Architectural landscape. German painter Ferdinand Knab. Architecture in paintings by domestic artists Architectural landscape definition

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 has 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 meaning 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 by the creative imagination of the 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.

A successful choice of the point from which a sketch of a city view, architectural landscape or architectural monument is made 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.

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

Seascape with temple ruins 1898

N.V. Gogol called architecture “the chronicle of the world”; in his opinion, it “speaks even when songs and legends are already silent...” Architecture is often called “frozen music”, “a stone symphony”. Indeed, these two arts have a lot in common: harmony, rhythm, proportionality. Like music, architecture can excite a person. deep feelings and become a source of joy and pleasure. But if music is the art of the moment, living at the moment of performance, then works of architecture live for centuries, because their basis is durable materials. Nowhere is the character of time, the style of time, manifested so figuratively and clearly as in architecture. Perhaps that is why the masters of painting, glorifying the grandeur and solemnity of architecture, captured on their canvases the architectural landscape, paintings that reflected the faces of even long-gone civilizations....

Closed gate. Portal.

An architectural landscape differs from a “pure” landscape in that it, as it were, juxtaposes and compares human activity with the activity of nature, thereby introducing a time dimension into painting. After all, an architectural landscape is, most often, a type of ruins or ruins, the fashion for which began with the Renaissance. Contemplation of the ruins is associated with reflection on the past, with reflection on human activity, that is, it is addressed to oneself, to one’s own history. But at the same time it is a path to understanding the fleeting nature of existence. The harmony between ruins and nature is nothing more than an illusion. Nature is reborn every spring, but the ruins remain in dust and only continue to collapse. Neither for man nor for civilizations, which are mortal, like people, there will be new spring. But for them, perhaps, there is hope to remain a model, a source of inspiration for posterity.

Gate in the park. Evening mood 1896

Nature, reproducing itself, always remains the same, constant, while man evolves, and ruins are the measure of this evolution, the measure of what separates man from the past, and what connects him with it. The ruins seem to embody both self-fidelity and change at the same time. In the eyes of an artist painting an architectural landscape, ruins are a subjective chronicle of past civilizations. They are the criterion by which the present can be measured. This is an attempt to reconstruct ruins not in order to revive past greatness, but as if by the power of imagination doing the work of time in the opposite direction. Here we are faced with the question of no longer saturating current experience with the experience of past centuries, but rather of transforming the distant past into reality, immersing ourselves in ideal world, where time no longer has power, and therefore nature itself.

Landscape with ruins. 1888

In an architectural landscape, it is very important to be able to convey the spatial placement of all its elements. To do this, you need to correctly construct the perspective and correctly determine the tonal ratio. First of all, it is necessary to convey the plane of the earth and the spatiality of the sky. When working from life and in compositional sketches, all perspective constructions are carried out by eye, but large paintings they are sometimes produced using drawing tools based on special laws.

Temple ruins.

German artist Ferdinand Knab(1834-1902) worked as an architect, decorator, and landscape painter. Knab began his career as an architect. He studied for two years at the Architecture Studio in Nuremberg, then worked as an architect in Rothenburg and Würzburg. In 1885 At the call of his soul, he came to Munich and began to study painting, his teachers were famous masters: Arthur Georg Romberg (Austrian, 1819-1875) and Albert Emil Kirchner(1813-1885) - both artists and architects. The formation of his work was also influenced by the artists Hans Makart, who then worked in Munich and enjoyed wide popularity (Austrian artist, designer and decorator, representative of academicism, one of the most famous painters modern times), Gabriel Cornelius Ritter von Max(1840-1915) and Fluggen Josef (1842 - 1906). For the first time, Knab as a painter participated in the exhibition of the Society of Artists in Munich in 1860 with the painting "Patrician's Court". In 1868 he visited Italy. From that time on, romantic motifs of ancient Roman architecture began to occupy a significant place in Knab’s works. He widely used architectural motifs in his later works, complementing them with figured staffage. As court painter to King Ludwig II of Bavaria, Knab worked on the decoration of the Winter Garden at the Munich Royal Residence and Linderhof Palace.

Architectural landscape with figuresat dusk, 1892

In 1870 Ferdinand Knab created the scenery for the production of "The Magic Flute" by A. Mozart. In 1882 executed eight monumental panels with views architectural monuments Bavaria for the Royal Pavilion of Munich Central Station. In the Kramer-Kletta palace, in the library hall, he painted 5 wall panels with views of architectural monuments of the Renaissance and 4 landscape panels for the Dining Room. He painted decorative panels and paintings commissioned by Duke Karl Theodor of Bavaria, Prince Luitpold, King Ludwig II (for his study in Linderhof Palace).

Antique rotunda. 1893

Knab's works were reproduced in engravings and published by Braun and Schneider in the series "Munich Pictures". Knab's works are exhibited at the Prince Luitpold Museum in Würzburg.

Landscape with temple ruins, 1890

Italian architectural landscape with cypress trees andfemale figure under a destroyed arch. 1891

Ancient temple on a lake at sunset

Ruined Roman villa on calm waters

Triptych . Water source in ruins. 1897

River landscape with a ruined palace . Ruins of an ancient temple with a waterfall.

