The fate of the revolution by the artist Delacroix. Freedom, like leading the people to the barricade
, Lance
K: Paintings 1830 roku"Freedom, as the people lead"(Fr. La Liberte guidant le peuple) or "Freedom on the Barricades"- painting by French artist Eugene Delacroix.
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. After the number of preparatory sketches, you needed only three months to paint a picture. At the list of brothers on July 12, 1830, Delacroix wrote: “If I did not fight for the Batkivshchyna, then I would like to write for her.”
Previously, "Freedom, the Passing People" was exhibited in the Paris Salon in early 1831, when the painting was slanderously accepted and immediately bought by the state. About his defeat in the salon and in the paintings of Delacroix, zocrema, roses of Heinrich Heine. 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 a man in a top hat has a levoruch main heroine the artist having depicted himself.
In 1999, the "Svoboda" company made a 20-year flight from Paris to an exhibition in Tokyo via Bahrain and Calcutta. Transportation was carried out on board the Airbus Beluga (sheet width - 2.99 m in height by 3.62 m in height - they were too large for a Boeing 747) in a vertical position in an isothermal pressure chamber, protected from vibration.
On February 7, 2013, the artist presenting the Louvre-Lance Museum, where “Freedom” is being exhibited, wrote off the lower part of the canvas with a marker, after which it was trimmed. On the next day, the restorers cleaned up the mess, spending less than two years on the stone.
Filmography
- “On brukivtsi. Mitya, sho zupinilas», film Olena Jaubert from the cycle "Palettes" (France, 1989).
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Notes
Posilannya
- at the Louvre database (fr.)
Lesson that characterizes Freedom, like the people
And my soul took in all the laughter, like condemnations to death, taking in the warmth of farewell exchanges already the sun that was setting ...“Well, Mom, we’re still alive! .. We can still fight! . Chi can we spare the world of Evil.
Vaughn again encouraged me with her spirit!.. I knew the right words again...
Tsya dear good girl, maybe a child, could not bring herself to show herself, to such torturs, I could give її Caraffa! In such a savage pain my soul could drown ... But I knew ... I knew everything that її chequed, so I won’t go to you nazustrich. I can’t wait to give Papi to the one who wants to win.
- My goodness, my heart... I can't marvel at your torments... I won't give you you, my girl! Pivnochi and yoma similar, do not slander, who is lost in this life ... Then why are we guilty of being others?
I myself slandered my own words... wanting to miraculously realize in my soul that the stench of screaming was less than the restlessness of our encampment. And, obviously, I didn’t try to protect those for whom I lived ... For the sake of which my father died, my poor Girolamo. I just wanted to try to believe that we could take and drink from that terrible, “black” Caraffian world, forgetting about everything ... forgetting about other, unknown people to us. Forget about evil...
That was the hvilinna weakness of the exhausted person, but I realized that the right to allow її is not small. And here, to complete everything, maybe, not having seen more violence, baking evil tears poured like a stream in my guise ... And I tried so hard to prevent it! tormented soul...
Hanna vaguely marveled at me with her majestic orphan eyes, in which she lived deep, not a child's sadness... Vaughn quietly stroked my hands, trying to calm me down. And my heart cried out with a cry, not to be reproached... Don't waste it. Vaughn was the only sense of my near life. I could not allow non-humans, who, being called the Pope of Rome, її choose in me!
- Mommy, do not boast for me - as if reading my thoughts, Hanna whispered. - I'm not afraid of pain. Ale, remember that it will be even more sore, I will tell you to pick me up. I spoke with him of the school. We’ll check on me, because we won’t give in to you ... And that’s the same. The stench both check me out there. The axis will only hurt you even more sore ... I love you so much, mother!
Hanna hid at my arms, nibi jokingly zahisti... But I couldn't її zahisti... I couldn't lie. I didn't know the "key" before Caraffi...
- Vibach me, my sonechko, I brought you. I led us both... I didn't know the ways to find yoga. Vibach me, Hannusyu ...
The year has gone by immeasurably. We talked about the difference, not turning any more until Papi was beaten, for the offenders miraculously knew that on this day we were robbed ... And it’s not a little meaning that we thought ... Caraffa is alive, and it was the most terrible and the worst. We didn’t get far enough to call our light. Not far away vryatuvati good people. Vіn is alive, don't worry about the day, try it, not like a dream. No matter what...
