Image of plant motifs. Beschastnov N.P. Fine motifs Floral motifs in art clothing of floral residents

26.06.2020

Ministry of Education and Science of the Russian Federation

Federal Agency for Education

State educational institution of higher professional education

"Tobolsk Social and Pedagogical Academy named after. DI. Mendeleev"

Faculty of Art and Graphics

Department of Design and Economics

Coursework on the topic:

Stylization of plant motifs when making the artistic panel “Flowers”

Tobolsk - 2010

Introduction

The language of fine art is multifaceted and diverse. One of the techniques that fine art resorts to is stylization. Stylization is a convention of expressive language, which is achieved by generalization, the purpose of which is to make the object more expressive. Each material dictates its own style of styling.

In the process of working on a work, and in particular on a decorative panel, artists resort to using such a technique as stylization, which allows not only to achieve expressiveness in the color composition, but to emphasize the artistic image. Not only the decorative and applied arts, but also easel artists - Matisse, Klimt, the Jack of Diamonds, the World of Arts artists, Gauguin, Andy Warhol and many others - turn to stylization.

Plant motifs are often found in the works of many artists. The depiction of plant elements in a composition can be stylized in different ways; the range of options for creative understanding of the objective world by the artist is different - from a light stroke of contours with a line to a complex tonal and color spatial form.

Based on the above, the goal of the course work was determined - using techniques of stylization of plant motifs to create a decorative panel.

During the work, the following tasks were solved:

Consider the concept of stylization, its types and methods of implementation;

Analyze the works of artists and identify the stylization techniques used

identify the specifics of using stylization techniques when working on a plant motif;

study the features of working on a composition using the oil painting technique;

deepen knowledge in the field of constructing a composition from stylized motifs and rhythmic organization of motifs;

Object of study: stylization as a technique for creating a work of art.

Subject of research: features of the development of decorative panels based on stylization of the color and shape of the plant motif.

The following research methods played an important role in our work:

artistic analysis of a work of art,

method of stylistic analysis,

comparative historical analysis.

In the course of our work, we relied on the following sources. G.M. Logvinenko “Decorative composition”, which introduces the basic principles of organizing a decorative composition, the properties of colors and options for creating color harmonies, methods and techniques of stylization. The book by E.V. Shorokhov “Fundamentals of Composition” outlines the theoretical and practical issues of the composition course. The author comprehensively examines the basic laws of composition in various types and genres of fine art, including monumental art.

Issues of the technical process of working with painting materials are discussed in the textbook “Painting”, which sets out the basics of the theory, methodology and practice of painting.

Chapter 1. Stylization as a means of creating expressiveness of a work

.1 Techniques of stylization in works of art

Stylization is a decorative generalization and highlighting of the characteristic features of objects using a number of conventional techniques. You can simplify or complicate the shape, color, details of an object, and also refuse to convey volume. However, simplifying a form does not mean impoverishing it; simplifying means emphasizing the expressive aspects, omitting insignificant details. Stylization is a necessary and natural method in decorative art, posters, monumental painting, silhouette graphics, applied graphics and other types of art that require decorative rhythmic organization of the whole.

Styling can be based on various principles.

The main visual characteristic of the depicted object can be the shape of the object, its outline, silhouette, contour. Extreme simplification, laconicization of form and the use of a certain style of image will be one of the methods of stylization. In the process of generalizing the form, the artist, while maintaining plastic expressiveness, highlights the main and typical, abandoning secondary details.

The first stylization technique is to simplify color relationships. All shades observed in real form, as a rule, are reduced to several colors. A complete rejection of the real color is also possible. Simplification of tonal and color relationships, sometimes reducing them to a minimum, to two or three tones, is another condition for stylization (Appendix 1, Fig. 1)

You can change the quantitative composition of tones and colors; by abandoning some, you can additionally introduce new colors.

Simplification or rejection of the three-dimensional form of objects, by switching to a conventional planar applicative interpretation, presupposes a free interpretation of color lightness relationships, the search for new color schemes of colors, except in cases where the task involves maintaining the coloristic unity of objects or composition.

The next stylization technique is the rhythmic organization of the whole. The rhythmic organization of the whole is understood, first of all, to bring the shape or design of the depicted object to a certain geometric, ornamental or plastic configuration. Images of a symbolic nature have a different rhythmic organization. Sometimes the ornamental, object, and plot images themselves represent symbols or a system of symbols. In symbolic images, lines and spots can develop into more complex combinations that lack specific narrative meaning. Then stylized images of a geometric nature appear. They may retain the plot basis, but the emphasis will be on strict alternation of elements and their color combinations or unconditional adherence to some geometric shape. (Appendix 1, Fig. 2)

On the other hand, the fundamental principle of any geometric form is some really existing form, generalized and simplified to the limit.

The process of transforming real images of nature into stylized ones is complex in its essence; it is sometimes associated with active transformation and deformation of the object, with its exaggeration or complete rejection of individual properties of nature. At the same time, a stylized image is capable of reflecting the objective forms of nature in its own way, selecting the most typical and characteristic, metaphorically retelling it and thereby giving it a fundamentally new figurative content. (Appendix 2, Fig. 1)

There is a method of stylization in which the basis is the decorative form of the depicted object, found through an expressive contour or silhouette filled with ornamental elements. This form can be found in various ways: firstly, on the basis of the natural properties inherent in the object (color, texture, etc.); secondly, based on the depicted properties: objective (flowers, leaves), geometric (lines, squares) and a combination of both. (Appendix 2, Fig. 2)

When transforming a natural form into a stylized motif, you must first find a plastic image of the motif that is convincing in its artistic expressiveness. In fact, any transformation of reality is carried out with the aim of identifying new aesthetic criteria.

The world around us is largely rhythmic and ornamental. This can be seen by looking at the arrangement of leaves on a branch, veins on a leaf, rushing clouds, tree bark, etc. It is important to catch what is most characteristic in the plastic form of the observed motif and to realize the natural connection of elements in a natural pattern.

It is thanks to the different rhythmic movements of the motifs, as well as the elements within each motif, that the artist is able to distinguish one motif from another. The artist follows the path of generalizing plant forms, trying to identify the most important, most characteristic.

