Музей ЧерномырдинаРодина (картина Дубовского). Картины родина
Родина (картина Дубовского) - WikiVisually
1. Дубовской, Николай Никанорович – Faire Nikolay Nikanorovich Dubovskoy was a Russian landscape painter, associated with the Peredvizhniki. Together with Isaac Levitan, he helped create what came to be known as the Landscape of Mood and his father was a Troop Sergeant in the Don Cossacks. He displayed artistic talent at an age, copying illustrations from Niva. His uncle, a local artist named A. V, pyshkin, taught him how to draw from memory. His father insisted that he follow family tradition, however, once there, his instructors noticed that he spent all of his free time drawing and advised his father to give him an art education instead. In 1877, after receiving his fathers permission, he began auditing classes at the Imperial Academy of Arts, upon graduating in 1881, he was apparently displeased with his instruction at the Academy and refused to participate in the customary competition for a gold medal. He chose to exhibit at the Imperial Society for the Encouragement of the Arts instead, winning several medals, in 1884 his painting, Winter was acquired by the Tretyakov Gallery. Following that, he began to exhibit regularly with the Peredvizhniki, in 1887, Ilya Repin invited him to stay at his estate in Siversky, where he painted en plein air and came under Repins influence. The year 1888 found him touring the Black Sea coast in Georgia on horseback with his friend, in 1890, his painting Притихло was purchased by Tsar Alexander III for his collection at the Winter Palace. From 1890 to 1900, he travelled extensively, visiting the Azov Sea, the Volga Region, in 1897, upon the dismissal of Arkhip Kuindzhi, he was offered a position as Professor of Landscape Painting at the Imperial Academy, but refused the offer. After his friend Yaroshenkos death in 1898, he one of the leaders of the Peredvizhniki and was known as a moderating force when the newer members had disagreements with the older ones. During this period, he was influenced by French Impressionism. Later in 1898, despite his refusal to accept a position there, he was named an Academician by the Imperial Academy and he began teaching there in 1908 and, following the death of Alexander Kiselyov in 1911, became head of the landscape painting workshop. An effort to build a museum for his works had to be halted due to the outbreak of World War I and was never resumed. In 1915, he became a member of the Academys governing council, during this time, he also hosted a Tuesday Salon, which was attended by notable figures from the scientific community, as well as by artists, writers and musicians. Ivan Pavlov became a close friend, in 1918, he died of heart failure and Pavlov delivered one of the funeral orations. During the Soviet era, except for one exhibition in 1938, a street in Novocherkassk was later named in his honor. Сказка о художнике, марине и Маринке, Белый Город,2008 ISBN 978-5-7793-1388-9 Biography and appreciation @ Rodon Biography and appreciation @ Funeral-SPB
2. Холст – Canvas is an extremely durable plain-woven fabric used for making sails, tents, marquees, backpacks, and other items for which sturdiness is required. It is also used by artists as a painting surface. It is also used in such objects as handbags, electronic device cases. The word canvas is derived from the 13th century Anglo-French canevaz, both may be derivatives of the Vulgar Latin cannapaceus for made of hemp, originating from the Greek κάνναβις. Modern canvas is made of cotton or linen, although. It differs from other cotton fabrics, such as denim. Canvas comes in two types, plain and duck. The threads in duck canvas are more tightly woven, the term duck comes from the Dutch word for cloth, doek. In the United States, canvas is classified in two ways, by weight and by a number system. The numbers run in reverse of the weight so a number 10 canvas is lighter than number 4, canvas has become the most common support medium for oil painting, replacing wooden panels. One of the earliest surviving oils on canvas is a French Madonna with angels from around 1410 in the Gemäldegalerie, however, panel painting remained more common until the 16th century in Italy and the 17th century in Northern Europe. Mantegna and Venetian artists were among those leading the change, Venetian sail canvas was readily available, as lead-based paint is poisonous, care has to be taken in using it. Early canvas was made of linen, a sturdy brownish fabric of considerable strength, linen is particularly suitable for the use of oil paint. In the early 20th century, cotton canvas, often referred to as cotton duck, linen is composed of higher quality material, and remains popular with many professional artists, especially those who work with oil paint. Cotton duck, which stretches more fully and has an even, mechanical weave, the advent of acrylic paint has greatly increased the popularity and use of cotton duck canvas. Linen and cotton derive from two different plants, the flax plant and the cotton plant, respectively. Gessoed canvases on stretchers are also available and they are available in a variety of weights, light-weight is about 4 oz or 5 oz, medium-weight is about 7 oz or 8 oz, heavy-weight is about 10 oz or 12 oz. They are prepared with two or three coats of gesso and are ready for use straight away, artists desiring greater control of their painting surface may add a coat or two of their preferred gesso
