1. Creativity D. Vertov.
2. The artistic possibilities of the sound field of the film.
1. Creativity of D. Vertov. Vertov, dziga
VERTOV, DZIGA(real name Denis Arkadievich Kaufman) (1896-1954), director, screenwriter, film theorist. One of the founders of the theory of documentary cinema.
Born January 2, 1896 in Bialystok, Poland. Studied at the Psychoneurological Institute and Moscow University.
Coming to the cinema was marked by his passion for futurism. In his poem Dziga Vertov, 1920, he tries to explain the origin of his pseudonym. The first articles on the theory of cinema, such as the Manifesto Kino-Ki. Coup 1923, published in the magazine "Lef" V. Mayakovsky, with whom he was friends. In 1918-1919 he worked as a compiler and director of a newsreel Film week.
His activity was the search for new methods of filming and editing, new methods of organizing the filmed material. On his initiative, the release of a thematic newsreel began under the general title Film truth(1922-1924). He opened up new possibilities of editing as a means of interpreting events captured on film, used captions to influence the viewer in agitation. Each issue of the magazine had its own artistic solution.
Has appeared in print with a theoretical substantiation of the art of documentary cinema. In articles: we, He and I, Kinoki, Coup, Movie-eye denied the artist's right to fiction, seeing the task of art in documenting reality. These articles provoked disagreement among the more "balanced" part of critics and filmmakers. The director's advanced ideas were not noticed behind the challenge.
The group of documentary innovators he founded, named kinokami(abbreviated movie eye, i.e. the camera eye) was formed in 1919. He was a supporter of new ways in art, new methods of documentary photography, called for the development of specific means of cinema, asserted modern themes on the screen. These experiments of cinematographers brought a lot of new things to newsreel-documentary cinematography and to editing theory. Vertov wanted to make the invisible visible: to make people's thoughts, their actions, walls transparent and to study the world with a micro-eye.
The most interesting creative experiment was the film Movie-eye (Life by surprise), which was awarded a prize at the International Exhibition in Paris. He became the founder of a new type of journalism - poetic documentary cinema. In most of his films he also acted as a screenwriter. Life by surprise - a film about a person in a documentary-poetic non-staged film. Under the same name, he had a theory about filming life by surprise using covert surveillance. He believed that this would be the film truth. In fact, shooting life by surprise meant for him about the same as in modern cinema is understood as the reporting method.
In the second half of the 1920s, he continues to develop the figurative language of journalism, methods of rhythmic organization of action, explores the importance of intervals (pauses) between movements for editing, and studies the most advantageous points for shooting. "Working on the film Man with a movie camera, - wrote Vertov at the end of 1928, - demanded more stress than previous work movie eyes”, Due to the large number of points under observation and complex organizational and technical surveying operations. The mounting experiments, which were carried out incessantly, caused exceptional stress. Man with a movie camera was in the very center of life, he breathes with it, hears, catches the rhythms of the city and people. A camera in a person's hands is not only a means of fixing life, but its main participant. In the fall of 1964, film critics from 24 countries, during a survey conducted at the thirteenth International Festival in Mannheim, named Man with a movie camera among the 20 best documentaries of all times and peoples.
Before the arrival of sound in cinema, Vertov had already made attempts at editing taking into account the "sound" of silent frames. So, in the pictures Sixth part of the world,Eleventh, Man with a movie camera there was sound imitation within the framework of silent films. In the early 1930s, he makes another discovery, which turned out to be a revolution in sound cinema. In his first sound film Symphony Donbass along with industrial noises, he records several remarks of workers, and three years later he shoots a film interview with one of the heroines of Dneproges. It is possible that by filming the first interviews, he was simply solving the increasingly complex creative problems. But the group not only recorded genuine noises and sounds, it was the first to carry out a series of synchronized filming - simultaneous image capture with sound recording. He strove to ensure that his films were not sound, but sound. This film paved the way for chronicle sounds organized into a symphony on the screen.
During the Second World War, he shot films in Almaty. Mainly newsreels, defense essays, film To you, front! In 1944 he returned from evacuation and made the last film Oath of the Young... After the release of this film, he stopped making films and directed the work of front-line cameramen.
