Everyday genre - direction visual arts associated with the use of paintings and scenes of ordinary people’s lives as subjects. The peculiarity is that only contemporary events of the artist are chosen as themes for the works. The everyday genre is widespread in sculpture, painting, and graphics - works of fine art are distinguished by their small parameters and realistic rendering of objects.

It was formed as a separate genre in the Middle Ages, although the first representative works can be dated back to the time of its existence ancient civilizations. The everyday genre is dedicated to private, everyday events - best illustrated by the features of a historical period.

Emergence

The period of formation of the genre is the New Age, since then there was a sharp popularization realistic painting, democratic views on society. In the 17th-19th centuries, artists began to turn to life ordinary people as the central theme of the paintings. Due to the aggravation of social confrontation in society, growing interest in Everyday life the everyday genre developed.

HOUSEHOLD GENRE -

A genre of fine art dedicated to everyday private and public life(usually a contemporary artist).

Images on everyday topics were already present in primitive art(scenes of hunts, processions), in oriental paintings and reliefs (depictions of the life of kings, nobles, farmers). Significant place they occupied a place in Hellenistic and ancient Roman art (in vase painting, reliefs, paintings, mosaics, sculpture).

From the 4th century developed genre painting Far East(China, Korea, Japan).

In medieval European art, genre scenes were often woven into religious and allegorical compositions (paintings, reliefs, miniatures).

HOUSEHOLD GENRE. Revival. Netherlands (Flanders). Eyck, Jan van.
Marriage of Arnolfini.
Wedding ceremony of Giovanni Arnolfini and his wife Giovanna Genami

During the Renaissance, religious and allegorical scenes in painting began to take on the character of a story about real event, were saturated with everyday details (Giotto, A. Lorenzetti, Jan van Eyck, R. Kampen, Hertgen tot Sint-Jans), images of human labor appeared (Limburg, Schongauer, Kosee).

At the end of the 15th - beginning of the 16th centuries. in the work of a number of artists, the everyday genre began to gradually become isolated (V. Carpaccio, Giorgione, J. Bassano, C. Masseys, Luca Leiden). In the works of P. Bruegel and J. Callot, the depiction of pictures of everyday life became a way of expressing current social and philosophical ideas(ideas of social justice, non-violence, etc.).

HOUSEHOLD GENRE. Netherlands.
Bruegel the Younger, Peter. Winter landscape with bird trap

In different national schools of the 17th century. have developed different kinds everyday genre, often asserted in the fight against idealizing tendencies.

So, in works of Caravaggio in Italy, which influenced the development of realism in European art XVII V. The emphatically truthful, monumental depiction of scenes of life of the lower classes in religious compositions was contrasted with the idealizing principles of academicism.

Sublime poeticization of everyday motifs included in mythological and allegorical compositions, affirmation of the mighty people contained in vitality characteristic of the works of P. P. Rubens and J. Jordaens in Flanders, polemicizing with the principles of official Baroque.

The everyday genre took a leading position in Holland, where its classical forms finally took shape.

The poeticization of peasant and burgher life with its inherent intimate atmosphere of peaceful comfort is characteristic of A. van Ostade, C. Fabricius, P. de Joch, J. Wermeer of Delft, G. Terborch, G. Metsu.

In the second half of the 17th - early 18th centuries. There was a divergence between the democratic direction in the everyday genre (works by Rembrandt, A. Brouwer, S. Rosa and J. M. Crespi) and art that idealized everyday life (D. Teniers, K. Netscher in Holland).

In contrast to the idyllic pastorals and “gallant scenes” of Rococo art (F. Boucher), the family genre and everyday satire arise (W. Hogarth, A. Watteau and J. O. Fragonard, J. B. S. Chardin; J. B. Greuze ).

Realistic tendencies appear in everyday paintings artists from Italy (P. Longhi), Germany (D. Khodovetsky), Sweden (P. Hilleström), Poland (Ya. P. Norblin).