3. Масляная живопись – Oil painting is the process of painting with pigments with a medium of drying oil as the binder. Commonly used drying oils include linseed oil, poppy seed oil, walnut oil, the choice of oil imparts a range of properties to the oil paint, such as the amount of yellowing or drying time. Certain differences, depending on the oil, are visible in the sheen of the paints. An artist might use different oils in the same painting depending on specific pigments and effects desired. The paints themselves also develop a particular consistency depending on the medium, the oil may be boiled with a resin, such as pine resin or frankincense, to create a varnish prized for its body and gloss. Its practice may have migrated westward during the Middle Ages, Oil paint eventually became the principal medium used for creating artworks as its advantages became widely known. In recent years, water miscible oil paint has come to prominence and, to some extent, water-soluble paints contain an emulsifier that allows them to be thinned with water rather than paint thinner, and allows very fast drying times when compared with traditional oils. Traditional oil painting techniques often begin with the artist sketching the subject onto the canvas with charcoal or thinned paint, Oil paint is usually mixed with linseed oil, artist grade mineral spirits, or other solvents to make the paint thinner, faster or slower-drying. A basic rule of oil paint application is fat over lean and this means that each additional layer of paint should contain more oil than the layer below to allow proper drying. If each additional layer contains less oil, the painting will crack. This rule does not ensure permanence, it is the quality and type of oil leads to a strong. There are many media that can be used with the oil, including cold wax, resins. These aspects of the paint are closely related to the capacity of oil paint. Traditionally, paint was transferred to the surface using paintbrushes. Oil paint remains wet longer than other types of artists materials, enabling the artist to change the color. At times, the painter might even remove a layer of paint. This can be done with a rag and some turpentine for a time while the paint is wet, Oil paint dries by oxidation, not evaporation, and is usually dry to the touch within a span of two weeks. It is generally dry enough to be varnished in six months to a year, art conservators do not consider an oil painting completely dry until it is 60 to 80 years old
4. Омск – Omsk is a city and the administrative center of Omsk Oblast, Russia, located in southwestern Siberia 2,236 kilometers from Moscow. With a population of 1,154,116, it is Russias second-largest city east of the Ural Mountains after Novosibirsk, during the Imperial era, Omsk was the seat of the Governor General of Western Siberia, and later of the Governor General of the Steppes. For a brief period during the Russian Civil War in 1918–1920, it served as the capital of the anti-Bolshevik Russian State, Omsk is the administrative center of the Siberian Cossack Host. It also serves as the see of the bishop of Omsk and Tara, Omsk stretches along the banks of the north-flowing Irtysh at its confluence with the smaller Om River. The city has an elevation of 87 meters above sea level at its highest point. Omsk is an important railroad hub, and is the point for the northern and southern branches of the Trans-Siberian Railway. The city also serves as a hub for the regional highway network. River-port facilities handle both passengers and freight, giving the city access to navigating the extensive waterways of the Irtysh and Ob River. The waterways connect Omsk with the coal and mineral-mining towns further up the river in Kazakhstan, as well as with the oil, natural gas and lumber operations of northern Siberia. Omsk is served by the Tsentralny Airport, which access to domestic and international destinations, making the city an important aviation hub for Siberia. In 1768 Om fortress was relocated, the original Tobolsk and the restored Tara gates, along with the original German Lutheran Church and several public buildings are left from that time. Omsk was granted town status in 1782, but as the frontier receded and its military importance diminished, the town fell into lethargy. For that time Omsk became a center of the Siberian exile. From 1850 to 1854 Fyodor Dostoyevsky served his sentence in an Omsk katorga prison and he related his impressions of the city in a 1854 letter to his brother Mikhail, Omsk is a hateful hole. There is hardly a tree here, in summer—heat and winds that bring sandstorms, in winter—snowstorms. I have scarcely seen anything of the country round, the place is dirty, almost exclusively inhabited by military, and dissolute to the last degree. If I hadn’t discovered some human beings here, I should have gone utterly to the dogs, development of the city was catalyzed with the construction of the Trans-Siberian Railway in the 1890s that affected significance of Omsk as a logistic hub. Many trade companies established stores and offices in Omsk defining the character of the city center, british, Dutch, and German consulates were established roughly at the same time in order to represent their commercial interests