Speaking about ornamentation, we should not forget about the plastic form of the motifs, the beauty and expressiveness of the lines that draw this form. When generalizing a form, it is not always necessary to abandon small details, since they can give the silhouette of the form greater decorativeness and expressiveness.

In the process of stylization, such means of artistic expression as line, spot, and color play an important role.

In working on the stylization of motifs, a special role belongs to the linear drawing, since the line most acutely conveys all the nuances of the plastic form, the features of the transitions of one element to another, and the rhythmic movement of these elements. However, some parsimony of linear language can lead to dryness and even schematism

With a linear interpretation of the motive, three solutions are distinguished:

the use of thin lines of the same thickness;

the use of thick lines of the same thickness (if the drawing needs to be given activity, tension, monumentality);

use of lines of different thicknesses. This solution has great visual and expressive potential, but is quite difficult. To achieve integrity, lines of the same thickness must unite, forming their own pattern in the composition, which must resist the pattern of lines of a different thickness. More precisely, it should be a composition of lilies of different thicknesses. (Appendix 3, Fig. 1,2,3)

Spot stylization of motifs contributes to maximum silhouette generalization of forms. It can be a black silhouette on a white background or a white silhouette on a black background. The artistic language of the spot is strict and restrained. However, the spot can also reveal an infinite variety of conditions. (Appendix 4)

The most widely used is the linear-spot interpretation of motifs. In this case, it is very important to organize spots and lines into a harmonious composition. It is important to structure the spots into a single composition, interesting in itself, in terms of rhythm and silhouette. It is also necessary to logically and harmoniously connect the lines with the rhythmically scattered spots, so that both of them, when combined, create a holistic graphic image. It is worth noting that the stain can be used as a lining for a linear solution to the motif. (Appendix 5)

Considering the features of stylization of forms, it should be noted that the color and flavor of motifs are subject to artistic transformation, and sometimes radical rethinking. The natural color of an object cannot always be used in a stylized composition. The chosen motif can be solved in a conventional color, a pre-selected color, in a combination of related or related-contrasting colors. It is in this case that it acquires the convention characteristic of stylization.

1.2 Floral motifs in art

Flowers - a symbol of spring, the personification of the brightest and purest on earth, were sung in hoary antiquity. Artists have always been able to rejoice and be surprised by flowers. In Ancient Egypt, temple columns were made in the form of bunches of lotus or papyrus, and capitals were made in the form of ready-made painted buds. Ancient Chinese and Japanese scrolls have brought to this day the vibrant colors of peonies, wisteria, and lilies. Without flowers, decorative and applied art would be endlessly impoverished. (Appendix 6, Fig. 1, 2)

Russian art has repeatedly turned to floral motifs. Artists of various creative aspirations have addressed this topic. So, I.I. Levitan, being primarily a landscape artist, paid attention to floral still life.

In the master's compositions, arrangements consisting of a large number of colors were common. Levitan attached great importance to the painting of flowers in mastering color and color relationships. Composition “Spring. White Lilac" is interesting from the point of view of technique and color scheme. Pastel with its velvety texture and especially the method of laying out large color planes, along which a different color is applied on top with pencil strokes, as if glazing - this technique made it easier for Levitan to generalize the forms and link them together. This achieved a more still life and decorative solution to the motif of a bouquet of lilac flowers in a pot. We find all this in an even more developed form in the still lifes “Bouquet of Cornflowers” and “Coleus”. (Appendix 7, Fig. 1,2)

In Russia in the 90s. XIX century many artists K. Korovin, Z.E. Serebryakova, V.A. Serov, A.Ya. Golovin, N.E. Grabar turned to floral motifs. These artists create still lifes for a special analysis of color, shape, decorative composition, rhythm; flatness appears in pictorial solutions.

The incentive for K. Korovin to create works has always been a concrete reality, new and changeable at every moment. Therefore, for example, roses painted at different times - “Flowers and Fruits”, “Roses and Violets”, “Roses”, “Still Life. Roses,” each time reflecting the uniqueness of the moment, a new mood. But the master always does this - glorifying the joy, multicolor, richness of earthly life. The canvas “Flowers and Fruits”, sparkling with the sun in every centimeter, is a true masterpiece of Russian impressionism. (Appendix 7, Fig. 3)

The master of theatrical and decorative art A. Golovin also addresses the theme of still life. In his still lifes “Porcelain and Flowers”, “Girl and Porcelain”, “Still Life. Phloxes”, the master’s characteristic style was revealed - graphic, clear contours, planar patterning, exquisite coloring of the image. The brushstroke is deliberately linear. In this decorative manner, marked by the influence of Art Nouveau, floral arrangements reminiscent of tapestries were created.

Golovin's still lifes are distinguished by their exquisite splendor. This also reflected the artist’s penchant for decorativeness. (Appendix 8, Fig. 1)

During his long creative life, Saryan painted many beautiful paintings. He surprisingly soulfully, lyrically and truthfully conveyed the majestic beauty and originality of the surrounding life and nature. He created images full of jubilant joy and revealed a kind, generous, sunny world to people.

Still lifes are “verbose”, spatial and close to nature. Instead of a few objects carefully selected by shape and color, the originality of each of which is emphasized by a neutral background, as was the case in “Grapes,” the artist fills the canvas with many things, flowers, fruits, enjoying this abundance.

Many of Saryan's works belong to the peaks of his creativity, combining the strength and energy of the brush with the subtlety and complexity of expression. (Appendix 8, Fig. 2)

Saryan's coloristic searches led the artist to the theme of still life. This genre gave the artist great freedom in handling shapes and colors, allowing them to be combined in any combination.

Lyricism and amazing picturesqueness are characteristic of S. Gerasimov’s still lifes.

“I love my native land so much that everything that is connected with it, that lives and grows on it is dear to me...” - this is what Gerasimov said, and these words can equally be applied to his magnificent still lifes. The traditions underlying the master’s art are easily traced in them. The artist’s best still lifes are characterized by vivid picturesqueness. At the same time, one cannot help but see the direct difference between Gerasimov’s rough painting and the poetic creations of A. Arkhipov or K. Korovin.

