Architectural landscape painting. Architecture in paintings by Russian artists

2 weeks ago by elena_tarutina I will continue to summarize the experience of what I have learned over the past 4 years. ⠀ Recently I described in detail all the stages of creating a school, all my gradual steps and doubts with it. ⠀ I hope that in the near future I will write about the path, my own transformations, and about the change in my outlook on life, and about how I decided with three children not only to be an artist, but also to create a huge community. ⠀ ⠀ And now with great pleasure I will tell you about @ap428 Armen Petrosyan, a significant person for me, who very seriously supported me in creating a school, and in general in understanding the direction of my life. ⠀ ⠀ Armen has two big...

2 weeks ago by elena_tarutina I started to figure out the program for next year. I felt a whole crowd of characters in my head, each of them saying something different. ⠀ ⠀ One has already come up with 6 (six, Karl!) new ideas. The second one says that his own creativity will be a priority this year (and I’m on his side!). The third one asks, who will do all this, huh? The fourth timidly hints that he needs sleep and rest. The fifth person’s thoughts are exclusively on the topic of what else interesting things to do with his own children (yesterday he got around to baking cookies with them according to the recipe @ann_chernykh, it turned out very tasty, thank you, Anya! #Christmas cookies_of Swiss grandmothers)⠀ ⠀ Well...

2 weeks ago by elena_tarutina To me lately no time for books at all. But there are a lot of people in line. And today there was a happy pause and I got to the Labyrinth, ordered a bunch, due to the discounts. And I also bought a course on psychosomatics.. And - I started reading Liz Gilbert’s new book. ⠀ ⠀ This three women have long inspired me, given me strength and some new understanding of my nature - Liz Gilbert (Eat to Pray, Love), Julia Cameron (everything), and Clarissa Pinkola Estes (Running with the Wolves).⠀ ⠀ Below is an excerpt from Liz Gilbert's book "Big Magic". About the fact that you don’t have to wait for inspiration. At all. ⠀ ⠀ And in the photo - I brought Nikita with...

2 weeks ago by elena_tarutina People have already started asking me if there will be a calendar this year. Yes, we are already doing it! The dream of making a calendar in October is apparently not feasible, but at least it will be in early December) ⠀ For me, it is already a tradition to make a calendar with the works of the year, although not all, but important. So one of these days I’ll post more detailed information.⠀ ⠀ And I remind you that there are 4 days left before the start of the course “Freedom in creativity and mixed techniques”!⠀ You can sign up for the group via the link in the profile. We start on December 5th. #beanartist100

2 weeks ago by elena_tarutina There are 3 days left until the start of the course “Creative Freedom and Mixed Techniques”! I will answer the most frequently asked questions here. You can watch the lessons at any convenient time, since they are recorded in advance. How long does it take: the lesson is about 30-40 minutes, and about another hour of video analysis (of the work that is posted in the first three days), everyone should definitely watch it, there is a lot of important stuff there. You need a minimum hour a week for your work, and it’s better to add 20-30 minutes to this every day to maintain and continue the topic. If you have more time to work on the course, great. An introductory theoretical lesson opens on Thursday, and...

1 week ago by elena_tarutina Starts the day after tomorrow, December 5th. A little more about what will be on the course: “This is a practical course dedicated to introducing well-known materials to a new level, handling them more boldly and connecting incompatible things. We will understand what else can be done with ordinary pastels and acrylic, charcoal and putty, corrugation and tape - so that in the end we get something new - a new feeling, a new state, new creative possibilities. Let's touch on how to generalize, highlight the main thing, draw sketchily and quickly. We will talk about how to transform your relationship with creativity into a different quality - more free, liberated, adding excitement and vision of possibilities. How do you even look at...