5. Пейзаж – In other works, landscape backgrounds for figures can still form an important part of the work. Sky is almost always included in the view, and weather is often an element of the composition, detailed landscapes as a distinct subject are not found in all artistic traditions, and develop when there is already a sophisticated tradition of representing other subjects. The two main traditions spring from Western painting and Chinese art, going well over a thousand years in both cases. Landscape views in art may be imaginary, or copied from reality with varying degrees of accuracy. If the primary purpose of a picture is to depict an actual, specific place, especially including buildings prominently, within a few decades it was used to describe vistas in poetry, and eventually as a term for real views. However the cognate term landscaef or landskipe for a patch of land had existed in Old English. The earliest pure landscapes with no figures are frescos from Minoan Greece of around 1500 BCE. The frescos from the Tomb of Nebamun, now in the British Museum, are a famous example. These were frequently used, as in the illustrated, to bridge the gap between a foreground scene with figures and a distant panoramic vista, a persistent problem for landscape artists. The Chinese style generally showed only a distant view, or used dead ground or mist to avoid that difficulty, aesthetic theories in both regions gave the highest status to the works seen to require the most imagination from the artist. They were often also poets whose lines and images illustrated each other, a revival in interest in nature initially mainly manifested itself in depictions of small gardens such as the Hortus Conclusus or those in millefleur tapestries. The frescos of figures at work or play in front of a background of trees in the Palace of the Popes. Several frescos of gardens have survived from Roman houses like the Villa of Livia, a particular advance is shown in the less well-known Turin-Milan Hours, now largely destroyed by fire, whose developments were reflected in Early Netherlandish painting for the rest of the century. Landscape backgrounds for various types of painting became prominent and skilful during the 15th century. The Italian development of a system of graphical perspective was now known all over Europe. Indeed, certain styles were so popular that they became formulas that could be copied again and again, after the publication of the Small Landscapes, landscape artists in the Low Countries either continued with the world landscape or followed the new mode presented by the Small Landscapes. The popularity of landscape scenes can be seen in the success of the painter Frans Post. Salvator Rosa gave picturesque excitement to his landscapes by showing wilder Southern Italian country, there are different styles and periods, and subgenres of marine and animal painting, as well as a distinct style of Italianate landscape
6. Товарищество передвижных художественных выставок – In 1863 a group of fourteen students decided to leave The Imperial Academy of Arts. The students found the rules of the Academy constraining, the teachers were conservative, in an effort to bring art to the people, the students formed an independent artistic society, The Petersburg Cooperative of Artists. The society maintained independence from support and brought the art. From 1871 to 1923, the society arranged 48 mobile exhibitions in St. Petersburg and Moscow, after which they were shown in Kiev, Kharkov, Kazan, Oryol, Riga, Odessa and other cities. Peredvizhniki were influenced by the views of the literary critics Vissarion Belinsky and Nikolai Chernyshevsky. Belinsky thought that literature and art should attribute a social and moral responsibility, like most Slavophiles, Chernyshevsky ardently supported the emancipation of serfs, which was finally realized in the reform of 1861. He viewed press censorship, serfdom, and capital punishment as Western influences, because of his political activism, officials prohibited publication of any of his writing, including his dissertation, but it eventually found its way to the artworld of nineteenth-century Russia. Peredvizhniki portrayed the many-sided aspects of life, often critical of inequities and injustices. But their art showed not only poverty but also the beauty of the way of life, not only suffering but also fortitude. Peredvizhniki condemned the Russian aristocratic orders and autocratic government in their humanistic art