Painted with broad, textured strokes, Gerasimov's still lifes well convey the richness of green leaves, the elegant brightness of flowers, all this with visible materiality, however, depriving nature of the reverent poetry. Undoubtedly, Gerasimov’s best works include the large “picture”, “landscape-still life” composition “After the Rain” (“Wet Terrace”). This work successfully embodied the painter’s interest in landscape, still life and interior design. As can be seen from the memoirs of the artist’s sister, he, literally shocked by the appearance of the garden after a stormy, torrential rain, painted the picture “with lightning speed” - within three hours.

Written under the impression that completely captured its creator, “Wet Terrace,” however, does not seem to be a sketch that captures the bright, but fleeting state of nature. This is a completely finished picture, distinguished by the integrity and generalization of the artistic image. Its composition, full of dynamics, is, however, marked by strict thoughtfulness. The table, pushed towards the entrance to the terrace, reveals the depths of the old garden. The wet floorboards shine brightly, heavy raindrops sparkle on the lush greenery of the bushes, on the petals of peonies in a glass jug, on the edges of a glass overturned by the rain. The clouds have not yet parted, and therefore everything in nature, refreshed by a generous summer shower, is painted in cold and pure silvery tones. The combination of cold and ringing colors in which “Wet Terrace” was executed allowed Gerasimov to express his delight at the wealth and beauty of the world, to create a joyful mood, which the painter generously shares with the viewer. In another still life - “Roses” - one can discern the influence of K. Korovin, Gerasimov’s appeal to certain techniques of his painting. This is felt not only in the choice of subject, but also in the “deepening” of the space of the picture by including a mirror in the composition, in the general fragmentation of the still life.

The artist has an excellent command of color - the most important expressive means of painting, and in this still life this can be clearly felt in the way he paints the transparent greenery outside the window or the dark dense leaves of roses. And the roses themselves, all kinds of shades of red, are not in their image - from soft pink to deep lilac. His paintings “Gifts of Autumn”, “Bouquet” and others testify to how diverse the painter’s still lifes were. (Appendix 8, Fig. 3)

Color, its expressiveness, generalized interpretation of form - this is the language of these 20th century artists. They unusually expand the boundaries of still life as a visual genre. In a still life one can feel not only the specificity of the way of life, but also those unique features that are inherent in a certain individuality.

With the richness of shapes and colors, the concept of beauty in still life has become more diverse.

Flowers, it would seem, are not at all difficult to write, but this impression is deceptive. Flowers will help develop taste, master professional literacy, and give an understanding of the laws of form, light and shade, and color. “A flower cannot be painted “so-so,” says Konchalovsky, with simple strokes, it must be studied, and just as deeply as everything else.” Flowers are great teachers of artists: in order to comprehend and understand the structure of a rose, one must put in no less work than when studying a human face. Roses contain everything that exists in nature, only in more refined and complex forms, and in each flower, and especially in a bouquet of wildflowers, you need to understand it like some thicket in the forest, until you grasp the logic of construction, derive laws from combinations, seemingly random.

Flowers can be drawn and painted all year round. In winter - indoors, and in March and April - snowdrops. Then the yellow lights of marigolds, kupavnets, and dandelions light up. Not everyone prefers luxurious roses, lush peonies and dahlias, or exquisite gladioli. I. Shishkin, I. Levitan, S. Polenov most often depicted modest forest and wildflowers - cornflowers, daisies, dandelions.

Some people like huge, colorful bouquets, others small ones, with just a few plants.

The life of nature in art is transformed into artistic images and becomes interesting not only in itself, but also as an image of life processes interpreted by the artist, as his attitude to reality. In this relationship, mediated by the worldview and worldview of the individual, the author’s judgment about reality is expressed and the artistic concept is realized.

Flowers for artists are strict examiners. By the way he sees them, how he treats them, how he portrays them, one can judge his attitude towards people, nature, and life.

1.3 Techniques of stylization in the works of artists

Art has been turning to stylization techniques since time immemorial. Even in primitive times, people turned to this technique when making rock carvings.

We see the technique of stylization in the work of many major Russian and foreign artists.

For example, Gustav Klimt widely uses ornamental stylization and color stylization in his works. (Appendix 9, Fig. 1). Henri Matisse gives greater preference to color stylization. (Appendix 9, Fig. 2)

In the works of Fernand Leger we see figures of people stylized linearly. (Appendix 9, Fig. 3)

The works of avant-garde artists Piet Mondrian and Pablo Picasso are based on the principles and techniques of stylization.

Stylization techniques are no less widely used when creating a floral still life.

This genre could not have been more consistent with Cezanne's stormy temperament. In his studio, he could, with tireless diligence, rearrange apples, dishes and plates, vases of flowers, until he found a plot that satisfied him. Cézanne spent weeks, and often months, working on his still lifes.

For example, the composition “Blue Vase” bears traces of the influence of the Impressionists, which contributed to the brightening of Cézanne’s palette in the 70s. Cézanne worked on the still life “Vase of Flowers,” a work from 1903, for more than a year and, despite the fact that it looks quite finished, he considered it unfinished. (Appendix 10, Fig. 1)

For the first time, the post-impressionists P. Gauguin and Van Gogh introduced intense color combinations and a graphic outline outlining color planes in floral still life. But decorativeness was not yet the main goal of these artists.

This is how Paul Gauguin addressed this genre. “Still Life with Japanese Peonies in a Vase and a Mandolin” is exquisite in color and subtly thought out in composition. The artist chose this particular vase for its intense color painting, which harmonizes with the deep blue color of the wall in the background, while the shimmering colors of the bouquet - white, red and green - match the tones of the painting hanging on the wall. The artist also sought harmony in the interaction of forms: the rounded outlines of objects correspond to the shape of the round table on which they are placed. The choice of objects answered not only formal, but also conceptual tasks. The mandolin can be perceived as a symbol of the harmony that Gauguin sought in the relationship between form and color, while the vase and dish indicate the artist's interest in stylization in the art of ornament. (Appendix 10, Fig. 2)

Vincent Van Gogh, a Dutch painter, also had his say in the pictorial solution of still life, solved in light, pure blue, golden yellow, red tones, and his characteristic dynamic, flowing strokes. The dynamics of color and brushstroke fill the master’s still lifes, such as “Sunflowers” and “Irises,” with spiritual life and inner movement. (Appendix 10, Fig. 3)

In the 20th century, in European painting, the theme of still life was addressed by Henri Matisse, who is also no stranger to floral themes.