In his mature period of creativity, he developed an individual style of editing. Vertov characterizes the process of gradual complication of editing a documentary picture as a natural phenomenon of general cultural growth and is a reflection of the general development of cinema. The language of images, associations and metaphors was replacing logical thinking. It was a way of expressing nascent art for both feature films and documentaries. It was also used by S. Eisenstein and A. Dovzhenko. Documentary cinema is capable of creating generalizing poetic images. While this seems indisputable, at the time this truth had to be proven.
One of his most valuable achievements, theorist, montage theory of documentary cinema. He believed that editing is, first of all, not a method of organizing movement, but the most important element of the specifics of cinema. He emphasized the fundamental difference between the editing of a fiction and a documentary picture. Editing of the documentary begins long before the filmmaker picks up the pieces of the filmed film. The materials are edited during the entire production time - from the moment the theme is chosen to the release of the film on the screen.
Director's filmography:
Film week, 43 no. (1919); Anniversary of the revolution (1919); Battle of Tsaritsyn (1919–1920); Mironov's trial (1919);Autopsy of the relics of St. Sergius of Radonezh, (1919); Agitation train VTsIK (1921); Civil war history (1922); SR process (1922); State calendar(1923–1925); Film truth, 23rd issue. (1922-1925); Yesterday Today Tomorrow(1923); Spring truth (1923); Black Sea - Arctic Ocean - Moscow(1924); Pioneer truth (1924); Lenin's film truth (1924); Give air (1924); Kinoglaz (Life by surprise) (1924); Lenin is alive in the heart of the peasant (1925); Radio-Kinopravda (1925); Go, Council! (1926);Sixth part of the world (1926); Eleventh (1928); Man with a movie camera (1929); Symphony of Donbass (Enthusiasm) (1930); Three songs about Lenin (1930); Lullaby (1937); In memory of Sergo Ordzhonikidze(1937); Sergo Ordzhonikidze (1937); Glory to Soviet heroines (1938);Three heroines (1938); In the area of \u200b\u200bA. (1941); Blood for blood, death for death (The atrocities of the German fascist invaders on the territory of the USSR), (1941); Newsreel operators in the line of fire, (1941); To you, front! (Kazakhstan to the front), (1942); In the Ala-Tau mountains (1944); Oath of the Young (1944); Daily News. Newsreel (1944–1954).
15. What is the peculiarity of the embodiment of the theme of the poetic monument in the poem by S.А. Yesenin?
In this poem by Yesenin, the lyrical hero, standing at the monument to Pushkin, admires him. At the same time, he turns directly to the poet, as if conducting a conversation with him in real life... He also compares himself to him, noting that they are both rakes. Yesenin's lyric hero hopes that just as Pushkin's hooligan actions did not affect his fame, he will also go down in history with his work, although he understands that this is a dream that will take a long time to go. It is in this that the peculiarity of the theme of the poetic monument in the poem "Pushkin" is expressed.
16. Which of the Russian poets turned in their works to their literary predecessors or contemporaries, and in what way are these works consonant with Yesenin's poem?
The literary predecessors and contemporaries were addressed in their poems by such poetesses as A.A. Akhmatova in the poem "The swarthy youth wandered through the alleys ..." and M.I. Tsvetaeva in the poem "Your name is a bird in your hand ...".
In Akhmatova's poem, like Yesenin's, the lyric heroine turns to Pushkin. She writes with tenderness and warmth about how she hears his "rustle of steps", notices his image in detail: "Here lay his cocked hat / And a disheveled volume of Guys." The lyrical heroes of both works seem to feel the spirit of Pushkin, his presence next to them.
A. Blok, to whom Tsvetaeva's poem is dedicated, was one of the favorite poets of the writer. She writes: "In the light click of the night hooves / Your loud name thunders." The lyrical heroine of the poem, like Yesenin's, understands the poet's inaccessibility: "Your name - oh, you can't!". Nevertheless, both Pushkin and Blok evoke a very strong sense of admiration in the lyrical heroes.
Many people from extraterrestrial civilizations are now embodied on Earth in human bodies. Stellar souls on Earth come from various galaxies, star systems, and even other universes.
Of all attracted the uniqueness of the Earth, after all, only here are such concepts as: love, joy, laughter, happiness brought together.
On other planets, a bias is made towards technical and material development, they do not like so much, do not feel so.
The Earth has become a home for us, and it is very important for all Star Souls to live earthly life, using all the opportunities that earthly conditions and our civilization give us.