and they portrayed the emancipation movement of Russian people with empathy. They portrayed social-urban life, and later used historic art to depict the common people, during their blossoming, the Peredvizhniki society developed an increasingly wider scope, with more natural and free images. In contrast to the dark palette of the time, they chose a lighter palette. They worked for naturalness in their images, and the depiction of peoples relationship with their surroundings, the society united most of the highly talented artists of the country. Among Peredvizhniki there were artists of Ukraine, Latvia, and Armenia, the society also showed the work of Mark Antokolski, Vasili Vereshchagin, and Andrei Ryabushkin. The work of the critic and democrat Vladimir Stasov was important for the development of Peredvizhnikis art, pavel Mikhailovich Tretyakov showed the work of these artists in his gallery and gave them important material and moral support. Landscape painting flourished in the 1870s and 1880s, Peredvizhniki painted mainly landscapes, some, like Polenov, used plein air technique. Two painters, Ivan Shishkin and Isaak Levitan, painted landscapes of Russia. Shishkin is still considered to be the Russian Singer of forest, the Russian landscape gained importance as a national icon after Peredvizhniki
7. Москва – Moscow is the capital and most populous city of Russia, with 13.2 million residents within the city limits and 17.8 million within the urban area. Moscow has the status of a Russian federal city, Moscow is a major political, economic, cultural, and scientific center of Russia and Eastern Europe, as well as the largest city entirely on the European continent. Moscow is the northernmost and coldest megacity and metropolis on Earth and it is home to the Ostankino Tower, the tallest free standing structure in Europe, the Federation Tower, the tallest skyscraper in Europe, and the Moscow International Business Center. Moscow is situated on the Moskva River in the Central Federal District of European Russia, the city is well known for its architecture, particularly its historic buildings such as Saint Basils Cathedral with its brightly colored domes. Moscow is the seat of power of the Government of Russia, being the site of the Moscow Kremlin, the Moscow Kremlin and Red Square are also one of several World Heritage Sites in the city. Both chambers of the Russian parliament also sit in the city and it is recognized as one of the citys landmarks due to the rich architecture of its 200 stations. In old Russian the word also meant a church administrative district. The demonym for a Moscow resident is москвич for male or москвичка for female, the name of the city is thought to be derived from the name of the Moskva River. There have been proposed several theories of the origin of the name of the river and its cognates include Russian, музга, muzga pool, puddle, Lithuanian, mazgoti and Latvian, mazgāt to wash, Sanskrit, majjati to drown, Latin, mergō to dip, immerse. There exist as well similar place names in Poland like Mozgawa, the original Old Russian form of the name is reconstructed as *Москы, *Mosky, hence it was one of a few Slavic ū-stem nouns. From the latter forms came the modern Russian name Москва, Moskva, in a similar manner the Latin name Moscovia has been formed, later it became a colloquial name for Russia used in Western Europe in the 16th–17th centuries. From it as well came English Muscovy, various other theories, having little or no scientific ground, are now largely rejected by contemporary linguists. The surface similarity of the name Russia with Rosh, an obscure biblical tribe or country, the oldest evidence of humans on the territory of Moscow dates from the Neolithic. Within the modern bounds of the city other late evidence was discovered, on the territory of the Kremlin, Sparrow Hills, Setun River and Kuntsevskiy forest park, etc. The earliest East Slavic tribes recorded as having expanded to the upper Volga in the 9th to 10th centuries are the Vyatichi and Krivichi, the Moskva River was incorporated as part of Rostov-Suzdal into the Kievan Rus in the 11th century. By AD1100, a settlement had appeared on the mouth of the Neglinnaya River. The first known reference to Moscow dates from 1147 as a place of Yuri Dolgoruky. At the time it was a town on the western border of Vladimir-Suzdal Principality