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 Marianna - a symbol of the French Republic and the specialization of the national motto "Freedom, Equality, Fraternity" (this is an alternative point of dawn, that the woman is not Marianna, 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 - will follow Freedom - they 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.
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 Horacians” is written on the plot about those, like Roman patriots, the three brothers Horatia were chosen to fight with the representatives of the Alba Longa city of Alba Longa, the Curiacii 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 expressing 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 dozen or 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 death of the ship, which for Christian people symbolizes the commonwealth (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 is already known, “Argus” is remembered, and in the picture, 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 not one, who, in a flash, successfully ran into 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, zmushyuyuchi 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 by the German artist Caspar David Friedrich: these landscapes tell us about the nature of the Baltic, and at the same time, with a philosophical vislov. 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 depicted the villagers, mostly not in grandiose paintings, but in Gustave Courbet's 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 the new boulder had a strained hand, 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, the cost of dissimilarity, but 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
Description of robots
Romanticism changes the era of Enlightenment and zbіgaєtsya with a promiscuous revolution, signifying the appearance of a steam engine, a steam locomotive, a steamboat, and photographs and factory outskirts. While Enlightenment is characterized by a cult of reason and founded on the ambush of civilization, romanticism affirms the cult of nature, which is felt by the natural in humans. In the era of romanticism itself, the phenomena of tourism, mountaineering and picnics, calling for the unity of people and nature, take shape.
1. Introduction. Description of the historical and cultural context of dobi.
2- Biography of the author.
3- Species, genre affiliation, plot, formal characterization of the movement (composition, material, technique, strokes, color), creative idea of the picture.
4- Painting "Freedom on the barricades).
5- Analysis from the current context (circumstance of relevance).
Files: 1 file
Chelyabinsk State Academy
Culture and Art.
Semestrov robot control from art painting
EUGENE DELACROIX "FREEDOM ON THE BARRICADES".
Vikonala student of another course groupi 204
Rusanova Irina Igorivna
Revisited by the vikladach from the ІЗО Gindina O.V.
Chelyabinsk 2012
1. Introduction. Description of the historical and cultural context of dobi.
3- Species, genre affiliation, plot, formal characterization (composition, material, technique, strokes, color), creative idea of the picture.
4- Painting "Freedom on the barricades).
5- Analysis from the current context (circumstance of relevance).
MYSTERY OF THE KRAIN OF ZAKHIDNOI EUROPE IN THE MIDDLE OF THE XIX CENTURY.
Romanticism changes the era of Enlightenment and zbіgaєtsya with a promiscuous revolution, signifying the appearance of a steam engine, a steam locomotive, a steamboat, and photographs and factory outskirts. While Enlightenment is characterized by a cult of reason and founded on the ambush of civilization, romanticism affirms the cult of nature, which is felt by the natural in humans. In the era of romanticism itself, the phenomena of tourism, mountaineering and picnic, calling for the unity of people and nature are formed. The image of a “gentry dikun”, conceived by “folk wisdom” and not zipped by civilization, is demanded. That's why romanticists wanted to show an invisible person in invisible surroundings.
The development of romanticism in painting proceeded in the hostile polemics with an adjunct to classicism. The romantics vindicated their successors at the “cold prudence” and the reality of the “ruin of life”. In the 1920s and 1930s, the robots and rich artists were filled with pathos, nervous excitement; in them there was a tension to exotic motifs and a grim glare, a house-like look like “dark everydayness”. The struggle against caught up with the classical norms of the trival, mayzhe pіvstolittya. The first to whom it was possible to close the new straight-forward that "true" romanticism, buv Theodore Géricault
Historical periods, the initial developments of Western European art in the middle of the 19th century, the European revolutions of 1848-1849. i Pariska komuna 1871 In the largest capitalist lands, there is a booming growth of robotic chaos. Vinicating the scientific ideology of the revolutionary proletariat, the creators of which were K. Marx and F. Engels. The rise of the activity of the proletariat exclaims the hatred of the bourgeoisie, which will destroy all the forces of reaction.
With the revolutions of 1830 and 1848-1849. po'yazanі naivishchi achievements of art, founded directly such as in the period of boules, revolutionary romanticism and democratic realism. The most famous representatives of revolutionary romanticism were the art of the middle in the 19th century. Buli French artist Delacroix and French sculptor Rude.
Ferdinand Victor Eugène Delacroix (French: Ferdinand Victor Eugène Delacroix; 1798-1863) - French painter and graphic artist, a sack of the romantic directly in European painting. Delacroix's first painting was Dante's Boat (1822), exhibited by him at the Salon.