How do I know where my Soul is from?
The history of your origin can be found out using the tools of reincarnation. But the main thing is not just to satisfy your curiosity, having learned the name of your star system or planet, but to understand, and has embodied right now.
Even if names come to us during dives, it is very difficult to navigate them. For example, the Andromeda nebula is a star system containing thousands of civilizations.
But on the other hand, each civilization has its own characteristics, and the same Andromeda specializes at work with human consciousness, over the collection and processing of information about the level of human development.
Very often, information about the name of a civilization does not come directly, and the representatives of these civilizations themselves explain this by the fact that these names are simply absent in our language or have a completely different meaning.
In addition, it is important that we do not be tied to the name of a planet or a star system, but look more broadly at the history of our origin.
Why are we on Earth right now?
It's no secret that the Earth is now going through a very interesting period, the purpose of which is - transition to higher dimensions. And many stellar Souls render invaluable assistance to the planet, using the experience of their civilizations.
They have unique talents and abilities, they receive the help and support of their star family, just as we receive support from our earthly kind.
To communicate with their civilization, such people get into telepathic communication with their stellar family and receive support in the form of information, new technologies, unique techniques and energy.
And civilizations are interested in the fact that their descendants, the "starseed" - as they call their messengers, could be realized here.
They are very interested in:
- explore the possibilities of the human body in the manifestation of unearthly abilities;
- see how difficult it will be for a person to remember and, most importantly, accept your star origins;
- as far as the stellar Soul can be realized in the earthly body, find an adequate use of the abilities that are characteristic of this civilization.
What are the features of the realization of stellar Souls?
So, depending on their specifics, stellar Souls can set various tasks for their incarnation on Earth.
Here are some of them:
1. Work on expanding people's consciousnessthus preparing them for life in higher dimensions.
Such a stellar Soul can come from a civilization that has groundwork in this area and has tools adapted to earthly conditions.
Such people have the ability to go beyond ordinary ideas and "Take" others beyond the limitsthat our life dictates to us.
They give an impetus and an opportunity to expand the boundaries of their ideas about themselves and about their space.
2. Many healers are from extraterrestrial civilizations who have extensive experience in restoring and maintaining health.
Now they help people to more easily go through all the processes of transformation and transition. Each of them has a unique gift of healing, their own techniques and practices.
3. Celestial Souls can take over mission to disseminate new information, education and training.
Usually they are good organizers, innovators who know their business and are able to captivate others. They use their abilities to structure a new society, bringing people together in a completely new basis, other interests and motivation.
It seems to me that you can safely refer to this category.
4. Contactees, channelers, transmitting knowledge and helping to establish a connection with the Higher spheres and unearthly civilizations.
Thanks to their abilities, they provide information and energy support from the Higher Forces.
Many of them once simply “discover” their ability to communicate, “remember” past experiences and fit very organically into the process of communication between the two worlds.
5. Natives of those civilizations who could not avoid the death of their planet through the fault of its inhabitants and who took an oath that will never allow a repetition of the tragedy on Earth.
These bright Souls teach children to love, protect nature and do everything possible so that the Earth does not perish at the hands of its inhabitants.
6. These can be people of the simplest professions who put love, patience, and a desire to take care of others into their work. They quietly bring their knowledge and extraterrestrial experience into daily work.
What attracted us to the planet Earth?
Many stellar Souls, having reached perfection in their civilization, come to Earth to test themselves in new, much more harsh conditions.
For them, this is a huge challenge - to go through complete rejection, protest and misunderstanding and reach the maximum disclosure of their potential in order to to know your capabilities in earthly conditions.
At one of the consultations, a client came to me with a clear request to understand why she was here on Earth.
She felt very uncomfortable in human body, it was too inert for her, clumsy, felt like ballast and was often ignored.
One could see her unequivocal position of rejection of earthly life, waiting, her status as a temporary stay in this space, which greatly interfered with living a full life in the family and in society.
I invited her to see how she got to earthwhy she left her home planet. We saw that she was a prominent scientist who reached a certain ceiling in her work and wanted to expand her field of activity.
And since her civilization was already at a fairly high level, the idea appeared to try herself on a less developed planet. The Earth attracted her by the similarity of the landscape and climate, and most importantly, she saw how much work had to be done on this planet!