8. Императорская Академия художеств – The Russian Academy of Arts in Saint Petersburg, informally known as the Saint Petersburg Academy of Arts, was founded in 1757 by Ivan Shuvalov under the name Academy of the Three Noblest Arts. Catherine the Great renamed it the Imperial Academy of Arts and commissioned a new building, the academy promoted the neoclassical style and technique, and sent its promising students to European capitals for further study. Training at the academy was virtually required for artists to make successful careers, formally abolished in 1918 after the Russian Revolution, the academy was renamed several times. It established free tuition, students from across the country competed fiercely for its few places annually, in 1947 the national institution was moved to Moscow, and much of its art collection was moved to the Hermitage. The building in Leningrad was devoted to the Ilya Repin Leningrad Institute for Painting, Sculpture and Architecture, since 1991 it has been called the St. Petersburg Institute for Painting, Sculpture and Architecture. The academy was located in the Shuvalov Palace on Sadovaya Street, in 1764, Catherine the Great renamed it the Imperial Academy of Arts and commissioned its first rector, Alexander Kokorinov, to design a new building. It took 25 years to complete the Neoclassical edifice, which opened in 1789, konstantin Thon was responsible for the sumptuous decoration of the interiors. He also designed a quayside in front of the building, with stairs down to the Neva River, Ivan Betskoy reorganized the academy into a de facto government department, it supervised matters concerning art throughout the country, distributing orders and awarding ranks to artists. The academy vigorously promoted the principles of Neoclassicism by sending the most notable Russian painters abroad, in order to learn the ancient and Renaissance styles of Italy and it also had its own sizable collection of choice artworks intended for study and copying. The adherents of this movement became known as peredvizhniki, led by Ivan Kramskoi, they publicly broke with the Academy and organized their own exhibitions, which traveled from town to town across Russia. Ilya Repin, Mikhail Vrubel and some other painters still regarded the academys training as indispensable for the development of professional and technical skills. After the Russian Revolution of 1917, the Imperial Academy passed through a series of transformations, after the Academys move to Moscow that year, the building in what was then called Leningrad was renamed Ilya Repin Leningrad Institute for Painting, Sculpture and Architecture. The national academy has stayed in Moscow, in 1991 it was renamed the Russian Academy of Arts. The old academys art collection, which included works by Poussin, David. During the Soviet era, academies were free of tuition fees as they were financed by the government, many would-be students would apply to the Academy for as many as six or seven years in a row without success. With just twenty places available and thousands of applicants, the competition was brutal, well-known graduates of Ilya Repin Leningrad Institute for Painting, Sculpture and Architecture in 1930–1950s include, The Russian Academy of Arts has been headquartered in Moscow since 1947. Its current president is Zurab Tsereteli and its vice-president is Tair Salakhov and it is also called the St. Petersburg State Academic Institute of Fine Arts, Sculpture and Architecture. - Saint Petersburg, NP-Print Edition,2007, the Leningrad School Russian Academy of Arts The St. Petersburg State Academic Institute of Fine Arts Sergei V. Ivanov
9. Рим – Rome is a special comune and the capital of Italy. Rome also serves as the capital of the Lazio region, with 2,873,598 residents in 1,285 km2, it is also the countrys largest and most populated comune and fourth-most populous city in the European Union by population within city limits. It is the center of the Metropolitan City of Rome, which has a population of 4.3 million residents, the city is located in the central-western portion of the Italian Peninsula, within Lazio, along the shores of the Tiber. Romes history spans more than 2,500 years, while Roman mythology dates the founding of Rome at only around 753 BC, the site has been inhabited for much longer, making it one of the oldest continuously occupied sites in Europe. The citys early population originated from a mix of Latins, Etruscans and it was first called The Eternal City by the Roman poet Tibullus in the 1st century BC, and the expression was also taken up by Ovid, Virgil, and Livy. Rome is also called the Caput Mundi, due to that, Rome became first one of the major centres of the Italian Renaissance, and then the birthplace of both the Baroque style and Neoclassicism. Famous artists, painters, sculptors and architects made Rome the centre of their activity, in 1871 Rome became the capital of the Kingdom of Italy, and in 1946 that of the Italian Republic. Rome has the status of a global city, Rome ranked in 2014 as the 14th-most-visited city in the world, 3rd most visited in the European Union, and the most popular tourist attraction in Italy. Its historic centre is listed by UNESCO as a World Heritage Site, monuments and museums such as the Vatican Museums and the Colosseum are among the worlds most visited tourist destinations with both locations receiving millions of tourists a year. Rome hosted the 1960 Summer Olympics and is the seat of United Nations Food, however, it is a possibility that the name Romulus was actually derived from Rome itself. As early as the 4th century, there have been alternate theories proposed on the origin of the name Roma. There is archaeological evidence of occupation of the Rome area from approximately 14,000 years