The early works on everyday themes of the Spaniard F. Goya are imbued with cheerful democracy and poetic colorfulness of perception of the world.

In Russia, the everyday genre developed from the second half of the 18th century. (I. Firsov, M. Shibanov, I. Ermenev).

In the XVI-XVIII centuries. The everyday genre also flourished in the art of Asian countries - in miniatures of Iran, India, in the painting of Korea and especially Japan (engravings by Kitagawa Utamaro, Katsushika Hokusai).

In the first half of the 19th century. in the aesthetic affirmation of everyday life, an important role was played by the idyllic depiction of the life of the peasantry and urban residents, captivating with poetic simplicity and touching sincerity (A. Venetsianov and the Venetsianov school in Russia, J. C. Bingham and W. Mount in the USA, D. Wilkie in Scotland; representatives of Biedermeier - G.F. Kersting and K. Spitzweg in Germany, F. Waldmüller in Austria, K. Köbke in Denmark).

French romantics (T. Gericault, A. G. Dean) introduced the spirit of protest, generalization and psychological richness of images into the everyday genre ordinary people; O. Daumier in mid-19th century V. developed these searches, complementing them with high skill in social typification.

HOUSEHOLD GENRE. France.
Courbet, Gustave. Hammock.

In the middle and second half of the 19th century. the everyday genre develops in the works of G. Courbet and J. F. Millet in France, A. Menzel and V. Leibl in Germany, G. Fattori in Italy, I. Israels in Holland, W. Homer in the USA, C. Meunier in Belgium .

The everyday genre of Russian critical realism was characterized by a deep and precise penetration into peace of mind heroes, developed narration, detailed dramatic development of the plot.

These features, clearly manifested in the middle of the 19th century. in the paintings of P. Fedotov, were perceived by the democratic genre painters V. Perov and P. Shmelkov.

On this basis, the everyday genre of the Itinerants grew, which played a leading role in their art, which exclusively fully and accurately reflected the people's life of the second century. half of the 19th century V. A detailed picture of the life of all layers of Russian society was given by G. Myasoedov, V. Maksimov, K. Savitsky, V. Makovsky, and - with particular depth and scope - I. Repin, the breadth of tasks of whose genre paintings often brought them closer to historical composition.

Genre and everyday features are manifested in portraits, landscapes, historical and battle painting a whole series artists of the 19th century century, among whom are J. Bastien-Lepage, L. Lhermitte in France, L. Knaus, B. Beautier in Germany, K. Makovsky in Russia and others. Artists associated with impressionism (E. Manet, E. Degas, O. Renoir in France), in the 1860-80s. approved a new type genre painting, in which they sought to capture the seemingly random, fragmented aspect of life, the acute specificity of the characters’ appearances, the unity of people and their natural environment.

These trends gave impetus to a freer interpretation of the everyday genre, a direct pictorial perception of everyday scenes (M. Liebermann in Germany, E. Werenschell, K. Krogh in Norway, A. Zorn, Z. Yusefson in Sweden, U. Sickert in Great Britain, T. Akins in the USA, V. Serov, F. Malyavin, K. Yuon in Russia).

On turn of XIX-XX centuries in the art of symbolism and the Art Nouveau style, a break with the tradition of the everyday genre of the 19th century is outlined.

Everyday scenes are treated as timeless symbols; the vital concreteness of the image gives way to monumental and decorative tasks (E. Munch in Norway, F. Hodler in Switzerland, P. Gauguin in France, V. Borisov-Musatov in Russia).

Traditions of the realistic everyday genre of the 19th century. were picked up in the 20th century. such artists as T. Steinlen in France, F. Brangwyn in Great Britain, K. Kollwitz in Germany, D. Rivera in Mexico, J. Bellows in the USA, F. Maserel in Belgium, D. Derkovich in Hungary, N. Balkansky in Bulgaria, S. Lukyan in Romania, M. Galanda in Slovakia, etc.