And as a true scientist, she was delighted with the anticipation of so many difficult tasks. And the more difficult, the more confusing the labyrinth, the more there was a desire to test oneself.
On Earth, she found ideal conditions for self-realization: very difficult and very interesting, it was a real challenge to her talents and abilities. We saw that her inquisitive mind and good organizational skills can be successfully manifested even now.
What is our relationship with our civilizations?
Stellar Souls are also of great benefit to their star families: they help their civilizations to experience feeling and love, since many civilizations have sacrificed the manifestation of feelings for the sake of rapid development and technological progress.
Some Souls have a contract with their civilization for the supply of information, they are a kind of reporters sent on a mission.
They feel comfortable in this role, fulfilling this mission. But it is also often at the consultation that it turns out that the Soul has already fulfilled its part of the obligations under the contract with its star family and can go beyond the scope of its service.
In such cases, the Soul gets the choice to follow its own path and independently find what it is interested in doing.
How do people come to understand that they are stellar Souls?
Of course, very few are aware of themselves in one role or another. There are many people who do not even know and live in complete ignorance of their origin.
At one of the consultations, I was approached by a woman who was undergoing rehabilitation sessions with an osteopath. The specialist helped to restore the left side of the body, which was damaged, as after an accident, although in this life she had no accident.
She asked for help to find out where it was coming from, from what past incarnation and why it was manifested right now. The accident did happen, but very many years ago, when she left her planet in a spaceship.
The catastrophe was not her fault, but she felt herself indirectly involved in the tragedy, because as a doctor she could not save the dying ship captain, and the entire mission of this flight was left without proper guidance, which led to the tragedy.
It was this guilt that activated the memory of the long past in the form of physical manifestations of trauma on the body. After working on our feelings of guilt, we came to the recognition of our stellar roots and the unexpected activation of a communication channel with their civilization.
It turns out that they have been waiting for such an opportunity for a long time to draw her attention to extraterrestrial origin and think about the disclosure of the abilities that were inherent in her.
Also during the immersion, we watched the moment of her arrival on Earth, when after the disaster she was rescued by a ship of another civilization.
It is interesting that the earthlings perceived all aliens because of their vehicles and superpowers as gods descended from heaven. But this is already a topic for another publication.
If something resonated with you, if you have been haunted by thoughts and guesses for a long time, and you just can't reach your realization, then maybe it's time to lift the veil and see what kind of baggage you brought from your star home, what abilities and talents are waiting to be revealed.
Such a journey into the past can reveal the mystery of your appearance on Earth, clarify the reason for your incarnation here and, which is important, feel an inextricable connection with your star home and support.
Interesting generalizing information for beginners. Note that the average statistical version has been described, from which there are many exceptions in all parameters.
The number of incarnations of stellar souls on Earth varies from 4 to 10. An incarnation in a three-dimensional world for an alien soul is a working visit, a business trip. Each soul delegated by its stellar civilization comes to Earth with specific tasks. Alien souls are not attached to this world, they always internally know that this is not their world. Their hearts keep the memory of a perfect and harmonious existence in their stellar homeland. Therefore, when the time comes, they will easily leave their earthly body and return Home.
But before returning, you need to complete the Task, which each has its own. Immediately in one life, the soul does not have time to fulfill all the tasks set by the Creator, so several rebirths are required. The most painful incarnations are the first and final. During the first incarnation, the subtle cosmic soul adapts to the conditions of the material world, assimilates, gets used to, gains earthly experience. Not everyone can put on a coarse shell after thin, luminous garments. Very strong and selfless spiritual workers agree to this.
Starting from the first incarnation in the earthly world, the stellar soul accumulates karma of three dimensions, plus it comes to this with its personal history, with a stellar genealogy, which inevitably manifests itself in the earthly environment.
The alien's cosmic inheritance is recorded in the form of a hologram in plasma chromosomes, which are embedded in the earth's DNA and manifest in the form of unusual abilities or original way of thinking. Another article will be devoted to this issue, but for now let's talk about earthly karma and the last incarnation of the star soul.
Earthly reality is harsh, you simply cannot make mistakes here, because life goes on like a razor's edge. One transgression of a star soul already lays the foundation for a series of subsequent incarnations, because the soul does not always manage to correct its mistake in one life. In the past, many of us made mistakes, so here and now we are painfully extricating ourselves from the fetters that we have created for ourselves by our misdeeds.