ago. Evidence of stone tools, pottery and stone weapons attest to about 10,000 years of human presence, several excavations support the view that Rome grew from pastoral settlements on the Palatine Hill built above the area of the future Roman Forum. Between the end of the age and the beginning of the Iron age. However, none of them had yet an urban quality, nowadays, there is a wide consensus that the city was gradually born through the aggregation of several villages around the largest one, placed above the Palatine. All these happenings, which according to the excavations took place more or less around the mid of the 8th century BC. Despite recent excavations at the Palatine hill, the view that Rome has been indeed founded with an act of will as the legend suggests in the middle of the 8th century BC remains a fringe hypothesis. Traditional stories handed down by the ancient Romans themselves explain the earliest history of their city in terms of legend and myth
10. Репин, Илья Ефимович – Ilya Yefimovich Repin was a Russian realist painter. He was the most renowned Russian artist of the 19th century and he played a major role in bringing Russian art into the mainstream of European culture. His major works include Barge Haulers on the Volga, Religious Procession in Kursk Province, Repin was born in Chuguyev, in Kharkov Governorate, Ukraine into a family of military settlers. His father traded horses and his grandmother ran an inn and he entered military school to study surveying. In 1863 he went to St. Petersburg Art Academy to study painting but had to enter Ivan Kramskoi preparatory school first and he met fellow artist Ivan Kramskoi and the critic Vladimir Stasov during the 1860s, and his wife, Vera Shevtsova in 1872. In 1874–1876 he showed at the Salon in Paris and at the exhibitions of the Itinerants Society in Saint Petersburg and he was awarded the title of academician in 1876. In 1880 Repin travelled to Zaporozhia in Ukraine to gather material for the 1891 Reply of the Zaporozhian Cossacks and his Religious Procession in Kursk Province was exhibited in 1883, and Ivan the Terrible and His Son Ivan in 1885. In 1892 he published the Letters on Art collection of essays and he taught at the Higher Art School attached to the Academy of Arts from 1894. In 1898 he purchased an estate, the Penates, in Kuokkala, in 1901 he was awarded the Legion of Honour. In 1911 he traveled with his common-law wife Natalia Nordman to the World Exhibition in Italy, in 1916 Repin worked on his book of reminiscences, Far and Near, with the assistance of Korney Chukovsky. He welcomed the Russian Revolution of 1917, celebrations were held in 1924 in Kuokkala to mark Repins 80th birthday, followed by an exhibition of his works in Moscow. In 1925 a jubilee exhibition of his works was held in the Russian Museum in Leningrad, Repin died in 1930 and was buried at the Penates. Repin was born in the town of Chuguyev, in the Kharkov Governorate of the Russian Empire and his father Yefim Vasilyevich Repin was a private in the Uhlan Regiment of the Imperial Russian Army. As a boy Ilya was educated at the school where his mother taught. From 1854 he attended a military Cantonist school and he did not have fond recollections of his childhood, mainly due to the military settlements his family lived in. In 1856 he became a student of Ivan Bunakov, an icon painter. In 1859–1863 he painted icons and wall-paintings by commission for the Society for the Encouragement of Artists, in 1864 he began attending the Imperial Academy of Arts, and met the painter Ivan Kramskoi. In 1869 he was awarded a gold medal for his painting Job
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Описание картины В. Фельдмана “Родина”
Может ли быть у человека что-то дороже, ближе и роднее, чем родина? Можно ли представить себе солдата, не тоскующего по родному краю в чужой стране? Мыслимо ли, что человек, находящийся в долгой разлуке с местами своего рождения, детства, юности, не будет вспоминать родные, близкие сердцу пейзажи?
Картина, на которой изображен солдат, как к девушке, как к родному и близкому человеку прижавшийся к березке. Полотно могло бы иметь любое другое название, но названо “Родина”. Случайно ли это? Что хотел подчеркнуть этим названием художник?
Сюжет картины В. А. Фельдмана безыскусен, прост. На полотне изображен солдат — очевидно, что он только вернулся в родные края. Простой пейзаж — несколько черно-белых березок, которые так милы русским писателям и художникам, да небольшая деревенька внизу — несколько деревянных домиков с простирающимся за ними серым перепаханным холстом поля. Простой русский парень, только что вернувшийся с фронта, одет в серую солдатскую шинель, на плечах — военный вещевой мешок. Русые волосы треплет ветер, а на лице застыло странное выражение. В глазах его можно прочитать радость и грусть, боль и восторг одновременно. Радость — вернулся домой, остался жив, смог, дошел; грусть — живы ли родные, здоровы ли они? как там друзья, с которыми еще недавно шел в бой, с которыми делил простые радости и невзгоды фронтовой, казарменной
жизни?
