A short description of the painting freedom of the passing people. “freedom on the barricades” is a revolutionary theme in the world of art
The painting by Jacques Louis David "The Oath of the Horacians" is a turning point in the history of European painting. Stylistically won't lie down to classicism; the same style, orientated to Antiquity, and it would have been possible to choose this orientation from David. The “Oath of the Horatii” is written on the plot about those, like Roman patriots, the three brothers Horatii were chosen, to fight with the representatives of the Alba Longa city of Alba Longa, the Curiocii brothers. This story is from Titus Livius and Diodorus of Sicily, on which he wrote the tragedy of Pier Corneille.
“All the same, the oath of Horatians is seen daily in these classical texts.<...>David himself rewrites the oath for the central episode of the tragedy. The old one trims three swords. Vіn stand at the center, vіn є all pictures. Lіvoruch vіd nygo — three blue, scho zlivayutsya in one figure, right-hand — three women. Tsya picture is too simple. Before David, classicism, for all its orientation on Raphael, and Greece could not know such a suvoroy, a simple human language for the expression of gromadian values. David Nemov, having sensed those who, having said Diderot, who did not grasp the canvas: “You need to write like that, as they said at Sparta.”
Illya Doronchenkov
During the hours of David, Antiquity has become more sensitive to the archeological evidence of Pompeii. Until recently, Antiquity was a sum of texts by ancient authors - Homer, Virgil and others - and a few dozens of hundreds of sculptures that were not ideally preserved. Now she has become sensible, right up to the furniture she is a namist.
But there is nothing in the picture of David. In her Antiquity, by a hostile rank, is not so reduced to the entourage (sholomi, irregular swords, togas, colonies), as to the spirit of the first baked simplicity.
Illya Doronchenkov
David resolutely stared at the appearance of his masterpiece. I wrote and posted yoga in Rome, took criticism there, and then sent the leaf to the French patron. The artist reminded him that at some point he stopped painting a picture for the king and became painting for himself, і, zokrema, virishiv її not square, as is necessary for the Parisian salon, but rectilinear. As an artist, and rozrakhovuvav, a little bit and a leaf caused a huge excitement, paintings booked a night in the Salon, which was already showing.
“First axis, put the picture on the spot and see it as one. Yakby won bula square, її povіsili b a number of others. And having changed the world, David turned її into a unique one. Tse buv is a great artistic gesture. From one side, vin declaring to himself like a brand at the folded canvas. From the other side, riveted to the center of the picture with full respect.
Illya Doronchenkov
The picture has one more important sense, which makes it a masterpiece for all hours:
“The whole canvas does not turn to specialness - it turns to the people, as if to stand at the ranks. Tse team. І tse team to the people, like a back to back, and then rozmirkovuє. David even correctly showed two inconsistent, absolutely tragic divisions of the world - the world of young people and the world of suffering women. The 1st axis of the setting - more energetic and harmonic - shows that life, which really stands behind the history of Horatziev and behind the picture. And the shards of their zhah are universal, then the “Oath of the Horacians” is nowhere to be found in us.”
Illya Doronchenkov
Abstract
In 1816, the French frigate "Medusa" was reported to have crashed on the coast of Senegal. 140 passengers left the brig on a raft, and only 15 scrambled; to live in a 12-day stupor, they had a chance to go into cannibalism. A scandal erupted in the French suspense; the blame for the disaster was found to be an incompetent captain, a royalist for reconciliations.
“For the liberal French society, the catastrophe of the frigate Medusa, the sinking of the ship, which for the Christian people symbolizes the wholeness (the church, and now the nation), has become a symbol, even a filthy sign of the new Restoration regime, which is beginning.”
Illya Doronchenkov
In 1818, a young artist, Theodore Gericault, sort of shuffled a topic, having read the book quietly, who is alive, and started working on his painting. In 1819, the painting was exhibited at the Paris Salon and became a hit, a symbol of romanticism in painting. Zheriko quickly looked at us and depicted the most privately - the scene of cannibalism; without becoming guilty of showing a stabbing, see the very moment of the fight.
Step by step, choosing the single right moment. Tse moment of maximum nadії and maximum nevvnenostі. The very moment, if people were on the raft, the brig “Argus” would jump on the horizon, as if the raft was going up the raft (I didn’t mention it).
I don’t sweat anymore, going on a strict course, having spent on a new one. On the sketch, where the idea has already been found, “Argus” is remembered, and in the painting, it transforms into a small dot on the horizon, which, as it appears, attracts the eye to itself, but it doesn’t exist.”Illya Doronchenkov
Gericault is guided by naturalism: the replacement of the bodies of a new man in the picture of miracle male athletes. But it’s not idealization, it’s universalization: the picture is not about specific Meduza passengers, it’s about everyone.
“Gericault rises in the foreground of the dead. I didn’t think of it: the French juveniles stained with glimmers and wounded bodies. Tse zbudzhuvalo, beat on the nerves, ruined intelligence: the classicist can not show in such a greedy manner, but we will. Ale and corpses may have one more meaning. Wonder what is in the middle of the picture: there is a storm, there is a whirlwind, a glance is drawn in by the yak. And on the bodies of a peep, just to stand in front of the picture, croque on the whole slab. We are there.”
Illya Doronchenkov
Gericault's painting is reworked in a new way: it is brutalized not to an army of gazers, but to skin people, skin requests for plates. The first ocean is not just an ocean of spent hopes of 1816. Tse share of the people.
Abstract
Until 1814, France languished in the wake of Napoleon, and the arrival of the Bourbons with relief. However, a lot of political freedoms were forfeited, the Restoration began, and until the end of the 1820s, the younger generation began to recognize the ontological mediocrity of power.
“Eugene Delacroix, who had been lying before the French elite, who rose up for Napoleon and was stamped by the Bourbons. Prote vіn buv favors: vіn having taken the gold medal for the first time his painting in Salon, Dante's Rook, in 1822. And in 1824, having appeared in the painting "Rizanina on Chios", which depicts ethnic cleansing, if the Greek population of the island of Chios was deported and depopulated for the hour of the Greek war for independence. Tse persha pastivka of political liberalism in painting, which is more like far away lands.
Illya Doronchenkov
In the fall of 1830, Karl X, having seen a smattering of laws, seriously intersects political freedom, and sent the army to smash the other opposition newspapers. Ale, the Parisians shot down the shooter, the place was covered with barricades, and for the “Three glorious days” the Bourbon regime fell.
In the famous painting by Delacroix, dedicated to the revolutionary epochs of 1830, different social versions are presented: a chepurunk at the top hat, a tramp boy, a robot worker at the shirt. Ale is the head, zvichayno, - a beautiful young woman with bare breasts and shoulders.
“Delacroix has here those who may not be seen by the artists of the 19th century, as they think more and more realistically. You can see in one picture - more pathetic, more romantic, more resonant - get real, physically sensible and brutal (to marvel at the corpses in the foreground loved by romantics) and symbols. That is why I am a full-blooded woman, obviously, Freedom itself. The political development, starting from the 18th century, made it necessary for the artists to visualize those that could not be apprehended. How can you shake your will? Christian values are conveyed to people through a human being - through the life of Christ, that yoga of suffering. And such political abstractions, like freedom, jealousy, brotherhood, cannot be seen. The first axis of Delacroix, perhaps, the first one, and as if it were not one, who successfully stumbled upon these tasks: we now know how freedom looks.