Dense matter is insidious, it creates illusions, knocks pure souls off the true path, pushing them towards darkness and darkness. Often, our stellar brothers were attached to carnal pleasures, had families, gave birth to children, which tightly tied their souls to earthly reality. They plunged into everyday life, tried to live according to the customs of earthlings, losing the memory of their cosmic nature. All this burdened the consciousness so much that I had to stay for several incarnations in order to untie karmic knots in the future with those who caused the soul to fall into matter.
Take, for example, the story of Elizabeth Hach, which she describes in her book Dedication. She was incarnated in Ancient Egypt, had a high spiritual initiation, having received it in an accelerated way. E. Heich does not disclose the secrets of his initiation, since this is a secret knowledge that is available only to a select few. I am sure that during the dedication, she was discovered star memory and shown her native cosmic world.
The teacher gave her instructions related to the need to abstain from carnal pleasures. But the soul of this woman could not stand the temptation of passion, she fell into the arms of an earthly man, as a result of which her soul was tied to her dead body for 3,000 years, after which she again found the opportunity to incarnate and recreate the path traveled in initiation. Her last earthly life was full of difficult trials - illness, war and other disasters. All this came as a result of a single fatal mistake, without which, the soul would have already returned to the spiritual worlds many thousands of years ago.
The most common mistakes of alien souls who dress terrestrial bodies are entering into bodily relationships due to animal passion and the premature disclosure of dangerous knowledge to an unprepared humanity.
Animal passion dragged many souls into the swamp of rough matter and created karma, which they are forced to work off for several incarnations. The Sphinx was created precisely so that guests from other worlds always remember their dual nature, that they need to control their animal part - bodily instincts. The upper part of the Sphinx is human, the lower is animal. It is necessary to develop in oneself sobriety, willpower and striving for the divine, so as not to fall again into the swamp of matter. That is why many star souls in their last incarnation have an acute problem of sexual partnership and family breakdown. The roots must be sought in past incarnations.
Another mistake - premature disclosure of secrets - creates karma associated with realization in the professional sphere. Here sharply manifest problems related to work, career, choice of profession, painful search for oneself in this world. If you see such a picture, then your past misconduct is associated with a violation of the law of information balance. I call this "the karma of Prometheus". By the way, some liver diseases occur for this very reason. I noticed this already in practice.
The last incarnation is a jerk of an alien soul back into Space. This is a chance to work out ALL EARTH KARMA IN ONE LIFE, and it can be, oh, how difficult it is. I will give one more example, known from the biography of the writer Lobsang Rampa. In one of his books, he describes his painful incarnation and what preceded his choice. Once astrologers predicted for the boy options for the development of fate, depending on his personal choice in one direction or another.
The boy chose the most difficult path, because he was associated with the mission of helping humanity, but because of this he had to endure many wanderings, diseases, Japanese captivity, the loss of a physical body and the transmigration of the soul into the body of a foreign citizen. Thanks to this, the world learned the amazing books of the Tibetan lama and his adventures in the subtle worlds.
In the books, L. Rampa writes that if a person has a difficult fate, this means the last incarnation on Earth, since all debts are collected in one life and difficult karmic situations replace one another. Otherwise, the debts will not be distributed, and you will still have to rotate in the wheel of Samsara for an indefinite period. Many spiritual workers choose this very path of farewell to karma, because the next chance can be only in many thousands of years.
If it seems to you that your fate is too difficult, let the thought of the last incarnation dry up your tears and soothe your spiritual sorrow. In the last incarnation, star souls experience a strong longing for their homeworlds, cry, looking at the starry sky, suffer from loneliness and separation from soul mates... If you are experiencing all this, then your soul is alive and your memory is about to wake up. These experiences need to be blessed and lead to spiritual awakening.
As a result, we will all return Home, this is the Call of the Creator from the spiritual worlds of the deep Cosmos. To get closer to Home, one must strive for it, because everyone knows that water does not flow under a lying stone. The stronger our spiritual aspiration, the sooner the desired changes will take place in our life - a meeting with embodied cosmic brothers, awakening of memory and awareness of our divine nature, our destiny.