Композиция предельно проста. Плана только два — передний, на котором изображен солдат, и задний — фоновый. Центр композиции — солдат, прижавшийся к березке, — несколько сдвинут влево, однако равновесие картины тем самым не нарушено: на правом плане располагается второй по значению смысловой сюжет картины — поле и домики. Полотно поделено горизонтом приблизительно на две равные контрастные по цвету части. Верхняя часть — безрадостное, по-зимнему низкое, затянутое облаками небо. Нижняя часть холста — рыжая высохшая трава. Казалось бы, такое четкое разделение должно утяжелять работу, но этого не происходит. Светлые силуэты голых, без листьев берез, устремленные к небу, украшают пейзаж, голубовато-белые стволы разбавляют не слишком яркие и радостные краски полотна.
Картину нельзя назвать слишком яркой, палитру художника — насыщенной, это было бы неправильно. Преобладают несколько затемненные цвета — грязновато-желтый тон осенней травы, серо-голубой оттенок неба, серо-зеленая шинель солдата. Несколько выделяющихся пятен — выделяющихся не за счет яркости красок, а из-за их насыщенности, из-за глубины цвета. Рыжая крыша одного из домиков, фиолетовые ставни другого. Теплый коричневый цвет стен избушек. Немного сероватой зелени полей и темно-синяя полоса на горизонте. Картина передает настроение хмурого, неяркого, прохладного дня. Только глаза солдата светятся тоской и радостью, да натруженные, уставшие руки обнимают шершавый древесный ствол…
Несколько слов необходимо сказать о выборе эпиграфа. Он не случаен, а закономерен и словно переплетается с настроением картины. Герой полотна, всматривающийся вдаль, в сторону своей родной деревни, полей и лесов, напоминает лирического героя стихотворения:
Как захожий богомолец,
Я смотрю твои поля.
А у низеньких околиц Звонно чахнут тополя.
Также как и герой стихотворения, солдат на картине любит свою родину такой, какая она есть. Пусть небросок пейзаж, нерадостно низкое холодное небо и тонкие красавицы березы не звенят на ветру своими листьями. Пусть неярки краски, среди которых преобладает серый, пусть дома-хатки небогаты — эти картины с детства знакомы и любимы как стихотворному персонажу, так и солдату. Да и нельзя не любить их, несмотря на блеклость и неяркость, ведь это — Родина!
Глоссарий:
– сочинение по картине родина фельдмана
– описание картины Фельдмана Родина
– описание картины родина
– описание картины В Фельдмана Родина
– Описание картины родина фельдман
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Сочинение по картине В. Фельдмана "Родина"
Известный русский художник Владимир Петрович Фельдман родился в Москве в 1924 году. Он был живописцем, пейзажистом. Самым грандиозным его произведением искусства является картина «Родина», написанная в пятидесятые годы прошлого века. Картина нарисована маслом на холсте в довольно таки холодных тонах. Картина посвящена военной тематике. Родина — это святое. Необходимо беречь ее и отстаивать. На картине мы видим бедного солдата, стоящего посреди поля, обнявший березу, смотрящего вдаль, и думающего о прошедшей войне.
Насколько больно понимать и осознавать, что война забрала многих людей в мир иной, разрушила семьи, судьбы многих людей. И как приятно и тепло обнимать родную березу, которая росла на твоих глазах, которая была другом и осталась жить. Береза — это символ России, такая стройная, красивая, изящная. И кажется, что это его лучший друг, который готов выслушать обо всех его проблемах и бедах. Как хорошо дышать свежим воздухом и понимать, что ты свободен, за тобой не придут больше и нет никакой угрозы ни тебе, ни окружающим тебя людям.
За спиной у солдата мы видим рюкзак, видимо собранный для бегства от врагов. Вполне возможно, что в нем немного воды, кусок хлеба и смятая рубаха. Позади мы видим небольшую деревушку, выжившую после тяжелых военных дней. Небо голубое и облачное. Облака плывут, убегают от тех происшествий, которые происходили в сороковые годы, бегут от страха, бегут от войны. Солнца совсем не видно, видимо тучи спасают его, закрывают собой, чтобы его не задели и оно осталось жить и светить всем будущим поколениям.
В глазах у солдата мы видим и тоску и радость. Тоску от потерь и злость, желание отомстить врагу за всех близких, родных, друзей. Радость от того, что война прошла, война уже позади, однако какой ценой она закончилась. И так хочется верить, что бедный и морально уставший солдат доберется до своего дома, увидит всех своих родных живыми и здоровыми. Для него это будет самым лучшим подарком судьбы.Картина написана в серых, темных тонах, именно тех, в каких жили люди, заставшие войну.