Illya Doronchenkov
One of the political symbols in the picture is a Phrygian kovpak on the head of a girl, a permanent heraldic symbol of democracy. The second motive to speak is nudity.
“Nudity has long been associated with naturalness and with nature, and in the XVIII century this association was forced. The history of the French Revolution is known to be a unique performance, if at the cathedral Our Lady of Paris naked French theater actress portrayed nature. And nature - tse freedom, tse naturalness. І axis scho, it appears, it is sensitive, sensible, a woman signifies. Vaughn means natural freedom.
Illya Doronchenkov
Although this picture glorified Delacroix, it was not long before they cleaned it up for a long time and understood why. Glyadach, who is standing in front of her, opines in the position of silence, who is attacked by Freedom, who is attacked by the revolution. On a non-striking rush, which you doubt, marvel even unquietly.
Abstract
On May 2, 1808, the fate in Madrid, having knocked down the anti-Napoleonic stabbing, the place fell down in the hands of the protesters, and already on the evening of the 3rd, on the outskirts of the Spanish capital, there were massive shootings of the rebels. Tsі podії nevdovzі were called up to the partisan war, which lasted six fates. If it ends, the painters Francisco Goya will paint two paintings to enhance the situation. Persha - "Resurrection on May 2, 1808 to rock in Madrid".
“Goya truly depicts the moment of the onset of the attack - that first blow by the Navajo, which opened the war. The very pressure of the moment is superbly important here. Vіn nіbi nіbіє nіbіє camera, vіd vіd vіn panorama vіn go to evіklіklії close to the plan, which tezh was not laying before the new one. There is one more laudatory verse: considering the chaos, the poignancy here is superbly important. There are no people here, you are shkoduesh. Є victims and є vbivtsі. First of all, with bloodshot eyes, Spanish patriots are engaged in butcher's law.
Illya Doronchenkov
In the other picture, the characters are replaced by missions: those who are painted in the first picture, are shot quietly in the other, who are cut. The moral ambivalence of the street essence is replaced by moral clarity: Goya is for the quiet who stood up and guinea.
“The enemies are now separated. On the right, you who live. The price is low for people in uniform with towels, absolutely the same, even more the same, lower than the brothers of Horatia at David. They do not see the appearance, and їхні kіveri roam їх similar to machines, to robots. These are not human positions. The stench with a black silhouette is seen in the night darkness on the aphids of the light lighter, which floods a small galyavin.
Livoruch, who will die. The stinks are collapsing, swirling, gesticulating, and why should I give up, that the stinks are for their own rolls. Wanting the head, central character - a Madrid man in orange pants and a white shirt - stand on his knees. Vіn all one thing, vіn troch on the hump.
Illya Doronchenkov
Ginuv rebel to stand at the pose of Christ, and for greater conflict, Goya depicts stigmatization on yoga palms. In addition, the artist is worried all the time to endure an important fate - marvel at the rest of the memory in front of the stratum. Zreshtoy, Goya changes the understanding of the historical background. Before the new podia, it was portrayed by its ritual, rhetorical side, at Goya the podia - tse mit, passion, non-literary viguk.
In the first picture of the diptych, it is clear that the Spaniards are not French: the horsemen, who fall under the feet of the horse, are dressed in Muslim costumes.
On the right, in the fact that Napoleon's troops had mamelukes, Egyptian cavalrymen.
“Here, it is marvelous that the artist transforms into a symbol of the French occupation of Muslim fighters. Ale tse allows Goya to transform the current podium on the lanka of the history of Spain. For whether it was a nation that forged its self-confidence under the hour of the Napoleonic wars, it would have been more important to note that the war was a part of the eternal war for its values. And such a mythological war for the Spanish people was the Reconquista, the conquest of the Pyrenean Pivostrova from the Muslim kingdoms. In this rank, Goya, preserving the veracity of documentary, contemporary, put the link with the national myth, zmushuyuchi usvіdomit fight 1808 like the eternal struggle of the Spanish for national and Christian.
Illya Doronchenkov
The artist was able to create an iconographic formula for shooting. Shchoraz, if his colleagues - chi to Mani, Dix chi Picasso - turned to those strati, the stench followed Goya.
Abstract
The pictorial revolution of the 19th century became more visible, lower than the painting, became a landscape.
“The landscape is changing the optics. People change their scale, people experience themselves differently in the world. The landscape is a more realistic depiction of the one that shaped us, with the appearance of a rich vogue of everyday details, yakіmi zanurenі. Abo wines can be a projection of our experiences, and even in the overflows of sunset, or in a radiant sleepy day, our souls become our souls. Ale є razyuchi landscapes, like to belong to that other mode. And it’s really important to understand, really, how dominating them.
Illya Doronchenkov
This duality is clearly manifested in the works of the German artist Caspar David Friedrich: these landscapes tell us about the nature of the Baltic, and at the same time, in a philosophical way. The landscapes of Friedrich have a heavy sense of melancholy; a person on them rarely penetrates far beyond another plane and ring out turns to the staring back.
On the other side of the painting “Viki Zhittya”, in the foreground, there is a family: children, fathers, old. And far away, beyond the open space, the sky is dark, the sea and the windows.
“Just marveling at me, as if the canvas was woken up, then we’ll sing out the roll call between the rhythm of human positions in the foreground and the rhythm of windmills by the sea. Axis of high figures, axis of low figures, axis of the windshields is great, axis of the boat under the windows. Nature and vitrilniks are those that are called the music of the spheres; The person in the foreground is the tse її kіntseve buttya. The sea in Friedrich is often a metaphor for innobuttya, death. Ale, death for a new, believing person, is the home of eternal life, we don’t know about it. The people in the foreground - small, kostrubaty, not very pleasantly written - repeat the rhythm of the glass case with their rhythm, like a pianist repeating the music of the spheres. This is our human music, but all of it is reminiscent of this music, which nature reminds Frederick of. That’s why I’m sure that in this canvas of Frederick it’s not a sweaty paradise, but our end of the butt is still in harmony with the Svetobudova.
Illya Doronchenkov
Abstract
After the Great French Revolution, people realized that the stink might be gone. The 19th century, with the help of romantic aesthetes and positive historians, created the modern idea of history.
“The 19th century created historical painting, as we know it. Not abstract Greek and Roman heroes, like in an ideal setting, carved with ideal motives. The history of the 19th century is becoming theatrical and melodramatic; The skin of the European nation created its own history in the 19th century, and, constructing history, won, in a flash, created its own portrait of that plan in the future. For this sense, the European historical painting of the 19th century is more or less vivacious, wanting, in my opinion, not to lose the wine, not to have left the great works in a right way. I among these great works I bachu one vinyatok, as we, Russians, we can rightly write. Tse "The Wound of the Striletsky Strati" by Vasil Surikov.