Many of us are not even aware of our enormous power to change the world. This power is sleeping, but the time has come for awakening. Do not humiliate yourself with despondency and remorse. Just accept it as it is and let go of whatever troubles your soul. Past mistakes are experiences that can only be known on Earth. Thank this world for the experience and tons of adventures and continue your star Trek - from planet to planet, from star to star. Our home worlds are waiting for us and have already opened their arms!
Smoothly unfold our wings over the Earth
And without fear, let's leave this world under us!
Directing your Spirit to endless worlds,
We float on the ether with invisible waves ...
THEME SECTIONS:
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1. To develop aesthetic, emotional responsiveness to works of fine art, to understand their artistic image.
2. Apply expressive means (lighting effects, composition, color) in your work.
3. To cultivate a careful, kind attitude towards people.
Equipment
1.visual range: Icon "Our Lady of Vladimir"
2. musical row: songs about women, mom.
During the classes
I Organizational moment.
Checking the preparation for the lesson.
Organization of students' attention.
II. Setting goals and objectives of the lesson.
1. Message of the topic of the lesson.
2. Setting the goals and objectives of the lesson.
Acquaintance with the work of painters, depicting, singing in their works the image of a woman. Perform the composition "Mother and Child".
III. Work on the topic of the lesson.
Here are reproductions of paintings by very famous artists who captured the image of a woman on their canvases.
The secrets of female beauty have troubled humanity throughout the history of its existence. There is hardly an artist who would not try to comprehend this secret, but each opened it in his own way.
The main and unchanged in this comprehension was the ideal of motherhood, the sacred bond between mother and child. From the Madonnas of the Titans of the Renaissance, icon-painting faces of the Virgin to the works contemporary artists - this is the way to comprehend the ideal of female beauty and charm.
Icon "Our Lady of Vladimir"
Guys, pay attention to the image of the icon “Our Lady of Vladimir”.
Medieval art of European countries cannot be imagined without the widely captured image of the Mother of God. In Western Europe, he was associated with the cult of the Madonna, and in Russia - with the Mother of God, who was perceived as the protector and patroness of her native land, the intercessor of people before God.
One of best images Byzantine painting was this icon, painted in Constantinople in the XII century. Then she was brought to Russia.
The eyes of the Mother of God are full of feelings, which in the Middle Ages were defined as “the joy of holy sorrow.” These words accurately convey the main meaning. What is destined from above will come true.
The baby gently presses his face against the mother's cheek and wraps his hand around her neck.
Children's eyes are directed to the Mother, as if they are looking for her protection. Anxiety and sadness lurked on her stern face. With all the maternal tenderness in her appearance, one feels the consciousness of inevitable sacrifice.
The artist Grabar called this icon “the incomparable, wonderful, eternal song of motherhood”.
In ancient Russian art, the image of the Mother of God was associated with the cult of Mother Earth, both of which had common principles of holiness and motherhood:
"The first mother is the Most Holy Theotokos, the second mother is the damp earth" - says popular wisdom.
A stingy colorful scale, dominated by soft, dark tones, still creates a feeling of calm, quiet and light joy.
Years go by, centuries go by, but the theme “Woman-mother” in painting does not disappear.
The art of the Renaissance (xv century) will bring a different understanding of female beauty from previous artists. Leonardo da Vinci, Michelangelo, Raphael - strive to create a generalized image of a perfect person, beautiful both physically and spiritually. The embodiment of such an ideal becomes the Madonna, the Virgin Mary with the baby Jesus Christ - an exalted symbol of motherhood and sacrificial love for people.
One of the best works on this topic will be "Madonna Lita". Leonardo da Vinci.
On the desk "Madonna Litta" by Leonardo da Vinci.
Student performance
The painting depicts young Mary, carefully holding a baby in her arms. Her inclined profile is full of exceptional beauty and nobility. Lowered eyes, a barely noticeable smile give the Madonna's appearance extraordinary expressiveness and warmth, illuminate her with a bright maternal feeling. In this wonderful picture, the artist managed to convey his idea of \u200b\u200bhappiness, pure earthly joy of being and the sacredness of the best human feelings.