1 week ago by elena_tarutina Against the backdrop of the fact that “Mixed Techniques” starts again tomorrow, I intensified my own experiments. ⠀ I bought different materials today, I’m sitting testing them in between all the children’s activities, needs, questions and screams. ⠀ ⠀ Just when you paint something like that, there are screams again, or Masya comes to the workshop to sort out dried pumpkins, beads (I keep a special box of them for her), or to paint something with me. ⠀ And they also want an advent calendar - even the eldest, although he hides it ⠀ I’ve almost come up with it. ⠀ ⠀ For those who like to jump into the last carriage, you can still join the course - via the link in...

5 days ago by elena_tarutina A year ago I also summed up the results of the year. And I also came to the conclusion about how complex the balance is) I’ll write about this year separately. In the meantime, last year: ⠀ “Analysis creative year, a few thoughts here too. In general, the year turned out to be uneven and torn in this section. And obviously I didn’t have enough time for everything I had planned. More precisely, we managed to do 10 percent of what we wanted. And 200 of what was possible in my situation. ⠀ ⠀ I am pleased that, in my opinion, there was a breakthrough with large complex technological works, multi-layered using different materials. But there weren't enough of them. All summer and beyond -…

20 hours ago by elena_tarutina We finally finished the calendar)) ⠀ All attempts to do this earlier fail every year for various reasons. ⠀ Whoever asked, you can order - link in profile, same place detailed description. ⠀ ----------⠀ Friends! This year, as usual, I am again making a calendar with my works. As in the last three times, it contains some of the work done during the year. ⠀ Many of them were at my personal exhibition in September, but there are also new ones. ⠀ ⠀ As usual, I am making a small edition for friends, and a small part of it can be purchased. ⠀ ⠀ This time its format is the same square - 29x29cm...

IN Does a painter always prefer to glorify nature, so to speak, in its pure form, without architectural structures? Not always. After all, buildings revive it and give it new meaning. Even without being historical and artistic value, they, in unity with the surrounding area, acquire special expressiveness and are perceived as important, and sometimes the main element of the composition.

Other masters are inspired by the city landscape, when in a painting, sketch, or drawing it is not nature, but architectural buildings belongs to the main place.

Many wooden and stone buildings are beautiful in any weather. But in winter they are more “in sight” - they are not obscured by trees and bushes, the snow cover hides all distracting details.

However, working outdoors at this time of year is difficult: it is cold and even frosty. Your hands are getting cold, your colors are thickening. However, we know a lot beautiful works, in which winter landscapes are glorified. True, not all of them were created in the open air, but were painted in the studio based on sketches, from memory or from the window.

The canvas by S. Svetoslavsky is called “From the Window of the Moscow School of Painting.” It is made, as they say, from life: the volumes, color, texture of objects are conveyed extremely accurately. The roof of the hipped bell tower, the green bulbs of the church, drums decorated with stucco, loose snow, and the whitewashed walls of houses are tangibly painted. For all that, the picture is by no means naturalistic. It contains the poetry of quiet winter day when it shines through the icy haze blue sky, and the rays of the low sun gild the snow-covered roofs. When blue smoke curls from the chimneys and the distance is drowned in a chilly haze. The artist watched the landscape, full of space and air, from the window every day, but he painted it so freshly, with ringing colors, as if he saw it for the first time.

If Svetoslavsky’s canvas gives an idea of ​​the scale of Moscow, its appearance centuries ago, then N. Goncharova’s painting takes the viewer to the city at the beginning of this century, to the crossroads of narrow cozy streets. Freshly fallen snow turned the trees into clouds of clouds, carefully covered the roofs and pavements and creaked cheerfully under the runners.

This is no longer a natural landscape, but a painting made from an impression. It is decorative, contoured, written in general terms, without elaboration of details. Using just a few colors, Goncharova bypassed
paying attention to aerial perspective, tonal and color nuances - it was important for her to capture the general impression of what she saw, to create an image of the Moscow winter.

The painting by P. Konchalovsky “Pharmacy on Sadovaya” was decided in a completely different way. The approach to nature here is plein air: the artist conveys the effects characteristic of open space—the richness of colors and shades, the feeling of light pouring in from all directions. It is more like a sketch using the alla prima technique - created immediately, in one sitting, in one breath.