The most expressive still lifes by Matisse include those painted in Seville, in a hotel room, “Seville Still Life” and “Spanish Still Life”. The flowery patterns of Spanish shawls are juxtaposed with the patterns of the sofa upholstery. The flowers on the table blend into the pattern of the fabric, and the fabrics painted with flowers and arabesques roll in colorful waves onto the bouquet. Matisse's decorative painting reaches new heights in these still lifes. “For many years this has been my favorite painting,” Matisse will say about “Still Life with Magnolias.” He painted this composition in detail, object by object, color by color, the color consisting of red, black, yellow ocher, white, cadmium yellow medium, superimposed on a glaze of scarlet varnish. (Appendix 10, Fig. 4)

Thus, based on the above, we can say that the theme of flowers and floral still life remained a subject of interest for many artists from different times and stylistic directions, where they could use stylization techniques. In the process of work, the masters raised questions not only of the subject environment, but also of its pictorial and plastic solution.

Chapter 2. Sequence of decorative composition

.1 Compositional solution for a decorative panel

In the process of making sketches and drafts, the most interesting compositional solution is selected.

All compositional work focuses on the placement of the floral motif within the picture plane.

Flowers should not be arranged randomly or randomly. Each flower must be connected in meaning to another. It is very important to put them in positions that will be most natural for them.

The size of the image of the entire group of colors should be in accordance with the background. Images of flowers should not be crowded on the plane, but the background should not dominate the image. Objects should be positioned in such a way that they do not block each other and clearly highlight their characteristic properties.

Horizontal and vertical formats are more suitable for narrative composition. The format is close to square, creating the impression of visual stability. The vertical format evokes a feeling of aspiring sublimity and monumentality.

When working on a stylized floral motif, we used various principles and stylization techniques. The main visual characteristic of the depicted objects was the shape of the objects, their outline, color and silhouette. We resorted to extreme simplification of the shape of colors, space, and abandoned real color and simplified tonal and color relationships.

In our work, we used such a stylization technique as bringing the shape of the depicted object to a certain geometric configuration.

Our type of composition can be defined as multicolor, since it is dominated by more than four chromatic colors. Multicolor is a color composition in which four or more chromatic colors dominate. Typically, multicolors use two main pairs, or four main chromatic colors: red, yellow, green, blue, as well as their shades.

To achieve expressiveness in a decorative composition, an important role is played by the rhythmic organization and interrelation of visual elements on the plane.

In the rhythmic organization of the motives of our composition, we used the technique of rhythmic alternation of elements with a decrease or increase in certain qualities (sizes, turns, degree of complexity, color or tonal saturation, degree of graphic or decorative processing of form). (Appendix 11)

2.2 Characteristics of oil paint properties

The seemingly endless variety of styles and painting techniques is not only due to the enormous diversity of life, but also due to the availability of an assortment of artistic materials. Depending on the product used, each color has its own characteristics that need to be revealed and used; and when different binders are used, these colors take on completely different personalities.

Our composition is made with oil paint. The advantages of this artistic material are undeniable, and it allows the artist to combine various techniques in a painting, such as “alla prima” and glaze, or turn to decorative painting.

You can paint quickly in oil, and this painting technique is used to create landscapes, still lifes, portraits and complex compositions that require long-term work using the glaze method. But at the same time, it is important to maintain freshness, not “dry” it, and avoid blackness.

The properties of oil painting are reflected in the texture and the ability to work with a palette knife.

It is known how much importance was attached at all times to mastering the technique and technology of working with painting materials. Mastering professional techniques in painting, knowledge of the technology of working with painting materials and various techniques and methods of painting, the ability to apply this knowledge are necessary for an artist.

“Technique is the language of the artist; develop it tirelessly, to the point of virtuosity. Without it, you will never be able to tell people your dreams, your experiences, the beauty you saw,” said P.P. Chistyakov.

There are several ways to conduct a pictorial sketch with oil paints: a multi-session or glaze method, a single-session method using the “a la prima” method. You can use a mixed technique: one part of the image is painted with multiple glazes, and the other part is painted using the “a la prima” method. The choice of method of conducting work depends on the tasks assigned, and is also determined by the nature of the composition.

The “a la prima” method is that after the compositional solution for the staging and the preparatory drawing has been found, the entire sketch is completed in one session. The color of each detail of the production is taken immediately in full force, i.e. The painting is done almost in one layer.

The advantage of the method is that the initial impression is maintained throughout the session, which contributes to the bright, emotional coloring of the work. In addition, the method allows you to take color in painting immediately in full force and carry out the entire sketch at the same time, adding color to an already laid stroke as necessary, without applying paint several times to one place.

Paintings created using this method are distinguished by freshness and depth of color.

The first pictorial layer indicates the dark parts of objects by color and tone. The second paint layer is applied over the dried work. It concretizes the form, enriches and clarifies color and tonal relationships.

Strokes are made strictly according to the shape of the objects. At this stage, touches are clarified. It is necessary to trace the places of clear, contrasting contact between the shape of objects and the background and other details, the places of a soft combination of the contour of the object with the background, as well as the places where some details are immersed in the general shadow.

After the sketch has dried, the color of the shadows is saturated with the next layer, the shades of halftones are clarified, and the work on the forms of production is specified. The work is completed by bringing all the details of the production to a color and tonal state adequate to nature, emphasizing the main, most interesting and characteristic qualities of the production and leveling out the secondary ones.

When applying one paint layer to another, it is necessary to take into account the influence of the color of the first layer on the color of the next. For example, when you apply blue to yellow, you get green, when you apply red to yellow, you get orange, etc. Here, in addition to practical skills in painting, knowledge of a color science course is required.