After World War II, this direction was continued by the masters of neorealism - R. Guttuso, A. Pizzinato in Italy, A. Fougeron and B. Taslitsky in France, Ueno Makoto in Japan. A characteristic feature of the everyday genre was the combination of acutely perceived characteristic features everyday life with generality, often symbolic images and situations.

In the countries of Asia and Africa, distinctive schools of national everyday genre have developed, rising from imitation and stylization to a deep generalized reflection of the way of life of their peoples (A. Sher-Gil, K. K. Hebbar in India, K. Affandi in Indonesia, M. Sabri in Iraq, A. Tekle in Ethiopia, sculptors K. Antubam in Ghana, F. Ydubor in Nigeria).

Artists of modernist movements - pop art and hyperrealism - turn to everyday scenes.

Everyday genre played vital role in the formation of Russian art of the 20th century. In the 20s P. Kuznetsov, M. Saryan, P. Konchalovsky, K. Petrov-Vodkin, artists of the OST association (A. Deineka, K. Pimenov) worked within this genre. - S. Gerasimov, A. Plastov, T. Galonenko, V. Odintsov, F. Krichevsky.

The works of the everyday genre reflected hard life front and rear during the Great Patriotic War(Yu. Neprintsev, B. Nemensky, A. Laktionov, V. Kostetsky, A. Pakhomov, L. Soyfertis), typical features of the everyday life in post-war years(T. Yablonskaya, S. Chuikov, F. Reshetnikov, S. Grigoriev, U. Japaridze, E. Kalnyn, L. Ilyina).

From the second half of the 50s. the everyday genre is reflected in the paintings of G. Korzhev, V. Ivanov, E. Moiseenko, V. Popkov, T. Salakhov, D. Zhilinsky, E. Iltner, I. Zarin, I. Klychev, N. Andronov, A. and S Tkachev, T. Mirzashvili, S. Muradyan, in engravings by G. Zakharov, V. Tolly, V. Yurkunas and others.

The everyday genre in painting is perhaps most associated with prejudices and vicissitudes in interpretation. In it, as in literature, you can easily see the beginning of the plot, and sometimes against this background you can build a whole story. Paintings in this genre depict scenes from the private and public life of a person. Unlike portrait and historical painting they are not addressing famous personalities or important historical events. They reflect the typical flow of time. The people depicted in the paintings of the everyday genre are not known to history, and the events are not of a global nature. To a greater extent, everyday painting provides a detailed description of established traditions.

Naturally, the everyday genre in painting is inextricably linked with other common genres. It is difficult to imagine it without detailed descriptions: home table setting, display of familiar dishes or the furnishings in the room closely border the genre of still life. The presence of images of people in everyday painting has much in common with. And scenes from life in the lap of nature, through the rendering of colors and the smallest details, connect this genre With . However, the presence of a clear storyline in such paintings, the ability to understand and penetrate into the ongoing events depicted on the canvas, as well as special realism, distinguish this genre into a separate direction of painting.

The everyday genre of painting can rightfully be considered one of the oldest areas of fine art. Primitive drawings, depicting rituals, processions and hunting are the origins of the modern everyday genre. In medieval times, genre scenes became popular in art, reflecting the artist’s specific views on everyday life. Since the Renaissance, religious paintings begin to be saturated with bright everyday details. This can be seen in the art of Hertgen, Sint Jans, Lorenzetti, Giotto. The first famous images of the life of the working people belong to Schopenhauer and the Limburg brothers. In the 17th century, works in the everyday style were created by the brush of Rembrandt, Steen, and Brouwer.

At the core this direction lies the departure from mythology and the manifestation of the first interest in real life. The center of the work of the everyday genre is still the person. However, he is no longer surrounded by the luxury of palaces, but by simple furnishings, ordinary street buildings and simple everyday objects. For the most part, people are depicted doing their daily activities. Here the quiet can be sung home furnishings, permeated with extraordinary cordiality and warmth, or the backbreaking labor of the peasants placed on their shoulders by this historical era. Here you can see both everyday work and random life events. The main features of the genre are everyday life, simplicity and realism. Often such paintings are small in size.