Владимир Петрович хотел нам показать этой картиной какой ценой была выиграна война. Необходимо уважать всех пенсионеров, участников Великой Отечественной Войны, которые грудью своей стояли, дабы уберечь нашу землю от смертей. Насколько необходимо ценить людей, которые хотели, чтобы их дети, внуки, правнуки жили в добре и мире. Необходимо ценить все моменты в проходящей жизни, ведь она настолько коротка. Любите и уважайте ветеранов, протяните им руку помощи. Не будьте равнодушными.
Автор сочинения: Эля Ионова
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Сочинение по картине В. П. Фельдмана "Родина"
В пятидесятых годах Фельдман Владимир Петрович написал прекрасную картину «Родина», которая посвящается теме войны. Она передает чувства и эмоции каждого солдата, который чувствовал долг перед Родиной и отдавал его с любовью. Автор именует картину «Родина».
Несомненно, Родина всегда занимает важное место в душе каждого из нас. Где бы мы не находились, нас всегда тянет на Родину вне зависимости от нашего возраста. Если мы куда-то уезжаем и долгое время не бываем на Родине, нас несомненно тянет обратно. Вот и эта картина передает нам всю любовь солдата к Родине, то чувство самозабвенности, которое он испытывает, прижимаясь к целительному стволу родной березки.
Владимир Петрович передает нам все эмоции солдата, который только что вернулся с войны. Осуществилась его давняя мечта встречи с Родиной. С какой любовью и надеждой солдат приживается к березе!
Война навсегда оставила в нем свой след. Ведь он еще не знает все ли его родственники живы и осталась ли не стертой с лица земли его хата, в которой он вырос, в которой родная мать поставила его на ноги и научила всему, что он сейчас умеет.
У него в голове сейчас много мыслей, касающихся прошлого и будущего: как сложится моя жизнь теперь после войны? Все эти мысли кружатся в хороводе в его голове, не давая покоя.
Картина Родина
Оказавшись на земле родной, спасением от дурных мыслей становится объятие с родным — с березкой. Ощущение знакомого аромата пленительно кружит голову. Что может быть лучше чистого неба над головой и тихого заката? Здесь нет войны и нет врагов, тут тихо и спокойно.
Ему до сих пор не верится в том, что все худшее уже позади. Не удивительно, что автор описывает нам встречу именно с русской березой, ведь именно она считается символом России. Такая грациозная, стройная, изящная. Наши русские писатели не однократно подчеркивают красоту наших берез. Так например С. Есенин писал:
«Белая береза Под моим окном Принакрылась снегом, Точно серебром.
На пушистых ветках Снежною каймой Распустились кисти Белой бахромой...»
Именно береза дает силы и веры в будущее уставшему от огневых залпов и вражеских набегов солдату. Фельдман пишет его в военной форме, за плечами понуро висит вещевой мешок. Солдат с радостью и грустью прокручивает в голове все момент войны.
Он счастлив, что все позади, но какой ценой им эта победа досталась! В голове до сих пор прокручиваются лица сослуживцев, погибших в схватке с врагами, разгромленные врагами города и ни в чем не повинные люди, которые так же пострадали от пуль врага.
Так же автор красиво передает красоту русской природы, рисуя на заднем плане поля и луга, так знакомые каждому из нас. Несомненно, наш взгляд привлекает чистое небо, которое освободилось от дыма и смога войны. Но все же, напоминанием войны остается пожелтевшая трава и опавшие от снарядов и смога листья деревьев.
Но все же, уже кое-где проглядывают радующие глаз новые цветочки, которые ласково кивают головой встречным солдатам, несущим победу в родное село. Владимир Петрович не использует в своей палитре ярких насыщенных тонов, в основном он пишет картину спокойными, холодными красками.
Самым темным пятном на картине остается все же одежда солдата, которая несет еще дух войны, осевший на него, на прощание. Автор светлыми красками передает красоту чистого неба, белой березы и бескрайность родной природы.
Картина несет большую смысловую нагрузку о прошедшей Великой Отечественной Войне. И передает всю тяжесть и усталость солдата, который выстоял этот бой, не смотря ни на что.
Хочется верить, что когда солдат вернется домой, принеся счастливую весть о победе, его встретят в полном составе все его родные и близкие. А главное, у него сложится счастливо будущая жизнь, жизнь без войны и тревог!
Автор сочинения: Ольга Зарубина
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