In our work we used a mixture of various techniques.

2.3 Basis for oil painting

There are many recipes for primers for painting on canvas, but the best are primers whose components are related to the binders of paints.

For oil paint, factory-produced white or prepared by mixing casein-oil emulsion and dry zinc white can be used as a primer.

N.V. Odnoralov offers a recipe for emulsion primer with pre-sizing. The sizing composition includes 7 parts of casein dissolved in 100 cubic centimeters of water, 9 parts of a three percent borax solution, which improves the adhesive properties of casein. After the sizing has dried, an emulsion primer of a creamy consistency of the following composition (number of parts) is applied to the canvas: casein - 200, borax - 9, linseed oil - 10, zinc white - 50-80, glycerin - 5, phenol - 0.1, water - 300 milliliters

Canvases and cardboard coated with emulsion primer are produced by the production plant of the Art Fund of the Russian Federation. Before starting work, such canvas and cardboard must be primed with an additional thin layer of casein-oil white, otherwise the paints may fade. When priming a painting base or coating an emulsion canvas with casein oil white, use a wide bristle flute, first moving in the direction of the warp threads, and then in the direction of the weft threads. You can start writing on primed canvases and cardboard only after the primer or casein-oil white has completely dried. For our work we used factory-made canvas.

There are also other primer recipes that are described in specialized literature on painting techniques. To prepare tinted colored primers, the desired color of casein-oil tempera is added to the indicated primers.

Brushes, palette knives, palettes. For oil painting, flat and round bristle, core and squirrel brushes are used. To complete the work, we used flat bristle and core brushes of three sizes: large No. 28-30, medium No. 16-18, small No. 8-10.

Palette knives are used in painting as a tool for removing paints from the palette after finishing work, and also as a tool for working with paints instead of a brush. Paints mixed with a palette knife are distinguished by their sonority and depth; painting with a palette knife allows you to obtain interesting textured effects on the painting surface. But to work with a palette knife, you need appropriate preparation, since a passion for external texture effects sometimes damages the artistic truth of nature. In our case, a palette knife was used to apply the main paint layer.

In our work, we used a multi-session method of working on a decorative composition.

The sequence of depicting a sketch using the oil painting technique.

First stage. Carrying out a detailed drawing of a composition with thin lines, identifying the basic proportional relationships of objects.

Second stage. Performing underpainting. First laying of local colors. The color of objects is compiled on a palette.

Third stage. Identification of color and tone relationships. Elaboration and clarification of details. Oil allows you to make changes to the operation.

Fourth stage. Summary and completion of the work. (Appendix 12)

Conclusion

decorative panel stylization paint

The ability to see and understand harmony in life and art, to think creatively is very important when creating a stylized composition. Based on this thesis, we created our composition. In the process of work, we took into account the rules, techniques and means of stylization, for which we examined the works of Russian and European artists. The rules of color and rhythmic organization of the composition were also taken into account,

While working on a decorative panel, we studied the features of working on a decorative composition using stylization techniques, deepened our knowledge in the field of constructing a color composition and rhythmic organization of motifs, and improved our knowledge, skills and abilities in the technology of working in the technique of acrylic painting.

When working on the composition, we used the technique of dividing the plane into parts, which was carried out with straight lines in several directions. We used the technique of rhythmic alternation of different colors with decreasing sizes, color saturation, and a certain degree of decorative processing of the form.

When learning a certain type of painting with artistic paints, the aspiring painter must first of all become familiar with the materials, tools, techniques and technology. Without knowledge of the specifics of various types of painting and professional handling of materials and tools, success in mastering the basics of painting is impossible.

We chose oil paint, which has multifaceted color and plastic properties, as a painting material. It is these properties that are most attractive to beginning artists mastering the skills of painting. In our work, we used such a technique “a la prima”, which allowed us to improve our painting skills and emphasize the texture of the paint layer in the composition.

The result of creative and research activities, in our opinion, was the achievement of the set goal and the solution of the tasks identified at the beginning of the work.

Those skills and knowledge, the experience and abilities that were acquired and consolidated in the process of work, I think, will help in further creative activity.

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Ministry of Education of the Republic of Sakha (Yakutia)

Municipal budgetary educational institution

"Tomtor secondary school named after N.M. Zabolotsky" Oymyakonsky district

Stylization in arts and crafts

Tomtor village, 2015

INTRODUCTION

The method of artistic stylization in Russian culture was first widely used by members of the Mamontov circle at the end of the 19th century. As an academic discipline, the subject “Stylization” was introduced to the Stroganov School by the unsurpassed master of this method - M.A. Vrubel, who in 1898 was invited to teach new subjects - “Stylization of plants” and “Exercises in stylization”. Since then, this course has been included in the curricula of art schools, being part of the composition course.

Motifs, ornamental elements that are used for decoration are the subject stylization . The term “stylization”, as defined in the BRE, is interpreted as “a decorative generalization of forms using a number of conventional techniques, simplification and generalization of drawing and outline, volumetric and color relationships.” In decorative art, stylization is a natural way of rhythmically organizing the whole; stylization is most typical for ornament, in which, thanks to it, the object of the image becomes the motif of the pattern. In easel art, stylization introduces features of increased decorativeness. Another meaning of stylization is the deliberate imitation of an artistic style - characteristic of the art and culture of a certain social environment, artistic movement, genre, author, etc. Stylization using forms of the past and stylization of modern forms in design and applied art are often found. For example, in the second half of the 17th and first half of the 18th centuries. in Europe, oriental stylizations were popular, especially those inspired by China and Japan (painting plates in the Japanese style, accurate reproduction of the shapes, silhouettes and proportions of vessels characteristic of China and Japan). A striking example of oriental stylization in our country is the Chinese palace in Oranienbaum, built by the architect A. Rinaldi for Catherine II in 1762-1768. Another area of stylization is park art - pavilions, bridges, gazebos in the “Chinese style”. In Russia in 1890-1900. The result of close attention to folk culture was stylization in the Russian style in architecture (the most famous are the tower in Talashkino, the building of the Historical Museum in Moscow), the appearance of stylized furniture and entire interiors in the “Russian style”.