Student speech
One of the greatest creations of world art was Raphael's painting "The Sistine Madonna", which brilliantly embodies the idea of \u200b\u200bmotherhood. An earthly, realistic portrayal of a woman-mother. She has just taken a barely noticeable step towards people. Her movement is calm and dignified. It seems that she does not go, but soars in the clouds. She slightly attracts the baby, as if afraid to part with him, and at the same time stretches him to people. In this contradictory gesture of the mother, one can feel the deep tragedy of what is happening. Madonna's eyes look trustingly and openly. The exceptional charm of this picture Raphael is a natural combination of simplicity, delicate femininity and regal grandeur, in which the human rises to the divine, and the divine becomes earthly.
Student performance
Guys, we got acquainted with the work of the Renaissance artists, but after all, Russian artists in their work did not bypass the image of a woman - a mother. A recognized portrait painter, academician of painting Venetsianov A.G., painted ordinary Russian women - peasant women, engaged in hard work.
On the board “On arable land. Spring"
"On arable land. Spring" - this picture shows a peasant woman in a long pink sundress and scarlet kokoshnik. She leads the horses harnessed to the harrow. And to the side sits a playing child, at whom a young mother is looking with love and tenderness. Behind the woman is an immense Russian distance.
And here is another canvas by Venetsianov, "In the Harvest. In Summer" The sun beats mercilessly, sheaves stand in rows, the hills turn green. In the center of the picture is a woman-reaper with a child in her arms, she gently hugs him, forgetting about fatigue. You look at this picture and remember the lines of N.A. Nekrasov:
Village suffering is in full swing,
Share you! - female Russian share!
It is hardly more difficult to find ...
The heat is intolerable: the plain is treeless.
Niva, mowing and the vastness of the sky.
The sun beats down mercilessly ...
On the desk "Petrograd Madonna"
So the 20th century has come.
In the art of the 20th century, the eternal theme of motherhood sounded in a completely new way, glorifying the deepest and most sincere human feelings.
She found the most striking artistic embodiment in the work of the artist K.S. Petrova-Vodkin (1878-1939). After the October Revolution, Petrov-Vodkin seeks to understand the new relationship between man and the world. Your understanding of what is happening historical events embodied in the famous "Petrograd Madonna".
A young woman with a child in her arms is depicted against the background of revolutionary Petrograd, where a new era of human history began. Passers-by are in a hurry, someone stops at the walls of buildings. But all this is only a temporary background of the main image of a woman-mother.
It is no coincidence that she turned her back on the city. Her main concern is taking care of the child, his present and future.
On the desk "Motherland is calling"
“Mother” This theme is interestingly embodied in the painting “Mother” by artist AA Deineka (1899-1969).
Its composition is surprisingly simple: A close-up of a woman with a sleeping child in her arms is shown against a smooth background. In the appearance of the mother, the majestic posture of Venetian peasant women is conveyed, tender, quivering feelings for the baby clinging to her shoulder.
Contrasting the boy's fragile, sleepy little body with the strong and strong figure of the mother, the artist seeks to emphasize the inextricable spiritual connection that exists between them, the mother's readiness to protect the child.
This theme will sound in a new way in the works created during the Great Patriotic War.
Everyone knows Toidze's poster "Motherland Calls". In the harsh years of military trials, a mother's call to defend the Motherland sounded. It is impossible to get away from the direct open gaze of a woman-mother.
The gesture of a raised hand to many resembles the well-known image of the Mother of God Organa praying for the salvation of humanity.
Conclusion: At all times, artists have glorified the beauty of a woman. But it was the image of a woman-mother that was the ideal of female beauty.
IV. Generalization and consolidation of knowledge
Now let's move on to the practical part of the lesson.
V. Independent work
Objective: Find your ideal of a woman-mother, think over the composition and complete the portrait "Mother and Child"
Stages of work.
1. Selecting the position of the sheet.
2. Layout of the figure.
3. Pencil sketch.
4. Drawing details.
5. Human proportions.
6. Work in color.
Vi. Lesson summary.
1. Today in the lesson we got acquainted with the work of artists who glorified the beauty of women. What was and is the main ideal in the beauty of women in the work of these artists? Yes, the ideal, the main and unchanging one, is the ideal of motherhood. The beauty of a woman is the beauty of motherhood
What is the embodiment of the image of a woman mother in medieval art?
What ideal did artists of all times and peoples strive for?
What is the peculiarity of the embodiment of the image of a woman - mother in works of art in the XX century. ?
Exhibition and analysis of the best works.
Vi. Homework.
Homework briefing.
How similar and unlike the usual images of the Madonna the heroine of the picture.