I especially liked the everyday genre of Russian painting. Famous painting Repin’s “We Didn’t Expect” combines certain features of everyday and historical genres. Simple family intellectuals are shown in their everyday surroundings, into which vague confusion bursts in with the unexpected return of a revolutionary. The logical design of the painting, the display of details of the situation and the naturalness of the positions are signs of the artist’s everyday genre. Another well-known picture in the everyday genre is “ Fresh gentleman» P.A. Fedotova. An ordinary everyday situation from the life of an official is imbued with light humor - the mood of the progressive intelligentsia of that time is reflected here. The film reveals a fierce struggle against the idealization of old times about morals and man. Art is closely connected with reality. Thanks to these features, it was highly appreciated among critics and the artist’s contemporaries. In terms of its content, “Fresh Cavalier” can easily be compared to the outstanding works of literary classics of that era.

Paintings of the genre "Household"

The everyday genre as one of the types of Russian fine art received its independent development quite late - in the second half of the 19th century, when the classical and romantic trends were replaced by realism, which sought to study and depict the private and public life of a person. The development of the everyday genre in Russian art is associated, first of all, with the growth of democratic and realistic tendencies, with the appeal of Russian artists to to a wide circle areas of national life and labor activity, with the formulation of important social issues. However, the emergence of the everyday genre began, as many art historians believe, in the second half of the 18th century, when some artists first began to turn to subjects and themes from the life of ordinary people. In the process of development and formation of the everyday genre in Russian art, its inherent possibilities were determined - from the reliable recording of relationships and behavior of people in everyday life seen in life to the deep revelation of the inner meaning and socio-historical content of the phenomena of everyday life.

Russian everyday painting of the second half of the 19th century amazes, first of all, with the breadth with which it covers the most significant aspects of the then reality.

The paintings of Russian artists reflect in many ways the people, customs and life of the village of that time.

Time broad development and the spread of household painting was a turning point in the history of Russia. No thoughtful and honest artist could remain a dispassionate observer.

Russian masters of genre painting did not pursue the task of capturing characteristic scenes from the life of the people step by step in order to ultimately cover it completely. The role of genre artists was not limited to conveying what each person can notice in everyday life. True, in the genre painting of the Wanderers we find mainly private observations and impressions, images of Russian reality, as if accidentally remembered by the artist. But such is the very nature of genre painting that it is limited to phenomena from life in no way outstanding people, does not neglect the most ordinary, ordinary things in life, small facts, gray everyday life.

Russian genre painting of the second half of the 19th century is an attempt, through the depiction of characteristic phenomena of life, to understand what was happening in it, to participate in solving the main issues, and to help with our creativity so that the best will win in it. The Russian artist of everyday painting sought to tell about the life of the people not only what he noticed in it, he was also attracted by the task of expressing in art what the people themselves thought about themselves and what they were striving for, not limiting themselves to the role of observer, but becoming an exponent in art people's aspirations and hopes.

Venetsianov Alexey Gavrilovich (1780-1847). The founder of the peasant everyday genre in Russian painting, After the presentation of the portrait of K.I. Golovachevsky and Self-Portrait, awarded the title of academician in 1811. His best works were created in the 20s. Venetsianov is a master of pastel, pencil and oil portraits and caricatures. The style of his work is a student of Borovikovsky. His paintings contain the most ordinary and simple scenes from village life: peasants in everyday and difficult work, simple serf girls at the harvest, or men at haymaking or plowing. His famous portraits are the Reaper, the Reapers, the Girl in a Scarf, Spring in the Plowed Field, the Peasant Woman with Cornflowers, Zakharka, etc. The artist loved ordinary people, finding a certain lyricism in this, this was reflected in his paintings showing the difficult life of a peasant. In their works of art the painter expresses his ideological and aesthetic position. Venetsianov showed the spiritual attractiveness of the peasants, affirmed his personality, thereby defending his human rights. The painter deeply sympathized with the peasant lot, put a lot of effort into alleviating the situation of serf artists, but at the same time he was far from social criticism. Particular emphasis can be placed on the painting of the Threshing Floor, which attracted the attention of Emperor Alexander I, who was touched vivid images peasants, truthfully conveyed by the artist. The significance of Venetsianov’s work in the visual arts is especially great, one of the first to establish the folk, peasant everyday genre.