Decorative art uses motifs or elements drawn from fauna, flora, suggested by the outlines of geometric shapes or surrounding objects. The artist selects these motifs in accordance with a specific decorative system and distributes the decor depending on the surface to be decorated and the desired effect.

The history of decorative and applied art shows that we find motifs of nature - the transformed animal and plant world - in various types of decorative art: embroidery, painting, textile and carved ornaments. At the same time, the motives of nature, depending on national traditions, the characteristics of production development, and established aesthetic and artistic views, can change greatly.

Ornamental motifs can be close to a realistic image or be highly stylized.

The first, initial stage of understanding natural motives, the first creative fixation is sketches from nature, in basically already emphasizing and sharpening characteristic features.

When sketching natural forms, one must not blindly copy nature, but study, find in nature motifs and forms that can awaken creative imagination and fantasy, which will serve as an impetus for the creation of a work of art.

Psychologists studying creative activity in the field of art attach particular importance to the preparatory process, followed by a period of incubation and processing of creative ideas.

Any creative process is always associated with certain artistic generalizations, abstraction, and the identification of common features and properties of objects. Artistic generalization, in turn, can follow the path figurative and non-figurative, indirectly, through emotional associations. The pictorial way of generalization is typical for those cases when a concrete object image of a natural motif is preserved in a full-scale sketch despite the greater or lesser conventionality of the image. The non-representational path of artistic generalization requires the artist to have the ability to abstract and associative thinking.

Very often, natural forms are subject to active processing, which leads to the loss of pictorial features and transformation into a conventional ornamental image, that is, to abstract combinations of rhythmically organized lines, spots, and forms. But even in this case, the ornamental image must have at least a remote resemblance to the original source in terms of plastic and structural features.

When working on sketches of natural forms, it is necessary to select the necessary objects, the most successful point of view, and in some cases, for example, open, cut the fruit in half to identify the most characteristic plastic properties, identify the main thing, discard everything random, secondary, isolate individual forms and grouping of parts the whole. In this way, the natural motif is modified and conventional decorative qualities are revealed, which enhances its emotional impact.

The transformation of natural motifs into ornamental and decorative ones pursues primarily aesthetic goals, but it is also important that the motif must be made convenient for execution in a particular technique and material. Thus, one material requires decor with a predominance of a linear pattern (for example, a decorative forged lattice, filigree technique), another - volumetric (ceramics) or relief (carving), etc.

Thus, stylization- this is a modification, processing of a natural motif, which is achieved by artistic generalization, discarding details, “straightening” the contour lines, the purpose of which is to make the motif more understandable for the viewer, and sometimes make it easier for the artist to complete it.

The boundaries of stylization lie between the exact reproduction of the form and the extreme degree of its simplification. For example, trademarks and road signs, as a rule, have a very laconic form, which allows them to be more acutely perceived and remembered for a long time; a not very attractive new image, which emphasizes the main, characteristic and recognizable features, basic proportions and silhouette.

In addition, the artist has to reckon with the place, the frame, which limits the field of his work, sometimes forcing him to modify some elements of the decorative motif.

The creative process of working on sketches of natural motifs is a complex process of the artist’s rethinking of nature, a process of purely internal, individual perception.

The artist creates his own new fantasy world, which does not exist in reality, but everything in it has its prototype in the nature around us.

Thus, in the styling process it is important:

- select essential characteristics;

- use the technique of hyperbolization (i.e. exaggeration, highlighting a single, but individual quality of an object) of individual elements;

Refuse from minor, insignificant details;

Create an organic unity of ornament and plastic form.

The development of an ornamental motif can be based not only on the characteristics of the natural form, but also to a large extent on the artist’s imagination, his intuition, imagination and fantasy.

METHODOLOGICAL INSTRUCTIONS FOR IMPLEMENTATION

PRACTICAL TASKS

Most practical tasks are completed in graphics, as it is more conducive to the development of analytical thinking and mastering the technique of creating stylized images.

Task 1. NATURAL TEXTURES

Motifs of nature can be of independent artistic value; you just need to learn to see ornamentation in the simplest objects. Students are invited to choose the most accessible forms of the organic and inorganic world for studying and sketching: shells, stones, crystals, plant leaves, tree bark, bird feathers, skin, etc. (if necessary, you can use a magnifying glass or microscope).

It is important to carefully study and focus on the decorative properties of the selected depicted objects. Then you need to select the most suitable graphic techniques for each texture: pointelle, shading, line, spot or combinations of these techniques. Organize ornamental structures based on natural textures. Place four images of textures and four images of ornamental structures on the AZ format in 7x7 cm squares. Material: black ink, pen (Fig. 1-3).

Rice. 1. Sketches of natural textures

Rice. 2.

Task 2. STYLIZATION OF NATURAL FORMS

Plant forms

Using graphic expressive means, create stylized images of objects of the plant world, herbs, flowers, berries, leaves, cross sections of vegetables, fruits, trees, etc. First you need to make sketches from nature, choosing the most successful point of view. Sketches can also be made from potted plants and dry herbs. When sketching, pay attention to the study of the structure of the flower, the location and shape of the petals, leaves, their ornamentation, the possible exaggeration of individual elements that are of particular interest in a given plant, the groupings, shape and ornamentation of leaves and the decorativeness of the plant as a whole, as well as identifying large, medium and small forms. It is necessary to find an interesting rhythmic structure of the chosen plant motif. In this case, you can change the number of depicted elements, their sizes, distances between them, tilts, turns (for example, the number of leaves, flowers or fruits on a branch, their sizes).

To give expressiveness to the plastic properties of a natural motif, you can change the proportions of individual elements (lengthen or shorten them), or deform the shape itself. During the work, pay attention to the choice of graphic means of expression to interpret the natural motif. Thus, with a linear interpretation, the use fine lines of the same thickness is possible in designs that are subtle in ornamentation and of a small scale. Thick lines They give the drawing tension and activity. Drawing using lines of different thicknesses has great visual and expressive possibilities. In cases where it is necessary to achieve expressiveness of the silhouette, a spot interpretation of the motifs is used. In the linear-spot interpretation, it is necessary to organize the spots according to silhouette and rhythm, and connect the lines with the rhythm of the spots into a holistic graphic image. Thus, plant forms can be interpreted quite realistically, conventionally, or with free ornamental development. AZ format. .Material: black ink, gouache.