However, the artist did not depict the first thing that caught his eye. He was attracted by the corner of the old city, the lyricism of a sparsely populated winter street with bare trees and small squat houses. The ancient building where the pharmacy is located occupies in the composition central place. Trees in the foreground enhance the sense of depth of space, serve as a tuning fork for tonal and color settings, and determine the scale of buildings.

To master pencil and paint, it is useful to carefully analyze the works of masters. In this regard, Konchalovsky’s sketch can tell you a lot: how did the artist work with a brush? What
darker - snow-covered roofs and streets or cloudy skies? Are snowdrifts written only in white? How did he direct his brush when he painted trees—from top to bottom or from bottom to top? And what did he depict first - the sky or the trees?

Compare the work of P. Konchalovsky with the painting by K. Yuon “Morning of Industrial Moscow”. Aren't they completely different? The first is intimate in nature, the landscape is limited to a small space. And Yuon’s painting is a majestic panorama.

Before us is the capital of the first post-war years. The strict silhouettes of pipes, factory buildings, and hangars are echoed by the energetic figures of workers. Many vertical lines counter the horizontal ones, creating a plastic balance. The smoke seems to turn into cloud wings and scatter across the sky. Tall trees on the right and left seem to unite the upper and lower parts of the composition and at the same time, with the bizarre outlines of their branches, emphasize the severity of the industrial landscape.

Yuon crops the image so that it starts with second plan: this allows you to avoid showing unnecessary details and focus the viewer’s attention on the main thing. The morning sun unfurled a fan of golden rays over the expanse, bringing solemnity to the landscape. If the master had not chosen counter- openwork lighting, which makes buildings and people’s figures look like silhouettes, but if I preferred side lighting, focusing on the volumes and color characteristics of objects, the impression of the canvas would be much less strong. Now it is truly monumental - thanks to the strict composition, permeated with a clear, clear rhythm, the stability of most objects, the high horizon, and the calm laying of strokes. And the nature of the painting resembles a mosaic.

Your own unique styleletters from V. Byalynitsky-Birul. His landscapes are poetic, full of quiet sadness. They seem to be shrouded in a light, gentle fog, in which the outlines and shapes of objects, the contrasts of light and shadow, and the brightness of colors are softened. But painting acquires a special integrity and completeness.

The artist depicted the house in which the great Lenin lived quite recently. Both the building and everything around looks the same as it was during his time. A house built in the style of Russian classicism of the late 18th century. early XIX century, large snow-covered meadow, light- The gray sky is designed in a similar color and tonal range, the sound of which is enhanced by the dark spots of spruce trees. The tree trunk in the foreground seems mourning ribbon. Imagine a composition without this detail - it will lose spatial depth, integrity, and expressiveness.

Sometimes beginning artists ask: where to look for interesting motifs? On this occasion, the Moscow painter I. Sorokin says: “Having traveled a lot around the country, I realized that my main theme is
central Russia. Old Russian cities, as well as nearby villages, completely fill and captivate my creative imagination. Now I somehow don’t feel drawn to distant lands. Previously, it seemed that you would find something unusual there. But it only seemed so. And everything unusual and interesting is near us, among us, you just need to see it.”

Sorokin’s landscape “Winter in Suzdal” embodies the charm of the city with its numerous ancient monuments, colorful domes, roofs, and walls. The snowdrifts, buildings, and trees are sculpted with strong, bold, free strokes. The point of view of the Nativity Cathedral and surrounding buildings was successfully chosen. The perspective of the street, fences, trees draws our gaze to the central part
of the ancient city and at the same time holds the entire composition. The left side of the canvas is visually more loaded than the right, which gives the landscape even more liveliness and naturalness.

How did the artist achieve such consistency of all elements of the image? First of all, he saw nature in unity with environment, immediately covering it all with his gaze, instantly comparing proportions, volumes, colors.

