its first theorists. The book of Wilhelm Heinrich Wackenroeder (1773-1798) “The Heartfelt Outpourings of a Monk - a Lover of the Arts” (1797) became a manifesto of romanticism in the fine arts: it proclaimed a decisive rejection of any “rules of beauty” and declared sincere feeling to be the basis of creativity. The term “romanticism” itself was introduced by Friedrich Schlegel (1772-1829), a German critic, philosopher and writer.
PHILIP OTTO RUNGE
(1777-1810)
Philipp Otto Runge can be called one of the most prominent representatives of romanticism in German painting of the first half of the 19th century.
The artist was born in Wolgast (a city in modern Poland) in the family of a ship owner. At eighteen, he came to Hamburg to study commerce, but felt an inclination towards painting and began taking private drawing lessons. In 1799-1801 Runge studied at the Academy of Arts in Copenhagen, then moved to Dresden, where he entered the local Academy of Arts and met the poet and thinker Johann Wolfgang Goethe. Returning to Hamburg in 1803, he took up painting and at the same time served in the trading company of his older brother Daniel.
Most creative heritage Runge makes portraits. The careful elaboration of details, the rigidity of lines and the artless purity of colors of some of his works are reminiscent of the creations of self-taught painters.
These are precisely the portraits of the children of the Huelsenbeck family (1805) and the artist’s parents with their grandchildren (1806).
The painting “The Three of Us” (1805, destroyed in a fire in 1931) depicted the artist together with his fiancee and brother Daniel. Each of them is immersed in their own thoughts, but this does not separate the young people: they do not need words to understand each other’s experiences. This mood of “silent brotherhood” is enhanced by the forest landscape, painted in a clear, dry manner; The characters in the picture are as inseparable as the trees of the same forest. Back in 1802, Runge conceived a pictorial cycle depicting the times of day. Morning, day, evening and night, replacing each other, were a symbol for romantics and human life , and earthly history; they embodied the eternal law according to which everything in the world is born, grows, ages and goes into oblivion - in order to be reborn again. Runge deeply felt this universal unity, as well as the inner kinship different types
art: he intended to exhibit “Seasons of Day” in a specially designed building, accompanying them with music and poetic text.
“Sometimes,” Runge wrote, “color excites with its pallor, and sometimes attracts with its depth. When do the green of a meadow, the rich color of dewy grass, the delicate foliage of a young beech forest or a transparent green wave attract you more? Then, when they are in the sparkling rays of the sun or in the tranquility of the shadow? In the variety of colors, in the complex relationships of color, light and shadow, the artist saw the key to the secrets of the Universe, the revelation of the World Spirit - as some romantics called God, who seemed to them dissolved in nature. “We are unable to express how each color touches us,” noted Runge’s friend, the German romantic writer Ludwig Tieck, “for colors speak to us in a more tender language. This is the World Spirit, and he rejoices that he can give an idea of himself in thousands of ways, while simultaneously hiding from us... But a secret magical joy embraces us, we recognize ourselves and remember some ancient, immeasurably blissful spiritual union.”
Runge died of tuberculosis at the age of thirty three years: all of his work occurred in the last seven years of his life. In his picturesque myths, he embodied the multifaceted unity of God, the world and man - the main idea of German romantic philosophy.
Translation from German by Sergei Averintsev
My days were sad
In a hopeless thought the spirit is frozen,
The soul had no strength left,
And no one wanted to hear
How dark and languid my heart trembled,
How it froze in the last melancholy,
How dejected
It smelled
An unbearable sight for all living things:
The darkness of the underworld, decay, decay and darkness.
But the will endured; in the very abyss of troubles
A blessed light was shed on my pain.
At the hour when hopes are crushed
The blood was freezing,
The sweet image was a consolation to me;
Unloved, I kept love everything, -
Until the time when my soul is sad
The dear image has sunk into the muddy, dead chaos
And sick spirit
He became dumb and deaf;
The bottomless mouth opened up; emptiness around:
There is not a spark in my blood, there are no stars for the eye.
And no matter how much the heart prayed for the light and the sky,
It found no participation!
The growing point, the ovary of all flowers,
The purest fire, the joy of being!
Open to anticipation
My future appeared to me.
But the living flame of the hearth has cooled,
The ashes are getting colder, everything around is distasteful,
I. gaping throat
Having seen the emptiness,
I asked myself: am I born for this?
Is this the fate condemned to in the world?
God, there is no peace for me, there is no satisfaction for me;
Shorten the time of my languor!