Fedotov Pavel Andreevich (1815-1852) Master of the satirical direction in painting, who laid the foundation for critical realism in the everyday genre. Fedotov showed in his works like no one else dark sides Russian reality, ridiculing human vices and shortcomings. He had keen powers of observation and was sensitive to the shortcomings of the social system. Possessing the talent of a satirist, the artist, for the first time in Russian painting, gave the everyday genre a social, critical expression. In his paintings, the painter showed the life of the townspeople: among the characters in his works were merchants, officers, officials, and the poor. Fedotov attached great importance to observations of the life around him, and made a lot of sketches from life. Often the actions of his paintings are based on conflict, where social characteristics of people are given. With his paintings, Fedotov was one of the first to destroy the academic structure, opening a new direction in Russian art. However, with all this, in the society of that time, Fedotov was not sufficiently understood and in Russian fine art of the 19th century, he was not fully appreciated by his contemporaries. His first most genre work is considered to be the painting Consequence of Fidelka’s death in 1844. Subsequently, he painted many paintings critically reflecting the circumstances and way of life of that time: Fresh Cavalier 1847 and The picky bride 1847, The Major's Matchmaking in 1848, and his later works Widow and Anchor, another anchor, are also noticeable. 1851-1852 Fedotov is a lonely and tragic figure who lived a short, not easy life without knowing material well-being and joy.

Perov Vasily Grigorievich (1834-1882) Perov was our first and greatest accuser in genre painting. In his paintings he achieves a power of influence unknown to him before. He was trained at the academy, and the academicians, not noticing what his art threatened, accepted him approvingly early genres. Meanwhile, the figure of the drunken priest in Perov’s painting “Rural Procession at Easter” alone could make up the content of the whole picture (1954). In Perov’s drunken priest, everything, right down to his dirty nails, is accurately drawn. His overweight, pot-bellied figure is carefully depicted, a puffy face, a tangled beard, drowsy eyes, a crimson cassock and a blue omophorion and vestments. Naked, unadorned truth, an incorruptible sentence, like the personification of the entire “dark kingdom.”

Russian landscape of the 19th century.

The largest Russian researchers of Russian painting in general, and landscape painting in particular, note the outstanding role of landscape in the high flowering of Russian painting in the 19th century. Conquests and achievements of the Russian landscape painting 19th century have global significance And lasting value, images of nature created by Russian artists have enriched Russian and world culture.

In the second half of the 19th century, in the works of the Itinerant artists, the depiction of nature reached the highest skill. Diverse and rich landscape painting became a reflection of the deep love of painters for native land. At the same time, some were captivated by lyrical motifs, others by epic ones, and still others by the search for a generalized image, the colorfulness and decorativeness of the landscape.

In the 60s of the nineteenth century, the period of formation of realistic landscape painting began in Russia. The question of the content of art acquired a dominant role for landscape artists. Prompted by high patriotic feelings, they sought to show the powerful and fertile Russian nature as a source of possible wealth and happiness. At this time, individual works of landscape painters could easily stand alongside the paintings of genre painting, which was the most advanced art at that time. Such famous artists as Alexey Savrasov, Ivan Shishkin, Fyodor Vasiliev, Arkhip Kuindzhi, Vasily Polenov, Isaac Levitan made a serious contribution to the development of Russian landscape.

An important step in the Russian landscape of the second half XIX century there was a resurrection in him of the ideals of romantic painting in the general mainstream of realistic trends.

Ivan Ivanovich Shishkin (1832-1898). He was a fighter for realism, peoplehood and nationality of the landscape. Loving home country and knowing it perfectly, Shishkin showed in his paintings the expanse of the plains, the beauty pine forest and oak groves.