Illya Doronchenkov
Historical painting of the 19th century, oriented to the sound of verisimilitude, speaks of one hero, who directs history, or knows the shocks. Surikov's painting here is a bunch of vines. Її hero - at the ranks of the outfits, which borrows mayzhe chotiri five pictures; through tse zdaєtsya, scho the picture is completely unorganized. Behind the living NATO, a part of which will soon die, there is a line, a foul-mouthed temple of St. Basil the Blessed. Behind Peter, we caught a line of soldiers, a line of shibenitsa - a line of teeth of the Kremlin wall. The picture is creaked by a duel looking at Peter and the ore-bearded archer.
“About the conflict between the empire of that power, the people of that empire, one can speak too much. But I’m guessing that in this speech there are still other meanings, like to shy away її unique. Volodymyr Stasov, propagandist of the creativity of the Wanderers and defender of Russian realism, who wrote a lot of things about them, and said more kindly about Surikov. Vin, calling this kind of choral paintings. True, they don't have one hero - they don't have one dvigun. The people become the engine. Ale, in this picture, the role of the people is well remembered. Josyp Brodsky at his Nobel lecture miraculously said that a true tragedy is if a woman is a hero, and if a woman is a choir.
Illya Doronchenkov
Podії vіdbuvayutsya in the paintings of Surіkov not only mimic their characters - and in this way the concept of the artist's history, obviously, is close to Tolstoy's.
“Suspіlstvo, people, nation in this picture are divided. Peter's soldiers in uniform, as if they were wearing black, and archers in white were shown as good and evil. What are the two uneven parts of the composition? Tse archer at the white shirt, who is violating the stratum, and a soldier in uniform, who lifts yoga over his shoulder. As soon as we think, we will take away everything that we feel, we cannot afford to let people go to the stratum in life. Here are two friends, as if they are turning home, and one is welcoming the other friendly and warmly. If Petrush Grinova in „ Captain's Donets“the scarecrows hung, the stench said:“ Don’t knock it, don’t knock it down, otherwise they really wanted to kick. The axis of the observation of the fact that the people at the same time are divided by the will of history is fraternal and united, - the striking quality of the Surik canvas, as I don’t know anywhere else. ”
Illya Doronchenkov
Abstract
Painting has a wide range of meanings, but not a skin plot can be depicted on a great canvas. The various malovnichi traditions were depicted by the villagers, mostly not in majestic paintings, but in Gustave Courbet’s “The Burial at Ornani” itself. Ornan is a local provincial town, the artist himself comes from the stars.
“Courbet moved to Paris, but did not become a part of the historical establishment. Vіn not having taken away the academic illuminance, but I will push my hand, even a sharp look and majestic ambition. Vіn vіn vіdchuvа vіnіvіv vіnіntsiаl, і і better yоmu was at home in Ornanі. Ale vin mayzhe lived all his life at Paris, fighting with this mysticism, as if already dying, fighting with the mysticism, as if idealizing and talking about sleep, the past, more beautiful, without compromising the present. Such a mystetstvo, as a way to praise more, as a pleasure to enjoy, as a rule, to know even a great drink. Courbet was rightly a revolutionary in painting, even if the revolutionism did not dawn on us at the same time, to that we write life, we write prose. Golovne, which was revolutionary in the new one, are those who stopped idealizing their nature and began to write themselves like this, like to drink, but like that, as if thinking, what to drink.
Illya Doronchenkov
On the gigantic picture it is practical in the last time about fifty people are depicted. All the stinks are real persons, and fakhivtsy recognized practically all the participants in the funeral. Courbet painted his fellow countrymen, and it was acceptable for him to spend on the picture himself such as they stink.
But when the painting was exhibited in Paris in 1851, it created a scandal. Vaughn went against everything that the parisian public called out at the moment. The artist portrayed a clear composition with a rough, pasty painting, which conveys the materiality of speeches, but you don’t want to be beautiful. The rank-and-file people were shown to them that they could not understand who it was. Vrahayuchy buv disintegration of communication between the lookers of provincial France and the Parisians. The Parisians adopted the image of this good-natured foreign enemy as the image of the bіdnyakіv. One of the critics said: “So, for the dissimilarity, but for the dissimilarity of the province, and Paris has its own dissimilarity.” Beneath the dissimilarity of the truth, the borderline truthfulness rose up.”
Illya Doronchenkov
Courbet was inspired by the idealism that robbed him of being a right avant-garde artist of the 19th century. Vin orientated on French popular prints, and Dutch group portrait, and ancient urochism. Courbet learn to accept the present in її uniqueness, in її tragedy and її beauty.
“French salons knew the images of the hard rural work, the poor peasants. Ale, the mode of the image, buv, is generally accepted. The villagers needed to be blown away, the villagers needed to be quiet. Tse buv look trohi burn. Lyudina, like a spivchuva, for appointments, changes from a priority position. And Courbet, having spared his peeping man the possibility of such a friendly spontaneity. These characters are majestic, monumental, ignore their peeps, and the stench does not allow such contact to be established with them, which would break their part of the sonorous world, stench is really good at breaking stereotypes.
Illya Doronchenkov
Abstract
XIX century, not loving yourself, volіyuchi shukati beauty in something else, something like Antiquity, Serednyovіchchya chi Skhid. It was Charles Baudelaire who first learned the beauty of modernity, and artists who inspired Baudelaire in painting, such as Edgar Degas and Edouard Manet.
“Manet is a provocateur. Manet is at the same time a brilliant painter, the charm of a farb, a farb, even paradoxically eaten, a frightening peeping eye, do not put yourself in obvious food. How to marvel at these pictures, we will often be embarrassed to know that we don’t understand what brought these people here, that they stink one by one, which is why these objects sit on the table. The simplest advice: Manet is ahead of the painter, Manet is ahead of the eye. To Yomu cіkave, there is a change in colors and textures, and the logical succession of objects and people is ten on the right. Such pictures are often put up by a peep-to-mouth, like a whispering zmist, like a whispering of history, in peace. Manet does not tell stories. Vіn a moment bi so and be deprived of such a completely accurate and vishukan optical apparatus, as if not having created his remaining masterpiece already in the thirties, if a deadly ailment led him.
Illya Doronchenkov
The painting "The Bar at the Folly-Bergere" was exhibited in 1882 by the public, the critics slandered it, and then it was quickly recognized as a masterpiece. Її theme - cafe-concert, is a true manifestation of the Parisian life of the other half of the century. It turns out that Manet clearly depicted the Foul Bergère for sure.
“But if we are really surprised at what Manet has in his picture, we understand that there is a great number of inconsistencies here, as if they are turbulent and do not take clear permission with a swearing. The maiden, like a mi bachimo, a saleswoman, won’t be able to flirt with her physical femininity, flirting with her, and flirting with her that beckoning booze. Tim does not flirt with us for an hour, but marvels at us. On the table, near the heat, stand a bunch of champagne, but why not in the ice? At the mirror image, the dances should stand on the wrong edge of the table, on which to stand in the foreground. Kelikh from trojans of slander did not fall under this kut, under the yakim slapped all other objects that stand on the table. And the girl in the mirror does not look like that girl, like to marvel at us: she is slender, she has rounded forms, she has shriveled to a double. Zagalom, she’ll behave like that, how small it would be to know that, we marvel at yaku.