Or am I really abandoned by God?
I, who dared to grumble and blame,
Unable to bear a strict sentence
Is it good to accept the incomprehensible?
I failed to sanctify every moment of bliss1
Isn’t it then that the image of perfection is taken away,
My sweet image
No longer with me?
Take away the time destined for me with him,
Take away eternity; the burden is unbearable for the soul.
In a word, you called me out of chaos,
You gave everything, and everything, and you took everything!
No! Love without measure and limit,
God, was my groan really heard?
Has my blindness really seen:
Having given everything, will I rise healed?
Is it given to me to experience what I prayed for?
Your mercies, Good One, I want to tell you.
You gave light to the spirit,
You gave the eye color!
In evil days, when melancholy oppressed the mind,
The transparent meaning of the flower became dark to him,
But now I see: refracting in the paint,
A ray is revealed and things drown in God’s caress.
Has blackness darkened my heart?
And it was scary, like a vision of evil?
My beloved stood before me,
And the soul lived in her eyes.
At the hour when the heavenly ray was revealed to me,
My spirit was united with the fullness of the earthly.
Everything is one: a gift
Mountain, low heat.
The one who is unknown higher life light,
There is no point in this life either.
Your eyes are dark: drawing moisture
A treasure trove, I absorb strength and courage.
The world, alive with secret rays,
All in bloom lies in front of me.
I see a fiery gaze, a beloved gaze,
And your tenderest heat touches your cheeks,
The blood flows faster, the veins come to life,
The entire body composition is instantly filled with strength!
Your eye
Strong magic;
If you shake hands, a living spring gurgles,
A fleeting moment is perceived into the mystery of eternity.
So because he was faithful to faith without faith,
Today I am loved without measure.
Poetry of the German Romantics / Comp., preface. and comment. A. V. Mikhailova. – M.: Artist. lit., 1985. – pp. 247-249.
Comment by A. V. Mikhalov:
"PHILIP OTTO RUNGE
The remarkable North German artist Philipp Otto Runto (1777-1810) was born in the city of Wolgast in Pomerania, at that time a Swedish territory. His teacher was G.-L.-T. Kosegarten, sentimentalist poet and "Ossianist" who had strong influence and on Caspar David Friedrich. Acquaintance with Tieck subsequently had some impact on Runge’s state of mind, but still formerly an artist, who studied painting in Hamburg and Copenhagen, was so imbued with the romantic moods that seemed to be floating in the air and refracted them in such a unique way that Tick, upon meeting him, was amazed by his drawings, which strived for graphic laconicism and hieroglyphics in conveying the most abstract romantic fantasies. The graphic cycle “Seasons of Day” was analyzed by Görres in an inspired review (1808), which did not at all resemble the usual examples of this genre; Runge's research in the field of color theory was approved and highly appreciated by Goethe, who sincerely sympathized with Runge and spoke warmly about him. Just before the death of the artist, who died of tuberculosis, he wrote a long, heartfelt letter to Brentano, who was also occupied with the problem of a graphically sparse and deeply meaningful image - almost the same days, the artist himself wrote a letter to Brentano, their letters met on the way, but the poet’s letter had already Runge was not found alive. Runge was constantly attracted by the need to express himself in words, to explain in it the essence of his images, and he showed himself, but without success, in literary creativity. One of his fairy tales (written in the Low German dialect) - “About the Almond Tree” - appeared in Arnim’s “Newspaper for Hermits”, together with another - “About a Fisherman and His Wife” - it was included in the “Fairy Tales” of the Brothers Grimm. Both remained in the memory of German readers. The second of the fairy tales is the source of Pushkin’s “Tales of the Fisherman and the Fish.” Runge wrote many poems, but did not seek to publish them. They were included in the major edition of his letters and literary works, published by his brother Daniel in 1840-1841” (p. 476).
The color body of O. Runge is a globe, along the equator of which there is a 12-part color circle.
F.O. Runge Runge's home in Wolgast, now a museum.
Born into a large family of shipbuilders in Western Pomerania, which was under Swedish control at that time. His school teacher was Ludwig Kosegarten. From 1799, with the financial support of his brother (his works later published articles, letters and notes by the artist), he studied painting with Jens Juel at the Copenhagen Academy. In 1801, he became close in Dresden with K. D. Friedrich and Ludwig Tieck, and delved into Boehme’s mystical treatises, to which Tieck drew his attention. In 1803, he met and became friends with Goethe, with whom he shared an interest in the problems of color - the natural philosophical and natural science searches of both, fed by different sources, went in a similar direction: Goethe, who was always more than reserved about romanticism, spoke with constant approval about creativity and theorizing Runge. In 1804 he married and moved to Hamburg. In 1810 he published a treatise on color separation and color classification, The Color Sphere (Goethe's Doctrine of Color appeared in the same year). In recent years he has been working on a large mystical and philosophical painting project, Four Times of the Day, the work remained unfinished. Died of tuberculosis.