Rice. 3. Organized natural forms .

Task 3. STYLIZATION OF IMAGES OF INSECTS

Stylization of images of insects, butterflies, beetles, dragonflies, etc. Butterflies, dragonflies and beetles are very expressive in silhouette, not to mention the richness of color and variety of patterns on the wings and body. The task is performed using graphics and appliqué techniques. To make the applique, you can use paper painted in simple and complex colors of varying degrees of saturation and lightness. The task is posed of the utmost generalization and laconicism of the image of an insect, which leads to a planar solution. Increased decorativeness can be achieved through the conditional development of forms with simple geometric elements.

In this task, you need to pay special attention to working with color. The color scheme should be conventional and decorative. Stylized images of butterflies can be presented in the form of a sketch of jewelry, for example, a brooch or pendant using the technique of filigree (graphic solution) or cloisonne enamel (working with color), or presented in the form of an ornamental structure. AZ format. Material: ink, gouache, colored paper (Fig. 10-13).

Rice. 4. Natural sketches of plants.

Rice. 6.

Rice. 7.

Rice. 8. Using lines of different thicknesses.

Task 4. STYLIZATION OF FORMS OF THE ANIMAL WORLD

The stylization of images of animals, birds, and fish has some features. The outlines of a form can be transformed plastically. It is possible to exaggerate details, violate proportions to create an expressive silhouette, simplify the form into a simple geometric one (technique of conditional geometrization of the form), unlike plant forms, the possibility of transforming animal forms has certain limits, for example, despite various transformations, a bird must remain a bird, but it can to be not a specific bird (crow or heron), but a bird in general, with a set of typical characteristics - beak, wings, tail.

Another styling option is stylization of internal ornamentation, that is, natural coloring and pattern, because the outlines of bird feathers, fish scales, and the skin of other animals provide rich opportunities for ornamentation; you just need to be able to identify the ornamental structure of the surface.

When transforming motifs of the animal world into ornamental (or decorative) ones, it is advisable in most cases to transform the volumetric spatial form into a planar one; for this purpose, complex angles and perspective cuts should be avoided, and the animal or bird should be depicted in the most informative turn.

When stylizing the forms of the animal world, the task is to extremely simplify the pictorial form as a whole, bringing it closer to a simple geometric form (geometrization of form). Of course, some animals have a more decorative silhouette and surface character than others (for example, a giraffe or a zebra). It is important to find techniques that would help fit their forms into the compositional structure of a conventionally flat image. A more decorative and interesting form can be achieved by exaggerating the motif or its individual elements. In animals, for example, in a decorative image, you can enlarge individual parts of the body: head, eyes, ears, paws, tails. With the help of hyperbolization, the most interesting ornamental features of an animal, bird or fish are revealed. It is necessary to emphasize the plastic characteristics of the form.

One motif is performed in a spot, not divided into parts, the emphasis is on the expressive silhouette (Fig. 14).

For another motif, you can choose a linear solution; the contour line can be the same thickness, or it can be more free, picturesque, or it can be a series of small dots, strokes, strokes (Fig. 15).

In the third motif, the emphasis is on the ornamental development of the form (Fig. 16-17). When processing the silhouette and ornament of an animal or bird, you must try to ensure that one of them dominates. With an expressive silhouette, the ornament can be more complex, or the ornament itself can be read more clearly than the silhouette of an animal or bird.

In decorative art, truthfulness in the image can be combined with mythical elements. As a result, the motifs acquire features of fabulousness and fantasticality. Execute images in AZ format. Material: ink, gouache.

Rice. 9. Linear and spot interpretation of motives.

Rice. 10. Geometrization of shapes.

Fig. 13. Ornament of stylized motifs.

Rice. 14. Silhouette.

Task 5. STYLIZATION OF SUBJECT FORMS

Decorative still life

Not only forms of flora and fauna, but also object forms can be used as motifs. When performing this task, an important role is played by the transformation of the spatial environment into a planar one, the conscious refusal to transfer spatial characteristics and perspective abbreviations, and the transfer of volume. The objects that make up a still life can be more actively rethought and transformed by the artist, since objects in a still life are psychologically easier to modify compared to objects of the plant and animal world. Objects in a decorative still life can change sizes, large ones can be made small and, conversely, you can arbitrarily change the quantitative composition of objects, introduce new ones, you can change their location, shape, color, that is, it is necessary to creatively interpret and transform objects. The decorative effect will be promoted by the conventionally flat nature of the image, so one of the options for working on a still life involves an applicative interpretation. Another option is to develop a still life in graphics.

Each composition is made in size no more than 15 cm on the larger side. Material: black ink, gouache (Fig. 18-20).

Rice. 15. Linear interpretation of motives.

Rice. 17. Linear and spot interpretation of motives.

REFERENCES

1. Kozlov V.N. Basics of textile design

products. - M.: Light and food industry, 1981.

2. Moscow School of Design: Experience in training designers at the Moscow Higher Art and Design School.

M.: VNIITE, 1991.

3. Sokolnikova N.M. Fine art and its methods

teaching in primary school. - M.: Academy, 2002.

4. Transformation of natural forms into ornamental motifs. / Comp.

V.N.Kozlov, T.A.Zhuravleva, S.A.Malakhova, M.Silvitsky: Educational

allowance. - M.: Moscow Textile Institute, 1980.

5. Decoration of textile products. / S.A. Malakhova,

T.A. Zhuravleva, V.N. Kozlov and others - M.: Legprombytizdat, 1988.

6. Chernyshev O.V. Formal composition. - Minsk: Harvest, 1999.

The works of students of the Namsky Pedagogical College of Technology and Design of the Republic of Sakha (Yakutia) were used as illustrations.

And we still need to tell you a little more about the exhibition.