Illya Doronchenkov
Feminist criticism has given respect to those who, with their contours, make up a champagne dance, standing on the counter. It’s better to be careful, but it’s worse: the melancholy of the picture, the psychological isolation of the heroine to resist the straightforward clouding.
“Thy optical plot and psychological riddles of the picture, it’s similar that they don’t think unequivocally in the same way, confuse us, come up to it again and put the power, see through them the thoughts of the beautiful, summative, tragic, everyday life, about the way pouring Manet in front of us.
Illya Doronchenkov
Eugene Delacroix. Freedom, like the people on the barricade
On January 9, 1824, young Ezhen Delacroix wrote to his student: "I see that I have a passion for writing on contemporary subjects." Tse not Bulo vipadka phrase, A month earlier, writing down a similar phrase: "I want to write on the plots of the revolution." The artist has previously repeatedly spoken about the city of writing on the basis of those who, even more rarely, have realized their own city. It seemed to me that Delacroix thought: "... we should sacrifice everything for the sake of harmony and real transmission of the plot. We are guilty of doing without models in the pictures. , otherwise the beauty of the flooring is insha and thorough, which should be changed ".
The beauty of the life model, the artist volіv plots from novels. "Who should have bothered to know the plot? - Ask yourself once. - Open the book, take a deep breath, and believe in your mood!". І він sacred dorimuetsya its own vlasnoї reason: with skin rock, the book becomes more and more for the new gerel themes and plots.
So step by step, the wall grew and mіtsnіla, scho Delacroix and yoga magic in the form of action. So, that, having closed in on its own consciousness, the revolution of 1830 caught it. Everything that even a few days ago became a sensation of the life of a romantic generation, mittevo was thrown far back, became "looked dribbling" and irrelevant in front of the grandiosity of the podia that came out.
Zdivuvannya that enthusiasm, experienced in these days, invades Delacroix's life in the Kremlin. Reality wastes for him its irritating shell of vulgarity and everyday life, revealing the right greatness, as if he weren’t stunned in any way, and as if he was joking at us in front of Byron’s poems, historical chronicles, ancient mythology and on the go.
Lipnye days resonated in the soul of Eugene Delacroix with the idea of a new painting. The barricade battles of 27, 28 and 29 were the result of a political upheaval in French history. In these days, King Charles X is the last representative of the Bourbon dynasty hated by the people. For Delacroix, this is not a historical, literary or similar plot, but a life reference. However, the first of the lower conceived conceived, vіn mav to go through a long and foldable way of change.
R. Eskolye, the artist's biographer, writing: "On the very cob, under the first rage of the bastard, Delacroix could not imagine the Freedom of the midst of the sick ... We wanted to just create one of the lime episodes, like, for example, the death of "Arcol". , then there were a lot of feats and sacrifices were made. On the day when the king's military trimmed the hanging Grevsk city under shelling, a young man appeared, as if rushing to the town hall. Vіn vyguknuv: "If I die, remember that my name is d" Arcole.
Eugene Delacroix, having crushed the little ones with a pen, which, perhaps, became the first handwriting before the future picture. About those who are not ordinary little ones, to speak about the exact choice of the moment, and the completion of the composition, and thoughtful accents on the small figures, and the architecture of the ashes, organically anger the child, and other details. This little one can truly serve as a sketch for a future picture, but a mystical knowledge. Kozhina felt that the wine was so blotted out simply in a handwriting, which could not have anything to do with this canvas, like Delacroix having written in a good way.
It’s not enough for the artist to be just a single d’Arcol, who rushes forward and with his heroic impulse sings the insurgents. The central role of Eugène Delacroix is given to Svoboda himself.
The artist was not a revolutionary, and he himself recognized it: "I am a rebel, but not a revolutionary." Politics didn’t do much, because I didn’t want to portray the almighty swedish episode (let’s bring back the heroic death of d’Arcol), to evoke not the almighty historical fact, but the character of all things. written in the background of the picture from the right side (at the gravel you can see the ensign, raised on the tower of the Notre Dame Cathedral), the one according to the Russian houses. it would give an image of a private episode, high to navit great.
The composition of the picture is more dynamic. At the center of the picture, a group of stunned people is thrown out in a simple atmosphere, and right-handed right-handed is collapsing right in the foreground of the picture.
Through the powder smoke you can’t see the area, you can’t see how large the group itself is. Napіr natovpu, scho fills the depth of the picture, satisfies all the growing internal pressure, which inevitably can break through. The first axis, in front of the natovp, from the gloomy Dima to the top of the taken barricade, a beautiful woman with a tricolor republican ensign at the right hand and a towel with a bagnet at the levi.
On її head there is a red Phrygian kovpak of Jacobins, clothes її majorit, bare breasts, profile її veil of the nasty classical figure of Venus Miloskoy. Tse povna forces and usnaga Freedom, as if we were bold and courageous with our hands, we showed the way to the battles. Leading people through the barricades, Freedom doesn't punish and doesn't command - it's pissed off and suddenly stood up.
Pratsyyuchi over the picture at the light-gazer Delacroix tucked two protractile cobs - stale, navyuvane deysnistyu, from the other side, has long been rooted in his vision of distrust to the point of deity. I don’t believe that life can be beautiful in itself, that human images and purely picturesque personalities can convey the whole idea of a picture. This misunderstanding dictated to Delacroix the symbolic figure of Liberty and the deeds and other allegorical clarifications.
The artist transfers the entire podium at the light of allegory, invoking the idea in such a way as if he had repaired and deified Rubens (Delacroix told the young Eduard Manet: "You need Rubens to be more, you need to adopt Rubens, you need to copy Rubens, because Rubens is God") in his compositions, abstractions understand. All the same, Delacroix does not follow his idol for everyone: Freedom in the new one is symbolized not by an ancient deity, but by a simple woman, who, however, becomes royally majestic.
Svoboda is allegorical, inspired by life's truth, with a strong fight, colonies of revolutionaries go ahead, hooting them at home and hanging on to the greater sense of struggle - the strength of the idea and the possibility of victory. We didn’t know that Nika of Samothrace had come out of the earth after the death of Delacroix, we could have assumed that the artist had breathed this masterpiece.
Delacroix was judged and praised by a lot of mysticists for those that all the greatness of this picture cannot stand up for that anger, as the ice is remembered. Just past about zіtknennya in svіdomostі artist protilezhnih pragnen scho zalishilo svіy slіd navіt i in completing polotnі Oscillations Delacroix mіzh schirim Bazhanov Show dіysnіst (yaky vіn її bachiv) that mimovіlnim pragnennyam pіdnyati її on buskins, mіzh tyazhіnnyam to painting emotsіynogo, bezposerednogo that bezposerednogo, zvichnoyu to the artistic tradition, Bagatioh did not rule that the highest realism, which, having cheered the nasty public of the artistic Salonivs, would join in this picture with a thoughtless, ideal beauty. As a reminder of the value of life's authenticity, which had never been seen before in Delacroix's work (and then it did not happen again), the artist was praised for its symbolism to the image of Freedom. Vtіm, and for the familiarity of other images, putting the artist at the mercy of the naturalistic nudity of the corpse in the foreground with the susides of the nakedness of Freedom.