Among all Russian landscape painters, Shishkin undoubtedly belongs to the place of the most powerful artist. In all his works he shows himself to be an amazing expert plant forms– trees, foliage, grass, reproducing them with a subtle understanding of how general, and the smallest distinctive features any species of trees, bushes and grasses. The very area under the trees - stones, sand or clay, uneven soil overgrown with ferns and other forest herbs, dry leaves, brushwood, dead wood, etc. - received in Shishkin's paintings and drawings the appearance of perfect reality, as close as possible to reality.

Among all the artist’s works, the painting “Morning in a Pine Forest” is the most widely known.

Savrasov Alexey Kondratievich (1830, - 1897) Russian landscape painter. Founding member of the Association of Traveling Art Exhibitions. IN early works The artist is dominated by romantic effects (“View of the Kremlin in inclement weather”, 1851). In the 1850-60s. Savrasov more often moves to calm, narrative images, in some cases marked by a desire for color unity of works (“Losiny Island in Sokolniki”, 1869), to enhance the emotional sound of chiaroscuro. The result of these searches was the painting “The Rooks Have Arrived” (1871), where the artist, depicting an outwardly inconspicuous motif and emphasizing the moment of transition in the life of the natural environment (the onset of early spring), managed to show the deep sincerity of his native nature. Savrasov is one of largest representatives lyrical direction in Russian landscape, had a huge influence on Russian landscape painters of the late 19th and early 20th centuries. (K. A. Korovin, I. I. Levitan, S. I. Svetoslavsky).

Levitan Isaac Ilyich (1860–1900), Russian artist. Levitan's "Mood Landscapes" contain a special psychological intensity, reflecting all facets human soul. Having accepted the innovations of impressionism, he, however, never surrendered to the pure, joyful play of light and color, remaining in the circle of his lyrical images. Already early works the artist is surprisingly lyrical (“Autumn Day. Sokolniki”, 1879, “Bridge. Savvinskaya Sloboda”, 1883). Levitan's mature period as a master of landscape, able to transform a simple motif into an archetypal image of Russia, opens with the bright painting “Birch Grove” (1885–1889). The same poetics of subtle, figurative generalization spiritualizes the works of the “Volga period” (“Evening on the Volga”, 1888; “Evening. Golden Ples”, 1889; “After the rain. Ples”, 1889; “Fresh wind. Volga”, 1891–1895 ). Levitan creates masterpieces of “church landscape”, where church buildings bring peace to nature (“Evening Bells”, 1892) or, on the contrary, a mournful feeling of the frailty of everything earthly (“Above Eternal Peace”, 1893–1894, “At the Pool”, 1892, ) . Later, the artist’s colors acquired an increasingly strong sound (“March”, 1895; “ Golden autumn", 1895; "Spring – big water", 1897); on the other hand, he is increasingly fascinated by the motifs of evening, twilight, summer night. Levitan's last, unfinished painting ("Lake. Rus'", 1900) is - despite fatal disease– perhaps his most joyful work.

Household painting household painting

(genre painting, genre), a genre of painting dedicated to depicting the everyday life of a person, private and public. The term began to be used in Russia in the second half. 19th century, when St. Petersburg Academy of Arts officially recognized everyday painting, and to designate it they borrowed the French word “genre” (genre), adopted in Western European academies. Painters who create paintings on everyday stories, began to be called genre artists. In ancient times in Rus', works depicting events of everyday life were called “everyday letters.” Item historical painting– exceptional events important for an entire nation or for all of humanity; Everyday painting depicts what is repeated in the lives of generations of people from year to year, from century to century: work and rest (“On the arable land. Spring” by A.G. Venetsianova, 1820s; “Maslenitsa” by B. M. Kustodieva, 1916), weddings and funerals (“Peasant Wedding” by P. Bruegel Elder, 1568; "Funeral in Ornans" G. Courbet, 1850), quiet and crowded dates festive processions(“Explanation” by V. E. Makovsky, 1889-91; "Procession in Kursk province» I.E. Repina, 1880-83). The best genre works do not present everyday life in its boring monotony, but everyday life, inspired by the greatness of existence. Genre characters are usually nameless, they are “people from the crowd” typical representatives of his era, nation, class, profession (“The Lacemaker” by Ya. Wermeer of Delft, 1660s; “The Meal of the Peasants” by L. Lenin, 1642; “Hunters at Rest” by V. G. Perova, 1871; “Merchant's Wife at Tea” by B. M. Kustodiev, 1918). In days of wars and revolutions, history powerfully invades a person’s life, disrupting its usual course. Works dedicated to the harsh life of turning points lie on the verge of historical and everyday genres (“They Didn’t Expect” by I. E. Repin, 1884 - the return of a participant in the Narodnaya Volya movement from exile home; “1919. Anxiety” by K. S. Petrova-Vodkina, 1934, recreating the atmosphere of the Civil War).