For the first time, the State Historical Museum presents a unique collection of beaded works, as well as other objects of decorative, applied and fine art of the first half of the 19th century. with floral and plant motifs and their symbolism. The exhibition displays about 100 exhibits with interesting history.

This is from the museum's website.

The exhibition is really very small. And all the exhibits are small, with the possible exception of a couple of vases and beaded upholstery on a sofa. This is the case when you need to walk and take a closer look. The labels are not very detailed, and the screen in the room reads works of fiction. (At the exhibition of interior drawings, the story of the album exhibited at the exhibition was told on the screen, it was very interesting).

The exhibition is also somewhat eclectic. I even had the impression that there was either not enough bead work, or that according to the museum’s strategy it was necessary to attract exhibits from other departments and other organizations, or for some other reason, but a number of exhibits, of course, contained images of leaves , flowers and so on, but somehow it didn’t really fit into the context. Although, perhaps I just didn’t delve a little into the exhibition itself. When you photograph exhibits, you get carried away by each of them, and as a result, you may not see the forest for the trees. And one more thing - this is my ninth exhibition in a little over a year at the Historical Museum, but almost all the past ones were “monographic”: chivalry, folk costume, Greek gold, Gambs furniture, and so on. And at this exhibition, the exhibits are united by some kind of artistic connection with each other. Unusual! However, below I will give Prussian plaques, a glass, and two more letters from Empress Alexandra Feodorovna, the wife of Nicholas I, which clearly came because of the drawings on a piece of paper; even their text has not been translated.

About beadwork. I understand that the objects presented at the exhibition - many - are woven from beads. More precisely, they are knitted from beads. That is, there is no material, fabric or leather on which the beads would be sewn. If so, then this is a discovery for me; I didn’t know about such a technique.

All the exhibits below are just from two showcases of the exhibition, that is, not specially selected by me.

Beads, silk thread; knitting
GIM 70488 BIS-1084

Beads, silk thread; knitting
GIM 77419/33 BIS-1432

Beads, canvas, leather, copper alloy; embroidery, embossing, gilding, knurling
GIM 78112 BIS-1240

Copper alloy; casting, gilding
GIM 68257/29 LU-6763; GIM 68257/47 LU-6764

A.P. Vershinin (author and performer of the painting)
Bakhmetyev plant, Russia, Penza province, Gorodishchensky district, village. Nikolskoye, 1810s.
Colorless crystal, milk glass; overlay, diamond edge, painting with silicate paints
GIM 61679/3 1771 art.

6. Letter from Empress Alexandra Feodorovna. 1840
Letter from Empress Alexandra Feodorovna to her father, King Frederick William III of Prussia
Paper, ink
GA RF, F. 728, Op. 1, D. 829, Part III, L. 179

Venue

Chairman's office (Main building), Krasnaya sq., 1

Exhibition opening hours

December 14, 2016 – April 3, 2017

In accordance with the museum's opening hours

Tickets:

With a museum ticket

Participants:

State Historical Museum
State Archive of the Russian Federation
Russian State Library
Private collection of Yu.D. Zhuravitsky (USA)
Private collection of E.A. Malinko (RF)
Jewelry house Anna Nova

General information partner:

Innovation information partner:

Information support for the project:

Project partners:

Theater "Blot"

Despite the relative chronological proximity and the abundance of documentary and other evidence, the culture of the first half of the 19th century remains poorly studied. One of the most interesting and complex aspects of this culture is the symbolism of flowers, based on reflections of baroque emblems, empire images, as well as the fashion for oriental selam (the language of flowers) that penetrated at the end of the 18th century. Echoes of floral symbolism still exist today. Thus, a red rose is considered a sign of love, a lily - purity and purity. However, the richness of this cultural phenomenon remains largely hidden. The exhibition is designed to demonstrate its diversity to the modern viewer.
In the first hall of the exhibition you can see an individual experience of turning to floral motifs, which will be represented by the personal belongings of Empress Alexandra Feodorovna. This is the handwritten Blumensprache (language of flowers) that she used, diaries with floral sketches, a herbarium, letters from the Empress to her father and sheets from the album “Description of the holiday “The Magic of the White Rose”, which was dedicated to the celebration of Alexandra Feodorovna’s birthday in Potsdam in 1829 year. This part of the exhibition also presents magazines and manuals that show the popularity of such a phenomenon as the language of flowers.

A video is shown in the hall, the material for which was the poems and poems of Jacques Delisle, Zhukovsky, Pushkin, Karamzin, in which, of course, the language of flowers and floral symbolism was reflected.

The second hall is organized according to the principle of complicating the compositions of objects of decorative, applied and fine art and consists of several sections.

The first section reveals the meaning of individual plants, flowers and the use of these meanings in decorative and applied arts. Here are objects with solo motifs and accompanying explanations: roses, a symbol of love; the ear of corn, associated with the fashion for the image of the ancient goddess Ceres; forget-me-nots, violets, the meanings of which were deeply woven into the culture of the noble album; oak, which had masculine overtones, etc.
The second section demonstrates objects with floral arrangements in the design and reveals the image and meaning of a garland, bouquet, wreath as symbols of good wishes. Acrograms are also presented here - encrypted floral messages in wreaths and bouquets.
The third section includes objects of decorative and applied art, the design of which uses a combination of colors and various attributes - lyres, arrows, cornucopias, which complement the floral meanings and introduce various variations into them.
The last section demonstrates a combination of flowers, plants and mythological characters, zoomorphic, anthropomorphic subjects.
The exhibition also presents works by the modern jewelry house Anna Nova, based on the traditions of 19th-century art, as well as items from the private collections of Yu.D. Zhuravitsky (things are shown for the first time) and E.A. Malinko.

The incentive for K. Korovin to create works has always been a concrete reality, new and changeable at every moment. Therefore, for example, roses, painted at different times - “Flowers and Fruits”, “Roses and Violets”, “Roses”, “Still Life. Roses,” each time reflecting the uniqueness of the moment, a new mood. But the master always does it - glorifying the joy, multicolor, richness of earthly life. The canvas “Flowers and Fruits”, sparkling with the sun in every centimeter, is a true masterpiece of Russian impressionism. (Appendix 7, Fig. 3)