Tsya duality did not slither out of Delacroix's co-workers, and in the eyes of other poigners and critics. Navit after 25 years, if the public has already called to the naturalism of Gustave Courbet and Jean-Francois Millet, Maxime Ducan is still crazy before "Freedom on the barricades", forgetting about the streaming of the words: feet and bare chests, to live, screaming and waving a towel, then we don’t need it.
Hello, dear Delacroix, how could you compare this picture? The revolution of 1830 was also marked on the work of other artists. After occupied the king's throne, Louis-Philip, who tried to reveal his coming to power, was not the only zmist of the revolution. A lot of artists, like themselves, took up such a pidkhid before those who destroyed the least support with a path. The revolution, like a spontaneous folk whim, like a grandiose folk blow, the silent maestros are silent. Von nibi hasten to forget about everything that was running on the streets of Paris near the linden of 1830, and the "three glorious days" will stay in the image of the city of Paris with a lot of deities of the Parisian townsmen, as if they were stormed only by them, as if it were better to acquire a new queen. Before such creations, one can see Fontaine's painting "Guards, who will vote King Louis-Philippe" or O. Berne's painting "The Duke of Orleans, who floods the Palais-Royal".
Ale, pointing to the allegory of the head image, the deacons of the past forget to point out that the allegorism of Svoboda does not create dissonance with the lattice of the figures of the picture, not looking in the picture on the third-party and vinyatkovo lining, as you can look at first. Aje reshta playful characters in fact, in their role they are also allegorical. That person of Delacroix had the will to bring to the fore those forces, as if they had spurred the revolution: workers, intellectuals and the plebs of Paris. A worker with a blouse and a student (or an artist) wearing a rushnitsa are representatives of a whole series of singing versions of the society. Tse, bezperechno, accurately, and authentically depict, but to bring Delacroix's deepening into symbols. I allegory tsya, as it is clearly seen already in them, at the position of Freedom, reaches its greatest development. Tse grіzna is a beautiful goddess, and at once a Parisian woman was crying out. And he ordered to shoot at the stones, to shout from the suffocation and swinging pistols (nebi diriguyuchi podia) nimble, skillful lad - a little genius of Parisian barricades, whom after 25 years Victor Hugo called Gavroche.
The painting "Freedom on the Barricades" ends the romantic period of Delacroix's work. The artist himself, having already loved his painting, and having reported to the bagato zusil, she drank it to the Louvre. However, after the hoarding of the bourgeois monarchy, the exposition of this canvas was fenced. Just in 1848, Delacroix's rozmіg zmіg once more, and to bring on to do a trivaly hour to put up his picture, but after the shock of the revolution, she spent it for a long time to the storeroom. The right meaning of Delacroix's work is attributed to another name, unofficial: richly, who have long called bachiti in this painting "Marseillaise of French Painting".
"One Hundred Great Paintings" by N. A. Ionina, "Viche" exhibition, 2002
Ferdinand Victor Eugene Delacroix(1798-1863) - French painter and graphic artist, a bunch of romantic directly in European painting.
Only the Radianian art of the XX century can be compared with the French art of the XIX century for the yogic giant splash in the world of art. In France itself, the brilliant painters introduced the theme of the revolution. France has a method of critical realism 
.
Itself there - near Paris - ahead of the worldly art, the revolutionaries, with the ensign of freedom in their hands, bravely stepped on the barricades and entered the bіy іz rank-and-file soldiers.
It is important to understand how the theme of revolutionary art could have been born at the head of a young miracle artist who grew on monarchical ideals under Napoleon I and the Bourbons. The artist's name is Eugene Delacroix (1798-1863).
It appears that in the science of the skin of the historical epoch, it is possible to reveal the grains of the future artistic method (and directly) of the development of the class and political life of a person in the social environment of the suspense of an ardent yoga life. Grains give go away only once, if you are a genius mind to fertilize your intellectual and artistic era and create new images fresh ideas for the rozumіnnya raznomanіtnogo and eternally objectively vague life of the household.
The first day of bourgeois realism in European art was sown in Europe by the Great French Revolution. The French art of the first half of the 19th century had the Lipnev revolution of 1830. created a mind for the emergence of a new artistic method in art, which was called “socialist realism” in the 1930s in the 1930s.
Bourgeois historians are joking, whether it be a drive, in order to belittle the significance of Delacroix's contribution to the world's art, and to create a great vision. The stench took all the tiles and jokes invented by their brothers and critics for the second century. And to replace the reasons for this particular popularity among the progressive versions of the society, they are brought to lies, and vigaduvaty nebilitsya. And everything is at the behest of the bourgeois orders.
How can bourgeois historians write the truth about which bold and brave revolutionary?! Channel "Culture" bought, re-watched and showed the biggest film of the UPU about this painting by Delacroix. And if the liberal at the doshka M. Shvidkoy with his team was able to work it out otherwise?
Eugene Delacroix: "Freedom on the Barricades"
In 1831 p. prominent French painter Eugene Delacroix (1798-1863) exhibiting his painting "Freedom on the Barricades" at the Salon. On the back, the name of the picture sounded like "Freedom, as the people lead." Vin dedicating it to the themes of the Lipne Revolution, which made Paris look like a lime tree in 1830 and overthrew the Bourbon monarchy. The bankers and the bourgeoisie succumbed to the discontent of the working masses, in order to replace one unlit and zhorst king with a liberal and accommodating, but also with the same greedy and zhorstok Louis Philippe. Yogo pіznіshe was nicknamed "the king of bankers"
The picture shows a group of revolutionaries with the republican tricolor. The people united and joined the deadly battle with the orderly soldiers. A great figure of a Frenchwoman with a national ensign at the right hand hanging over the corral of the revolutionaries. She calls out to the risen Parisians to give remembrance to the ordering Viysks, who robbed the monarchy completely, which is rotten.
Inspired by the successes of the revolution of 1830, Delacroix began to work on the painting on 20 April to glorify the Revolution. At the birch 1831 Vіn otrimav for her in the city, and at the kvіtnі having put up a picture in Salon. The picture was glorified with its crazy power folk heroes vіdshtovhuvala bourgeois vіdvіduvаchіv. The stinkers paid homage for those who showed only "niello" in their heroic spirit. In 1831, the Ministry of Internal Affairs of France bought "Freedom" for the Luxembourg Museum. After 2 years, "Freedom", the plot of which was vowed to over-politicize Louis Philippe, instilled with a revolutionary character, unsafe during the reign of the union of the aristocracy and the bourgeoisie, punishing the painting to be rolled up and turned to the author (1839). Aristocratic nerobs and penny aces are not hot for evil in revolutionary pathos.
Two truths
"If you build barricades, then you should always blame two truths - one and the other one each. Do not think more than an idiot" - such a thought was expressed by a well-known Russian writer Valentin Pikul.
Two truths are blamed in culture, mysticism and literature - one is bourgeois, the other is proletarian, folk. K. Marx and F. Engels hung the truth about two cultures in one nation, about the class struggle and the dictatorship of the proletariat at the “Communist Manifesto” in 1848. And without a hitch - in 1871. - the French proletariat rose up to establish its power in Paris. The commune is a friend of the truth. People's truth!