Architectural buildings can be not only integral part landscape - rural, urban, industrial. In many paintings they are associated with some genre scene. For example, in V. Telin’s work “The House is Empty” the relationship between a person and his home is revealed, which
can tell you a lot. About the fact that it was built by masters of their craft. And decorated with love and taste. That it served people for a long time. But the owners are gone, the old, still good, strong house is empty - and they board up the windows with beautiful carved frames...

You can give an infinite number of examples of a variety of architectural landscape solutions. If you, dear young artists, get carried away by this topic - and it’s simply impossible not to get carried away - then
At first, draw with a pencil, paint in watercolors and oils buildings that are not too complex in shape and decor. First try to understand the structure of the building, the relationship between its volumes and surrounding objects. Depicting an ancient church, chambers, fortress walls, pay attention special attention on their fusion with drink Let's face it - ancient architects always saw architecture in unity with nature.

The factory buildings, the state farm elevator, the thermal power plant with its squat cooling towers and slender chimneys have their own poetry. Choose a point of view that in the best possible way characteristic features of architecture were revealed. It’s interesting to have the same motive for drawing and peeing in different times years and under different lighting conditions.

While working, you not only master graphic and pictorial skills - you seem to penetrate into the architect’s plan and, like him, build walls and a roof on paper or canvas, decorate the structure with carvings or stucco.

Strive to convey the monolithic, heaviness of the building or upward aspiration, airiness. Look at the facade of the building - imagine its side and rear walls, and apply strokes or strokes, taking into account the design, the features of the laying of bricks, logs, reinforced concrete blocks.

Architecture surrounds us everywhere. We, one might say, live in a world of architecture that came to us from ancient times and is constantly changing its appearance. Displaying this world is an extremely exciting task,
exciting. In each specific case it has its own characteristics and its own solutions.

We wish you creative success!

A. Alekhine

Magazine "Young Artist" No. 12, 1987

ARCHITECTURE IN LANDSCAPE

Every summer, many artists draw and paint architectural monuments from nature. Painting outdoors requires certain knowledge and practical skills. Here you can observe much larger spaces: often the distance to the depicted objects can reach several kilometers.

Let's say you come to the park. Among the old spreading poplars and linden trees there are small architectural details - bizarrely shaped woodenbenches, gates, gazebos, verandas, fountains. Before you startsketches , choose the point of view from which objects surrounded by greenery will look most expressive.

We must strive to emphasize characteristic feature structures and forms of architectural elements, learn to see the main and secondary in them. Some of the most interesting parts should be drawn in more detail, the rest should be simplified.

In suchsketches flexible, timesa strange line should pass throughdeal with tone - shading.Then the drawing will look likemore alive. Sketches are being madein any technique, but the main thing isthe task is to develop the sharpness of the formnia, observation, tverreach your hand. Then we move on tosmall colorsketches . They may includesolid elements architecture . Here it is also necessary to correctny choice motive. If you arestorming the village gateat home, don't forget about your surroundingsitems along the path,bush near the gate, tree vyah.

Often the image is composed too large for the selectedformat leaf. Or, on the contrary, they draw any detail so finely that it disappears inlandscape . Or it ends up exactly in the center of the sheet, as if breaking it into equal parts. Often young artists depict a building in such a way that it covers the entire landscape - be it a river, forest, lake, field.

When drawing various architectural motifs, many are careless about their elementary construction. This gives the impression of instability of structures and leads to curvature of their individual parts.

It is easier to write using an accurate, well-composed drawingcolor . But it’s not at all necessary to show and then studybrush the smallest details of the structure. It is necessary to select from them only those that give the building a unique architectural appearance and express its character, “face”. After all, often in the pursuit of trifles we miss the main thing. But another mistake often occurs: complete disregard for details, an obligatory “pursuit” of generality. This drains the vitality from the sketch and makes the work approximate.

Plans in open space are especially pronounced - for example, a building, being in the distance, will no longer look as distinct as it does up close. The distant forest will appear as a blue or blue stripe; the trunks and crowns of individual trees are simply not visible. Likewise architectural structure at a certain distance it is “generalized”

Watercolorists most often the first and middle plans are painted in more detail, placing several transparent layers of paint on top of each other, with a gradual increase in color strength andtones . And for the background, they use the filling technique - applying paint in one layer.