Creativity Eugene Delacroix can be divided into two periods. For the first artist, he is close to action, for the other, step by step, he enters into it, interspersed with plots, supported by literature, history, mythology. Biggest pictures:
"Rizanina on Chios" (1823-1824, Louvre, Paris) and "Freedom on the Barricades" (1830, Louvre, Paris)
Painting "Freedom on the barricades".
The revolutionary-romantic canvas "Freedom on the barricades" is connected with the lime revolution of 1830. in Paris. The artist concretizes the place of the city and the right to the island of the City and the Vezh Cathedral of Our Lady of Paris. As a whole, specific images of people, the social integrity of which can be distinguished by the character of the person, and costumes. Glyadach to catch up with the rest of the workers, students, Parisian cottons and intellectuals.
The image of the rest is Delacroix's self-portrait. The introduction of yoga into the composition is enough to talk about those who feel like a participant in what is being experienced. Let's move a row through the woman's barricade. Vaughn is naked to the waist: on her head is a Phrygian kovpak, in one hand is a towel, in the other ensign. This is an allegory of Freedom, as you lead the people behind you (because a friend called the picture-Freedom, as you lead the people). At the rising of the depths, the rhythm of hands raised uphill, towels, shabel, in clubs of powder dim, in major-sounding chords of the red-white-blue ensign - the most beautiful picture of the progress of the revolution.
The picture was exhibited in the Salon in 1831, the canvas called out to the public's groaning praise. Having bought the picture, the new order bought the picture, but with whom the negaine ordered the sons of її, over the already unsafe zdavavsya її pathos. Prote potіm maybe twenty-five years through the revolutionary nature of the plot of Delacroix's TV was not exhibited.
At this time, you can find yourself in the 77th room on the 1st version of the Denon Gallery near the Louvre.
The composition of the picture is more dynamic. To a simple episode of street fights, the artist gave an hour-by-hour, epic sound. The rebels rise to the barricade at the royal military barricades, and they see Freedom itself. Critics cheered at her "help trade with the ancient Greek goddess." It’s true, the artist, having given his heroine and the majestic position of “Venus of Miloskoy”, and these figures, having given Freedom to Freedom, Auguste Barbie sings, in the wake of the revolution of 1830: “How strong is a woman with mighty breasts, with a hoarse voice, with fire in her eyes, from a wide crop. Freedom raises the tricolor ensign of the French Republic; next, the broken yurba collapses: maistrov, viysk, bourgeois, mature, children.
Step by step, the wall grew and militated, which Delacroix and yoga magic in the form of activity saw. 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.
Zivuvannya and enthusiasm, experienced in these days, intrude on 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 serve as a sketch for a future picture, but a mystical art. Kozhina felt that the wine was so covered with just a nakida, that she didn’t have anything sleepy with this canvas, like Delacroix having written in a year. The central role of Eugène Delacroix is given to Svoboda himself.
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 more beautiful in itself, that human images and purely malovnichі koshti can convey all the ideas of the 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. Ale Delacroix still does not follow his idol in everything: freedom in the new symbolizes not the ancient deity, but the simplest woman, but, however, becomes royally majestic.
Svoboda is allegorical, inspired by life's truth, with a strong fight, colonies of revolutionaries went ahead of them, hooting behind them and hanging on to the greater sense of struggle - the strength of the idea and the possibility of victory. We didn’t know that St. Nicholas 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 a lot of mysticists for those that all the greatness of this picture cannot stand up for that enmity, as the ice commemorates us on the back. 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.
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. Adzhe shta diyovih characters in essence and for their role 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 and beautiful goddess, and at once there was a Parisian. 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".
The picture is depicted on the canvas. Namalovana bula olієyu.
ANALYSIS OF THE PICTURE WITH THE INSERT OF CURRENT LITERATURE AND RELEVANCE.
Please take pictures.
At the moment, I respect that Delacroix's painting "Freedom on the Barricades" is still relevant in our hour.
The theme of the revolution and freedom until the rozburhuy is not only great minds, but the people. In a way, the freedom of the people is overwhelmed by the power of power. People are surrounded by everyone, pennies are ruined by people, and the bourgeoisie is standing on top.
In the 21st century, people have more opportunity to go to rallies, pickets, manifestos, paint and create texts (ale є blaming, as if the text is taken to extremism), in which they boldly show their positions and look.