The French revolutions of 1789, 1830, 1848, 1871 confirm the presence of historical and revolutionary themes in the arts, and in life. І for tse vіdkrittya we may buti vdyachnі Delacroix.
This is why the bourgeois historians of art and the science of art do not like this picture of Delacroix. Adzhe vin not only portrayed the fighters from the rotten and stagnant Bourbon regime, but glorified them as folk heroes, as if boldly going to death, not being afraid to perish for the right in battles with police officers and military men.
Image, created by him, the floorings appeared typical and authentic, that the stench once again crashed into the memory of people. Chi did not become the heroes of the Lipnevo revolution, but the heroes of all revolutions: French and Russian; Chinese and Cuban. The grim tієї revolyutsії resound and dosi at the vukhs of the secular bourgeoisie. These heroes called the people to the uprising of 1848 in the lands of Europe. In 1871 p. smashed the bourgeois power of the Communari of Paris. The revolutionaries encouraged the working masses to fight against the tsarist autocracy in Russia at the beginning of the 20th century. These French heroes do call to war against the exploiters of the peoples of all countries of the world.
"Freedom on the Barricades"
Radyansk Russian scholars from hoards wrote about Delacroix's painting. The most beautiful and most recent description of її given by one of the miraculous Radian authors I. V. Dolgopolov at the first volume drew about the art of “Maistri and Masterpieces”: “The Rest of the Assault. Slipuchy noon, flooded with hot exchanges of sun. Dima, in the spring wind rose the tricolor republican ensign, the great woman at the Phrygian kovpak raised high up the hill, there is a cry of silence, that they went on the attack, her unknown fear, France itself, as if calling its sins to the right of the battle. Nepokhitnі bіytsі "three glorious days" Parisian gamen, zukhvaliy, juniy, who could shout angrily in the guise of a thief, in a smartly pulled-down beret, with two majestic pistols in his hands. cylinders and black pair - a student, who took his armor.
Death is the order. The pitiless change of the sun forged over the gold of the beaten shawl. They saw the failure of the eyes, like the company of a beaten soldier. Glittered on a white epole. They described the sinewy bare legs, the blood-drenched torn shirt of the fight. They shone brightly on the red belt of the wounded, on his horn-skinned braid, which was stunned marveling at the living Freedom, as if he had led his brothers to Peremoga.
“Sing calls. Rumble bey. To sound fiercely, voice quietly, who to fight. The great symphony of the Revolution murmurs joyously at Delacroix's canvas. All the triumphant power. People's anger and love. All holy hatred to the point of non-volitional! The painter has put his soul into it, the youthful glow of the heart is in the whole canvas.
"To sound red, red, crimson, purple, red colors, and it is obvious to echo them black, blue, black colors, along with bright strokes of white. Blue, white, red - the colors of the banner of the new France - the key to the color of the new picture. Potuzhna , dynamics of the figures of heroes, the unforgettable image of Freedom.
Delacroix having created a masterpiece!
“The painter has gone, given up, impossibly - the protocol reality of the reportage with the presented fabric of romantic, poetic allegory.
“The artist’s brush is enchanted, confusing us to believe in the reality of the diva - even though Freedom itself has become a cry-o-cry from the rise. This picture is truly a symphonic poem, as if it were the foundation of the Revolution.”
In other words, they described this picture of the hired clerk of the "king of the bankers" Louis Phillip. Dolgopolov continues: “The volleys have ceased. The battles have subsided. Sing "La Marseillaise". Vignano hate Bourboni. Weekdays have come. I have anew blown off addictions on the juvenile Olympus. I read again the words, rudeness, hatred. Especially nasty assessments of the figure of Svoboda itself: “Tsya dіvka”, “abominable, scho vtіk іz vyaznica Saint-Lazare”.
“Was it not in these glorious days that there was only one mob on the streets?” - Ask another person from the camp of salon lyceums. The first pathos of Delacroix's masterpiece, which the tale of "academists" should be stuck for a long time. Before the speech, guess the venerable Signol of the School of Fine Art.
Maxim Dekan, having indulged in a strimanity, wrote: “Ah, so Freedom is like that, like a girl with bare feet and bare breasts, to live, screaming and waving a towel, we don’t need it, we don’t have to work with this ganeb vixen!” .
Approximately so її zmіst characterize the bourgeois historians of art and art science today. Look at the BBC's films in the archives of the channel "Culture" in order to get over my rightness.
“The Parisian public, in two and a half decades, again beat the barricades to 1830 rock. At the luxurious halls of the exhibition, the Marseillaise sounded, making up flashes. - So I wrote. V. Dolgopolov about the painting in the salon 1855
"I am a rebel, not a revolutionary."
“I chose the current plot, the scene on the barricades. .. Even if I don’t fight for the freedom of my homeland, then I accept that I can glorify my freedom, ”advising Delacroix to his brother, hanging on the wall the picture“ Freedom, as the people lead.
Tim Delacroix can't be called a revolutionary by the Radyanskiy sensitized word. Vіn was born, virіs she lived life in the monarchical suspіlstvі. Vin painting his paintings on traditional historical literary themes at the monarchical and republican hours. The stench yelled at the aesthetics of romanticism and realism of the first half of the 19th century.
How did Delacroix himself understand, what he "did" in the art, brought in the spirit of revolution and created the image of the revolution and the revolutionaries in the art of the world?! Bourgeois historians say: no, not wise. True, the stars of the moment at 1831 nobility, with such paths will Europe develop in the next century. I won't live to see the Parisian commune.
Radyansky historians of art wrote that “Delacroix ... did not cease to be a ardent opponent of the bourgeois order, with a spirit of corrosiveness and profit, a fortune teller of the freedom of the people. Vіn vіdchuvav gliboku ogid yak to mіschanskogo prosperous, so і to ієї polished empty secular aristocracy, with which yoma often trapped stikatsya...". Prote, "without ignoring the ideas of socialism, without praising the revolutionary way of doing" . (History of Science, Volume 5; these volumes of the Radian History of Light Science are also available on the Internet).
All the more creative of life Delacroix shuffled the clothes of life, as if until the new one they changed in the dark and on the yak, no one could think of such respect. Consider why these important things of life play such a great role in modern life? Why should the stink of respect for the creative individuality be no less than the portraits of queens and napoleons? No less than the lower sings of the dressed beauties, such as neoclassicists, neo-Greeks, and pompeys so loved to write.
I Delacroix confirmed that "painting is the very life. For some, nature stands before the soul without intermediaries, without covers, without cleverness."
Following the advice of the fellows, Delacroix became a monarchist for reconciliation. Utopian socialism, anarchist ideas of Yogo Tsikavili. Scientific socialism will appear less in 1848.
Showrooms of 1831, showing a picture, yak - though for a short hour - shattered his official glory. Ioma Navit was handed over to the city - a line of the Legion of Honor at the buttonhole. Youmu was well paid. Other canvases sold:
"Cardinal Richelieu hears the month in the Palais-Royal" and "The Beating of the Archbishop of Liège", and a spear of great watercolors, a sepia and a little one "Raphael at his master's room". Pennies buli, buv i success. Ezhen Mav imagine that we will be satisfied with the new monarchy: if we had a penny, that glory was successful.