Color The architectural landscape depends both on the appearance and color of buildings and the reflections falling on them, and on the time of day.

If you have chosen a morning motif, the colors of your sketch should not be too bright or harsh. Try to choose calm combinations of warm and cool shades. Working on a sunny afternoon, you may notice that the color of objects in the light is whitened, and the shadows, on the contrary, are saturated with hot reflections from the ground and cold reflections from the sky. When depicting an evening motif, such as a sunset, keep in mind that objects become less distinguishable in detail, darker in tone and cooler in color, while the sky can be very colorful, even somewhat fantastic. It is very important to correctly understand tonal and color relationships and convey them correctly.

Work on an architectural landscape will be successful only with a careful study of nature, the ability to see details as a whole and the whole inseparable from the characteristic details. And most importantly, you must love nature and architecture, feel their indissoluble, poetic unity.

ARCHITECTURAL LANDSCAPE - the concept is borrowed from the works of A.I. Capon, seeing in it high expression unity of ARCHITECTURE with nature as the most important means artistry of the architectural ENSEMBLE (see Kaplun A.I. “Style and Architecture>>. - M., 1983).

ARCHITECTURAL LANDSCAPE, - genre variety landscape, depiction in painting and graphics of real or imaginary architecture in a natural environment. In the architectural landscape, linear and aerial perspective plays an important role, allowing us to connect nature and architecture together. It is possible to distinguish urban perspective views in the architectural landscape, in the 18th century. called vedata (Antonio Canaletto, Francesco Guardini, F.Ya. Alekseev), views of villas, estates, park ensembles with buildings, landscapes with ancient or medieval ruins (Hubert Robert, S.F. Shchedrin, F.M. Matveev), fantastic landscapes with imaginative structures and ruins (Giovanni Battista). Architectural landscape is often a type of perspective painting.

Who among us has not admired the majestic and charming views of the city, infinitely diverse, evoking equally diverse feelings and emotions! Fabulous silhouettes of ancient city walls and towers, majestic bulks of palaces and public buildings, attractive and impressive arrays of residential buildings, powerful groups of industrial and other structures - the result of creative thought and constructive work of generations of many centuries or the result of heroic and ingenious transformations.

It is not surprising that the pictures of the city inspired and continue to inspire the artist’s creative thought.

The cities of our homeland provide an endless choice of exciting subjects for artists.

Stalin's five-year plans for grandiose socialist construction are transforming the face of our country from year to year. (One after another, before everyone’s eyes, new cities are growing, old ones are being reconstructed and expanded, changing their appearance beyond recognition, which remained unchanged for decades. New giants of Soviet industry are emerging, grandiose structures are being built - hydroelectric power stations, bridges, dams, canals and many, many others , a wide variety of names and purposes.

This construction, with its appearance, its architecture, speaks of a new life, of new achievements of free socialist labor. It inspires and attracts to new exploits and victories.

The themes of our urban, industrial and architectural landscape are countless and exceptionally rewarding for the artist in their emotional significance and beauty.

That is why young artists should not only get acquainted with this section of drawing and painting, but also test their strength in creative work over his subjects.

Since ancient times, architecture has attracted artists - painters and graphic artists - not only compositional element paintings that reflect the real setting of the action or the environment of the depicted object, but also the beauty of architectural volumes and forms, perfectly combined with nature, the human figure, the movement of the crowd, the colors of decoration and costume. However, the depiction of architecture for a long time was of a decorative nature and did not go beyond the conventions of the flat style.

Realistic, faithful and expressive in terms of volume and space, the rendering of more or less complex architectural forms, organized into ensembles and groups, became possible only after in the 15th century, in the era Italian Renaissance, the laws of perspective were explored and revealed.

The science of perspective has developed more and more over time and in our time has been brought to such perfection that its rules not only make it possible to depict objects when drawing them from life, but also to reproduce the appearance of objects created creative imagination artist.