Everyday scenes (hunting, ritual processions) are already found in primitive rock paintings. The frescoes on the walls of ancient Egyptian and Etruscan tombs depicted scenes of plowing and harvesting, hunting and fishing, dancing and feasting (frescoes of the tomb at Beni Hasan, Egypt, c. 1950 BC; tombs of “Hunting and Fishing” in Tarquinia, Etruria, 520-10 BC). These images had magical meaning: had to provide the deceased with rich and luxurious life V the afterlife. Everyday stories are not uncommon in ancient Greek vase paintings(crater depicting a potter’s workshop, “Pelika with a swallow” by Euphronius, both – 5th century BC). Household painting originated in the era Renaissance inside the historical: legendary events often “transported” to modern times and saturated with many everyday details (F. del Cossa. Murals of the Palazzo Schifanoi in Ferrara, Italy, 1469-70; “The Nativity of John the Baptist” by D. Ghirlandaio, 1485-90). Genuine genre works created Caravaggio, who first began to paint people from the lower classes (“Card Players,” 1594-95; “The Lute Player,” c. 1595) and masters Northern Renaissance(“The Magician” H. Bosch, 1475-80; "The Money Changers" by M. van Reimerswaele, ser. 16th century; “Peasant Dance” by P. Bruegel the Elder, 1568).

Household painting emerged as an independent genre in the 17th century. in Holland, which recently won independence and founded the first bourgeois republic; It was then that she experienced her first flowering in painting "little Dutch". After many years of Spanish rule, artists especially keenly felt the charm of a quiet, peaceful life; therefore the most simple activities– taking care of children, cleaning the room, reading letters – covered in Dutch painting 17th century high poetry (“Morning of a Young Lady” by F. van Mieris the Elder, ca. 1660; “Woman Peeling an Apple” by G. Terborch, ca. 1660; “Girl with a Letter” by J. Wermeer of Delft, ca. 1657 .). The people from the lower classes in the paintings of the Spaniard D. are full of genuine nobility and greatness. Velazquez(“The Water Carrier of Seville,” c. 1621) and the Frenchman L. Lenain (“The Family of the Thrush,” 1640s). In the 18th century English painter and graphic artist W. Hogarth laid the foundation for the satirical trend in the everyday genre (series of paintings “Fashionable Marriage”, 1743-45). In France J.B.S. Chardin wrote home scenes from the life of the third estate, warmed by warmth and comfort (“Prayer before dinner,” ca. 1740). Realists of the 19th century strived for an accurate, objective reflection of reality and at the same time exalted the work of man on earth (“The Stone Crusher” by G. Courbet, 1849; “The Ear Pickers” by F. Millet, 1857). Impressionists wrote happy moments snatched from the stream everyday life(“Swing” O. Renoir, 1876).