In 1832 p. Yogo was asked to vikhati with a diplomatic mission to Algiers. Vіn іz satisfaction destroying creative inspiration.
Although the critics were full of talents of the artist and checked for new releases, "Freedom on the Barricades" was respected by the Louis Philip squad for better trimming at the skhovishchi.
Since then, in 1833, Tier entrusted you with a painting to the salon, a design of a similar kind follows close, one by one. A native French artist in the 19th century did not dare to paint such a large number of walls.
Popularization of Orientalism in French Art
Delacroix won a trip to create a new series of paintings of the life of the Arab society - exotic costumes, harems, Arabian horses, exotic exotics. Morocco has created hundreds of sketches. Some of them poured into their own paintings. At 1834 p. Eugene Delacroix, having displayed the painting "Algerian women in a harem" at the Salon. Noisy and unimaginable light Immediately, which blew up, striking the Europeans. Price new romantic vіdkrittya new exotics Immediately vyavilos contagious.
Other artists rushed to Skhid, and even more leather, bringing a plot with non-traditional characters, inscribed in an exotic setting. So, in European art, in France, from the light hand of the brilliant Delacroix, a new independent romantic genre was born - ORIENTALISM. This is another contribution to the history of light art.
Yogo's fame grew. Vіn took off the impersonal request for the painting of steles at the Louvre in 1850-51; the throne room and the library of the chamber of deputies, the baths of the library of firsts, the gallery of Apollo, the hall in the hotel de Ville; creating frescoes for the Parisian church of Saint-Sulpice in 1849-61; embellishing the Luxembourg Palace in 1840-47. With these creations of wines, I have forever written my own name in the history of French and world art.
Tsya robot was well paid for, and wines, recognitions by one of the greatest artists in France, without thinking about those that "Freedom" was hopefully buried in the collection. However, in the revolutionary 1848, a progressive enormity guessed about her. Vaughn turned to the artist with the proposition to paint a new similar picture about a new revolution.
1848 rіk
"I am a rebel, not a revolutionary" - Delacroix. Having declared with greater glory that he is a rebel in science, but not a revolutionary in politics. In that rіk, if the B-Niyi region was rushed by the proletarіate, did not pіdtrimania, the Rychko was delayed by the galitzi єsurropiesky m_st, Vіn did not revolutionize the right on the right, not fighting the participation of the wrestling battles at once by the people, and Buntuvav at Mussettva . It was given to you baiduzh, who will overcome: monarchists, republicans and proletarians.
Still, I was guilty of responding to the call of the hulk and asking the officials to put up their "Freedom" at Salon. The picture was brought from the collections, but they did not dare to put it up: the tension of the struggle was too high. That author, especially and not in a rush, rozumіyuchi, that the potential for revolution among the masses is inexhaustible. Pesimism and rozcharuvannya added Yogo. Vіn nіkoli not admitting that the revolution could be repeated in such terrible scenes, like vіn posterigav on the cob of the 1830s and those days in Paris.
Have an 1848 painting by the Wimahaws of the Louvre. At 1852 p. - Another empire. In the rest of the month of the Other Empire, "Freedom" was again seen as a great symbol, and engravings of the composition served as a reference for republican propaganda. In the first years of the reign of Napoleon III, the picture is again recognized as an unsafe household and restored to the storeroom. Through 3 rocks - 1855 p. - її win the stars and demonstrate at the international art exhibition.
The very same Delacroix rewrites the actual details in the picture. It is possible, to rob the wines with a dark, bright-red tone of a kovpak, in order to help soften your revolutionary look. In 1863, Lieutenant Delacroix died at home. And after 11 years "Freedom" settles at the Louvre forever...
Salon art and less academic art were always central to the work of Delacroix. Only the servants of the aristocracy and the bourgeoisie of the wines took care of their shoes. Politics did not praise the yoga of the soul.
That revolutionary 1848 p. and at the rocky wines he choked on Shakespeare. New masterpieces were popularized: "Othello and Desdemona", "Lady Macbeth", "Samson and Delila". Vin, having painted one more painting "Woman of Algeria". These paintings were not well received by the public. Navpaki, praised in every way, like the painting in the Louvre, like the canvases of the Algerian and Moroccan series.
The revolutionary theme does not die at all
Who cares that the historical-revolutionary theme has now died forever. The lackey of the bourgeoisie wants so much that she will die. Ale Ruhi Vіd Old Bourgeoisino Tsivіlіzatsії, Scho b'en in Convulsii, to New Nekapіtalіstiki Abo, Yak ї ї ї зазавиться, sociallysticky, - exactly say to the Comunion Bagatonatskyi Datini Nіkіlіzatsії Zupiniti Nіkomu not to indulge, bo sets are about about. Just as the bourgeois revolution fought over the capital and the aristocratic camps, so the socialist revolution breaks through to the point of victory in the most important historical minds.
The theme of the interrelationship of art and politics has long been established in art and artists її pіdnіmali її namagalis її її її її іїї її її її її її zmіstі, zvichnym for klassichnym akademіchnomu arts. Ale no one before Delacroix did not fall into the thought of trying to create an image for the people of that revolutionaries in painting and showing the simple people, which raised a rebellion against the king. The theme of nationality, the theme of revolution, the theme of the heroine in the image of Svoboda already, like a primari, wandered around Europe with special force from 1830 to 1848. Not less than Delacroix thinking over them. Other artists also tried to explore their creativity. They tried to poetize the revolution, those її heroes, the rebellious spirit of the people. You can look over some of the paintings that showed up at that hour in France. Dom'є, Meissonier painted barricades and the people, but none of them portrayed the revolutionary hero of the people so clearly, so figuratively, so beautifully, like Delacroix. Zrozumilo, not about the yak socialist realism no one could inspire a dream in thir fates, not the same. Navit Marx and Engels did not fight "primary communism" that blew Europe right up to 1848. What can you say about artists!? The protege of our 21st century can be seen and realized that all the revolutionary art of social realism came from the "Barikade" by Delacroix and Meissonier. It doesn't matter what the artists themselves and the Radianian historians of the arts did not understand; knew, bachili tsyu picture Delacroix chi ni. The hour has changed drastically: capitalism has reached the highest stage of imperialism and has begun to rot on the cob of the 20th century. The degradation of the bourgeois sospіlstvo nabul zhorstokh forms vіdnosin mіzh pratsey i kapitalom. Rest trying to know the order of the world wars, fascism.
In Russia
Nobility-bourgeois Russia emerged as the weakest lane in the capitalist system. The dissatisfaction of the masses of 1905 roci lied; But the rehearsal of the revolution turned out to be ugly. In 1917, the Russian proletariat won the victory, having succeeded in the world, we will overcome the socialist revolution and establish our own dictatorship.
The artists did not leave themselves on the sidelines and wrote revolutionary imitations from Russia and from a romantic key, like Delacroix, and from a realistic one. The stench has developed a new method for world art, the names "socialist realism".