In addition to knowledge of the laws of perspective, to successfully work on the urban landscape and architectural motifs, the artist must become more familiar with the art of architecture and architectural forms.

As is known, this oldest of arts, when creating buildings and structures, endows them with such forms and external features that make it possible to appearance guess the purpose of structures, determine the relationship of one part of it to another and their mutual connection, distinguish the main from the secondary.

Organizing space and processing volumes, planes and details of the structure, the architect is guided by what he creates artistically and architectural idea.

With extensive practice in drawing from life, the inquisitive eye of the artist gradually learns to understand the peculiarities of construction and the stylistic nature of architectural forms, even of considerable complexity. However, for a conscious attitude towards Nature, familiarity with history is necessary.

It goes without saying that independent compositional work on any complex architectural topics cannot be done successfully without sufficient special knowledge.

The reproductions presented here from drawings and paintings by masters of the urban and architectural landscape - painters and architects - provide an opportunity to analyze aspects of compositional order and become familiar with execution techniques.

It is immeasurably more useful to conduct such a study using the originals that represent this type of drawing and painting in our art galleries and museums.

The famous masters of architectural landscape were the Venetian painters Antonio Canaletto (1697-1768), Bernardo Belotto (1720-1789), Francesco Guardi (1712-1793), D. Pannini (1695-1768), the Venetian architect and etcher Giovanni Battista Piranesi (1720-1778), French artist Hubert Robert (1733-1778).

The works of Russian masters are excellent: An. Velsky (1730 1796), F. Alekseev (1755-1824), Sylvester Shchedrin (1791-1830), Galaktionov (1779-1854), M. Vorobyov (1787-1855).

Brilliant examples of architectural landscape and architectural fantasies and perspectives can be found in the drawings of architects: M. Kazakov (1738-1813), Giacomo Quarenghi (1744-1817), A. Voronikhin (1760-1813), P. Gonzago (1751-1831) and etc.

Here are a few practical notes related to working from life, which are useful for beginning young artists working on an architectural landscape to take into account.

Good choice of point from which to sketch a city view, architectural landscape or architectural monument, has great value. This task must be solved most advantageously both in terms of the overall composition and in terms of the most expressive characteristics main topic given drawing or pictorial sketch. In this direction, you need to develop your artistic flair in every possible way, studying classical examples of composition in fine arts and the endless beauty of nature. Sometimes it may be difficult to immediately decide on the most profitable artistic point seeing the boundaries of the picture.

The reason for this may be the vast scale of the city view or architectural landscape stretching out before us, the multitude of architectural details that equally attract the eye of the artist and are equally tempting for him.

It should be borne in mind that it is more advisable for beginning artists to first limit themselves to simpler and less subject-specific subjects, moving on to working on more complex topics gradually.

When working on architectural landscapes, the young artist must proceed from the main, from the main to the particulars, to the secondary. The drawing should be based on the correct perspective construction of forms. The drawer must first of all clearly imagine the position of the horizon, vanishing point, points of deviation of lines, etc.

Perspective constructions when drawing from life can be reduced to the simplest schemes and techniques. They are very elementary and concern only basic constructions and basic forms. The necessary techniques and evenness must be carefully studied in nature and drawn, guided by the rules of perspective, in full consistency with the basic perspective scheme.

An artist of an architectural landscape should be especially demanding of himself when he analyzes the structure of architectural masses, volumes and forms, determines their mutual constructive connection, establishes relationships and proportions, and seeks out the nature of the movement and rhythm of architectural masses and lines. Portrait likeness of an image is of exceptional importance for architectural subjects. The ego follows from the conditions of harmonious regularity and completeness of architectural forms.

The plans of city views and architectural landscapes that go far into the depths of the picture, the spatiality and relief plasticity of architectural exteriors and interiors, the effects of light and shadow, the airy haze of distances and the transparency of shadows will undoubtedly attract attention. young artist. He must strive for a faithful, lively and artistic rendering of them, given that a significant portion of the charm and persuasiveness of his drawings and sketches depends on this.