Philipp Otto Runge (1777-1810), an outstanding painter of the romantic school, was a contemporary of Goethe. He made significant contributions to the theory of color. He understood that the entire variety of colors cannot be represented in the form of a color wheel or spectrum band and proposed a system of color arrangement reminiscent of appearance globe.
Runge color ball.
On the equator line, Runge applied the pure colors of the color wheel. He placed the color white at the north pole and black at the south pole. On the meridians (using degrees of longitude) he was able to represent all the colors obtained by mixing pure colors with white and black. All the clouded colors were systematically located inside the ball. For the first time in history, Runge linked the arrangement of flowers in space with their aesthetic and artistic use.
Schematic representation of the Runge color body
As an artist, he was interested in the issue of using low-saturated colors (with a more or less significant admixture of gray) when depicting color perspective. In his system, he used the so-called background color rows as typical color series. These are transverse lines that run along the longitudinal section of the color globe from pure colors on the surface of the ball to gray flowers in the region of the achromatic axis. The placement of colors in space, proposed by Runge, subsequently underwent a number of improvements, but the basic principle of placing the entire variety of colors in a three-dimensional system was recognized as correct and was borrowed by all his followers.
From the correspondence between Runge and Goethe it is clear that their views on the effect of color on humans coincided.
Goethe's contemporary artist Otto Runge was the first to construct a color solid. I know that his theory appeared simultaneously with Goethe’s, that they corresponded and discussed whole line questions. I can’t say for what reason Runge nevertheless included a circle built on blue-red-yellow as the basis of his model. Interestingly, according to Runge's scheme, a mixture of these three colors also produces gray. My own mixing experience is similar, as is the formation of gray from cyan-magenta-yellow. But black and white flowers Runge assigns a completely different role, transforming a flat color wheel into a three-dimensional ball.
The model is no longer built on six colors, but on 12, i.e. Runge uses 3 primary colors, their 1st order mixtures and pairwise mixtures of 6 colors of the already familiar circle, which form new 6 2nd order colors. A Runge ball is sometimes called a "globe".
If in a spherical Runge body the color circle is the “equator”, then the black and white points are two poles, in the directions towards which new shades are obtained spectral colors. Moving towards the white pole, the colors gradually lighten, become whiter, losing their original brightness (upper left ball). Approaching black, they thicken and darken (upper right ball).
The pictures below illustrate what is happening in the center of the ball. To do this, it is cut along the equator, as a result of which we again find ourselves in a flat circle. In a horizontal section along the equator, pairs of opposite (complementary, complementary) colors, rushing towards each other (mixing in different proportions), lose their color saturation and in the center, with equal shares in the mixture, form gray. If you cut the ball vertically, from pole to pole, then the polar colors (black and white), coming closer (or mixing), will give the same gray in the center. The model thereby reflects a universal principle and can be considered as a fairly holistic law of color harmony.
The same equator cutting operation can be done using a CMY computer model with the same result:
Sections of a color ball along the equator
The picture shows two projections of a ball, from which quarters are cut out. On the left is a top view (from the white pole side), on the right is a bottom view (from the black pole side), which is recorded in the left semicircles of both projections. The right semicircles in black frames are sections, the “insides” of the ball, where you can see a gray “dot” in the very center and a gradual “fading” (loss of chromaticity) of color from the equator to this core. All mixtures were obtained virtually mathematically, since this process made full use of the capabilities of computer color modeling.
Both in the Runge ball and in the computer model, spectral pairs mix with each other to form gray. We must also take into account that in the computer model the colors practically coincide with the spectral ones, in contrast to the paints that were used by Goethe, Runge, and many other color researchers. And if this is taken into account, then -
In my opinion, two conclusions can be drawn:
Or computer CMY was created in such a way that “by design” mixtures of primary colors add up to gray, not black. Then, however, it is not clear why a widely used model should obviously contradict the theory on which it is based?
Either black cannot be obtained from the three primary colors at all, and the theory still does not quite correspond to practice. And this version sounds much more convincing to me.