You can point out some examples. Kustodiev B.I. in his painting "Bilshovik" (1920) he depicted the proletarian as a giant, Giliver, who hovered over the liliputs, over the city, over the natovp. In the hands of the vins there is a red ensign. In the painting by Korzhev G. M. "Looking up the ensign" (1957-1960), the worker raises the red ensign, like a revolutionary, who was killed by police officers.
Didn't the artists know Delacroix's creativity? Didn't they know that in 1831 the French proletarians entered the revolution with a tricalor, and the Parisian comunari with a red ensign in their hands? They knew. They knew the stench and the sculpture of Francois Rude (1784-1855) "La Marseillaise", which embellishes the Arc de Triomphe near the center of Paris.
The thought about the majestic infusion of paintings by Delacroix and Meissonier on the radical revolutionary painting I know from the books of the English historian of art Clark (TJ Clark). They have a lot of different materials and illustrations from history French art, which can be seen before the revolution of 1948 rock, and showing the pictures, in which sounded more christened by me those. After illustrating these paintings by other artists and describing the struggle of ideas in France at that hour, criticism was already active in the arts. Before the speech, even the other bourgeois historian of art did not think about the revolutionary themes of European painting after 1973. Todі vyyshli first Pratsi Clark z friend. Then they saw them again in 1982 and 1999.
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The Absolute Bourgeois. Artists and Politics in France. 1848-1851. L., 1999. (3d ed.)
Image of the People. Gustave Courbet and the 1848 Revolution. L., 1999. (3d ed.)
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Barricade and modernism
The fight continues
The struggle for Eugene Delacroix continues in the history of art as early as the second century. Bourgeois and socialist theoreticians of art will wage a threefold struggle in the direction of the creative recession. Bourgeois theoreticians do not want to guess about the famous painting "Freedom on the barricades on 28 March 1830". I don’t think so, it’s enough for you to be called the “Great Romantic”. Indeed, the artist fit in like a romantic, so in a realistic one. Yogo brush wrote and heroic and tragic under the history of France and the essence of the republic and the monarchy. She painted with a brush that beautiful Arab women near the countryside. 3 yoga light hand Orientalism begins in the light art of the 19th century. Yogo was requested to paint the throne room and the library of the Chamber of Deputies, the dome of the library of the first, the stele of the gallery of Apollo, the hall at the hotel de Ville. Creating frescoes for the Parisian church of Saint-Sulpice (1849-61). Pratsyuvav over the color of the Luxembourg Palace (1840-47) and painted steles at the Louvre (1850-51). Nobody, let's say Delacroix, in France of the XIX century did not come close for his talent to the classics of the Renaissance era. With your creations, you will forever inscribe your own name in the history of French and light art. Vіn zrobiv chimalo vіdkrittіv galuzі technology barvy sheet. Vіn vіdmovivsya vіd klіnіynyh klіynih kompozіyі і zvіlnu kol'nu koloru koloru іn painting of the XIX сentury. That is why bourgeois historians love to write about a new kind of innovator, a forerunner of impressionism and other directions in modernism. The stench is pulling їх near the region of Western art of the end of the ХІХ century. - the beginning of the XX century. An exhibition was dedicated to Tsom and I, to the fortuneteller.
100 masterpieces of painting. Best see pictures in the world
... or "Freedom on the barricades" - a painting by the French artist Eugene Delacroix. Here it is, yoga was created by one impulse. Delacroix created a picture behind the motives of the lime revolution of 1830, which put an end to the regime of the Restoration of the Bourbon monarchy.
Tse final assault. Natovp go to the lookout at the cloudy saw, swinging it around. Vaughn crossed the barricade and climbed up to the guard's camp. On the choir stand chotiri postat at the center of the woman. Mythical goddess, she leads them to Freedom. The soldiers lie down on their legs. Diya rises in the pyramid, in two planes: horizontal figures of the base and vertical, close-up. The image becomes a monument. Shvidky dotik and fast rhythm is balanced. The painting is in its own accessories and symbols - history and insight, reality and allegory. Alegories of Freedom - that energetic daughter of the people is alive, who inspire the rebellion that victory. Dressed at the Phrygian kep, pliv її shiї, she let us guess the revolution of 1789. The ensign, the symbol of the struggle, rises from the back of the blue-white-red. From dark to bright, like a half-light. Zhovte a dress, whose underwire belt floats on the windshield, knitted lower for її breasts and reminiscent of old-fashioned drapery. Nudity is a ceerotic realism and is associated with winged victories. The profile is walnut, not straight, the mouth is generous, the lower lip. Vinyatkova is a woman among the people, she is noble, turning her head towards them, leading them to a residual victory. The figure of the profile is illuminated right. Spiraling on the її bare left leg, which steps out of the її cloth, I transform the fire. Alegory is the right hero of the fight. Gvintіvka, yak won't try at the left hand, to rob it with a realistic one. Right-handed, in front of the figure Free the lad. The symbol of youth stands as a symbol of injustice. I guess the character of Gavroche in Victor Hugo's novel "Nedoleni" Previously, "Liberty, Passing the People" was exhibited in the Parisian Salon in early 1831, when the painting was hoardedly accepted and immediately bought by the state. Through the revolutionary plot, the canvas was not exhibited to the public with the advance of the coming quarter of the century. A woman is depicted at the center of the picture, as a symbol of freedom. On her head is a Phrygian kovpak, on her right hand is an ensign of Republican France, and on a Levi is a towel. Bare breasts symbolize the self-confidence of the French in that hour, as if with "bare breasts" went to the gate. Figures navkolo Svoboda - a robot worker, a bourgeois, a pidletok - symbolize the unity of the French people at the hour of the lime revolution. The deyakі mystetststvoznavtsi and critics admit that the artist depicted himself in the sight of a man in a cylinder with a levo hand as the head heroine.
Freedom, as the people know. Freedom at the barricades 1830
260x325cm canvas/oliya
Musée du Louvre, Paris, France
Material from Wikipedia - free encyclopedia:
"Freedom, as the people lead" (fr. La Liberté guidant le peuple), or "Freedom on the barricades" - a painting by the French artist Eugene Delacroix. One of the key milestones between the epochs of Enlightenment and Romanticism is respected.
A woman is depicted at the center of the picture, the house is like Marianne - a symbol of the French Republic and the specialization of the national motto "Liberty, Equality, Fraternity" (this is an alternative point to the dawn, that the woman is not Marianne, but an alegory of the republic). In this image of Delacroix, the greatness of the ancient goddess, and the simple woman among the people, seemed far away. On the head is a Phrygian kovpak (a symbol of freedom for the hours of the first French revolution), at the right hand - the ensign of the Republican France, at the left - a towel. Barefooted and with bare breasts, which symbolize the self-confidence of the French, building with “bare breasts” to go to the gate, there are a lot of corpses, mute walking out of the canvas right at the beholder.
Representatives of different social classes - a robot worker, a bourgeois, a flier - symbolize the unity of the French people during the hour of the lime revolution. The critics admit that in the image of a man in a cylinder a levohand in the form of the main heroine the artist depicted himself; the playwright Etienne Arago or the curator of the Louvre, Frederik Villo, could think of other models.