Recently, the theme of freedom and revolution in Russia has become more relevant, but it was earlier. Everything is connected with the remaining podia from the side of the opposition (the movement “Liviy Front”, “Solidarity”, the party of Navalnov and Boris Nemtsov)
The daedals more often faintly faded, as they call out to give freedom and stir up a coup in the country. Today's poets have a clear line at the verses. Stock - Oleksiy Nikonov. Yogo revolutionary revolt and one's own position hundred and fifty times all the situations of the country are seen in the tops, and in Yogo's songs.
I also respect those who need a revolutionary upheaval in our country. It is not possible to take freedom from the people, to shackle them from the kaidans and slander them against the system. A person has the right to choose, freedom of speech, but they try to choose. And there is no inter-nemovlya ti, a child has grown up a person. To me, the paintings of Delacroix are closer to me, as I myself.
I recently drank on the painting by Eugene Delacroix "Freedom, as the people lead" or "Freedom on the barricades". The picture was painted after the motives of the popular revolt of 1830 against the rest of the Bourbon dynasty Charles H. Ale tsyu picture is brought to the symbol and image of the Great French Revolution.
Description of the picture at Wikipedia - https://ru.wikipedia.org/wiki/...
And let's take a look at this "symbol" of the Great French Revolution in a report with the facts about the Revolution.
From the right, it’s poured: 1) lie killed officer of the French Army- Light-haired European with noble rices of disguise.
2)Black-haired curly boy with vіdstovburchenimi vuhi, already similar to a gypsy, with two pistols to shout and run ahead. Well, the bastards always want some self-assertion for themselves. I want the grі, I want the fight, I want the rebellion. And on the new one there was an officer's line with a shkiryan bag and a coat of arms. Otzhe, perhaps, what a special trophy. And otzhe, tsey lad pіdlіtok already driving.
3)"Svoboda" - a young woman with a clear view of the Semitic riceі h completely calm guise, with a French ensign at the ruci and a Phrygian kovpak on her head (like I am a Frenchwoman) and with bare breasts. Here, the fate of the Parisian women (maybe more) at the capture of the Bastille is in the blink of an eye. The fire of permissiveness and the fall of law and order (so that they will try to regain freedom), the women in the NATO rebels entered into a super river with the soldiers on the walls of the Bastille Fortress. The stench began to slander their intimate parts and slander themselves to the soldiers. "Navіscho shoot at us? Throw your armor more quickly, go down to us and "love" us! We grant you our kohannya in exchange for your passage to the bik of the risen people!" The soldiers robbed the "kohannya" without cost, and the Bastille fell. About those who golly dupi that squeaks with the chicks of Parisian women took the Bastille, and not the storming revolutionary NATO, just talk about it at once, lest you imagine the mythological "picture" of the "revolution". (Only without saying - "Revolutionary goodness", for the Kiev maydauni guessed with the border ensigns.). To come out, “Freedom, as the people know”, the cold-blooded Semitic woman of easy vdacha (bare chest) is disguised as a Frenchwoman.
4) Wounded young man marveling at the bare chest "Freedom". Breasts are beautiful, and it’s possible, what to stay, what to succumb to your beautiful life.
5)The slaughter of murders- They took a jacket, shoes and pants. The reason for the place of yoga "Freedom" is to run, and in front of us it is chained with a beaten foot. Bunty, oh, revolution, stink, start not without plundering that riot.
6)Young bourgeois in a top hat with a twine. The guise of a troch has been recognized. The hair is black and curly, the eyes are light on the head, the wings of the nose are flat. (Whoever is in the know, that one understands.) How can only a new cylinder on his head in a dynamic battle not fall and learn to sit on his head so miraculously? With the help of this young "Frenchman" dream about redistribution of suspense wealth to his own selfishness. Well, chee on your self-reproach sіm'ї. Without a doubt, you don’t want to stand in a shop, but you want to be like a Rothschild.
7) Behind the right shoulder of the bourgeois in a cylinder figure - a la "Pirates of the Caribbean", - with a sword in his hands and a pistol behind his belt, and a white wide stitch over his shoulder (it looks like it was taken from a murdered officer), a disguise - clearly a resident of a pivdnya.
Now food - de French, like nibi Europeans(Europeans) and how did they fight the Great French Revolution??? Why then, 220 years ago, the French were all polls dark "pіvdentsy"? Notwithstanding the fact that Paris is not on the Pivdeni, but on the Pivnochi of France. Chi tse not French? Who are you, who are called "eternal revolutionaries" in any country?