In Russian painting, the everyday genre was formed later than others. Only 18th century. gives isolated examples (I. I. Firsov. “ Young painter", 1760s; M. Shibanov. "Peasant Dinner", 1774, and "Celebration of the Wedding Contract", 1777). Genre motifs appear in the works of masters of the first half. 19th century K.P. Bryullov(“Italian Afternoon”, “A Girl Picking Grapes in the Vicinity of Naples”, both – 1827) and V. A. Tropinina (“The Lacemaker”, 1823). The founder of Russian everyday painting was A.G. Venetsianov. The labors and days of the peasants appear in his canvases as eternal holiday unity with nature; the beauty of women is covered in the spirit of high classics: their images have the same clarity and harmony as in greek statues or Madonnas of the era Early Renaissance(“The Reapers,” c. 1825; “At the Harvest. Summer,” 1820s; “Morning of the Landowner,” 1823). In the paintings of P.A. Fedotova(“The Picky Bride,” 1847; “The Major’s Matchmaking,” 1848; “The Breakfast of an Aristocrat,” 1849) social satire is happily fused with poetry, with admiration for the beauty of the surrounding world. His late paintings(“Anchor, more anchor!”, “Players”, both – 1851-52) are imbued with genuine tragedy.

Everyday genre becomes leading in painting Itinerants, which sharpened the critical focus of Fedotov’s work. Finding acutely social, topical stories in modern reality, they paint their pictures with ardent compassion for “little people”, imperiously appeal to public conscience, protesting against injustice (V.G. Perov. “Seeing off the Dead Man,” 1865; “Troika,” 1866; I.M. Pryanishnikov. "Jokers", 1865; N.V. Nevrev. "Bargain. From the recent past", 1866; V. E. Makovsky. "Date", 1883). In the 1870-80s. “choral pictures” appear (V.V.’s term). Stasova), in which large masses of people act (“Barge Haulers on the Volga” by I. E. Repin, 1870-73; “The Capture of a Snow Town” by V. I. Surikov, 1891). The traditions of the everyday genre of the Itinerants continued in the 1920s. painters who were part of Association of Artists of Revolutionary Russia. Masters from the Society of Easel Painters (A.A. Deineka, Yu. I. Pimenov and others) wrote about the heroic everyday life of building a new life. In the second half. 20 – beginning 21st century genre painting remains popular in the works of masters committed to different directions (F.P. Reshetnikov, T. N. Yablonskaya, S. A. Chuikov, A. A. Plastov, V. E. Popkov, N. I. Andronov, P. F. Nikonov, T. G. Nazarenko, N.I. Nesterova and many others).

(Source: “Art. Modern illustrated encyclopedia.” Edited by Prof. Gorkin A.P.; M.: Rosman; 2007.)

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The request "Painter" is redirected here; see also other meanings. Adrian van Ostade. Artist's workshop. 1663. Art Gallery. Dresd ... Wikipedia

A type of fine art, works of which are created using paints applied to any hard surface. In works of art, created by painting, color and pattern, chiaroscuro, expressiveness are used... ... Art encyclopedia

The art of depicting objects on any surface (wall, board, canvas) with paints with the immediate goal of producing on the viewer an impression similar to what he would receive from real objects of nature. J.’s further and more important goal… … Encyclopedia of Brockhaus and Efron

Antique painting- painting with wax paints (encaustic) or tempera on plaster, marble, limestone, wood, clay; paintings of societies and residential buildings, crypts, tombstones, as well as production are known. easel painting. A large number of monuments from other groups. painting... ... Ancient world. Dictionary-reference book.

The art of depicting objects on any surface (wall, board, canvas) with paints, with the immediate goal of making an impression on the viewer similar to what he would receive from real objects of nature. A further and more important goal is...

The history of art in Russia, just like the history of Russian culture in general, falls into two unequal, sharply demarcated periods: the ancient, stretching from time immemorial to the era of the transformations of Peter the Great, and the new, embracing... ... encyclopedic Dictionary F. Brockhaus and I.A. Efron

Its emergence and initial period merge to such an extent with the first stages of the development of Flemish painting that the latest art historians consider both for the entire time until the end of the 16th century. inseparably, under one common name... ... Encyclopedic Dictionary F.A. Brockhaus and I.A. Efron

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