Lake landscape with Roman temple ruins 1891

Landscape with ruins

Roman ruins at sunset

Ruins of the city of Taormina Private collection, Germany.

View of Nuremberg.

Ruins in Campania 1864

Ruins in Campania (detail)

Roman ruins at dusk

Scenery.

Sunset glowing along the river 1900

Castle in the mountains. 1860, watercolor

Grail Castle , watercolor

Mountain landscape with a castle.

Landscape at sunrise. 1878

Landscape with a shepherd and his sheep in the evening light 1878

Italian landscape with Roman ruins in the evening light

Two women at a fountain under the rising moon.

Italian villa on the sea coast.

Pavilion by the water. 1892

River landscape with temple ruins. 1895

Palace on a mountain lake. 1876

"...I remember - when I was young

And he wandered - on such a night one day

I was among the ruins of the Colosseum,

Among the remains of royal Rome.

Trees along the destroyed arcades,

Darkening in the blue of midnight,

Slightly swayed in the wind, and the stars

Shined through the ruins; from across the Tiber

The barking of dogs was heard, and from the palace

The lingering moan of an owl and, freezing,

Came indistinctly with the warm wind

Distant chants of sentries.

In the breaches of walls destroyed over centuries,

There were cypress trees - and it seemed

That their border was on the horizon,

Meanwhile, only for the flight of an arrow

I was from them. - Where Caesar once lived

And where do the night birds live now?

It is no longer laurel, but wild ivy growing

And the forest rises, strengthening itself with its roots

In the sacred dust of royal hearths,

Among the strongholds leveled to the ground.

The bloody circus still stands today,

Still preserves the majestic ruins

Former power, but Caesar's chambers

And the palaces of Augustus have long been

They fell to dust and became a pile of stone.

And you, moon, shed your light on them,

Only you softened with gentle light

Hoary antiquity, wildness of desolation,

Hiding everywhere the heavy trace of times!..”

("Manfred", George Byron)

Purpose of the task – development of skills in working on a compositional architectural drawing in the open air; studying techniques for creating a functionally appropriate, harmonious and expressive architectural form.

Tasks and execution sequence . In the second year, the task of depicting an architectural exterior becomes more complicated, since it is proposed to create not an image of a separate building or its fragment, but an integral composition with a wide coverage of space. Imagining the possibility of using the observed architectural space and its subject content to create a compositional architectural drawing, you need to consider the possibility of applying the basic laws of composition: integrity, balance, the presence of a center, rhythmic organization, the use of contrasts, certain relationships between statics and dynamics of forms. It is necessary to take a serious approach to the choice of motif, highlight the main object of the image, and determine the compositional center. Then analyze the possibility of conditionally dividing the depicted space into plans (foreground, middle and distant) and consider the possibility of showing the development of space from the foreground to depth. In this case, foreground objects, if they are included in the composition, must be placed along the edges in order to create a closed composition and free up the center of the composition to show the main large objects in the background. After such an analysis, the optimal point of view is selected, taking into account the compositional design. It is necessary to understand that depending on the choice of point of view, the emotional perception of the image changes. For example, a low horizon line emphasizes the monumentality of forms, and a high point of view allows you to show the depth and breadth of space, reveal its plans, that is, real spatial connections, and fill the image with a large number of details. A distant point of view makes perspective cuts calmer, while a close one more distorts the shapes of objects and their real scale, but makes the image more dynamic and expressive. Then a sketch is made. You can use the viewfinder frame to isolate the frame from an unlimited space, but it is better to sketch with a slightly wider scope of space and then determine the boundaries of the composition. When creating a full-scale composition, you should not passively sketch all the objects that accidentally fall into the field of view and their random relative position. On the contrary, to create an expressive and harmonious composition, it is necessary to remove everything in the drawing that is in the way, to change the relative position of objects (to bring plans closer together, to “move” individual elements). However, despite such adjustments, the composition must be correctly constructed according to the laws of observational perspective. Therefore, when starting construction, it is necessary to outline the horizon line and then coordinate the direction of all parallel segments and axes with its position. After constructing and drawing the details, a light-tonal solution is created taking into account the selected lighting option (cloudy day, sunlight in the morning, afternoon or evening, from the side, in front or behind the illuminated space). Different lighting changes the perception of the composition and creates a different emotional impression. In a light-tonal image, it is also necessary to take into account the laws of light-air perspective, using techniques for enhancing and weakening contrasts and varying degrees of detail in the foreground and background. Time to complete the task – 12 hours.

Material – whatman paper or tinted paper for pastels in A-3 or A-2 format, graphite and charcoal pencils, pastels, pen, felt-tip pens.

Goals and objectives of independent work in the discipline " ».

Independent work is performed with the aim of strengthening the knowledge and skills acquired during practical classes in the classroom. Drawing skills are acquired more slowly than many others. Therefore, constant work, including independent work, is necessary to acquire the required artistic level for the subsequent solution of architectural problems. The objectives of independent work are to supplement and deepen the knowledge and skills acquired in classroom practical classes. At the same time, the student develops skills in working with specialized literature and self-organization skills when performing independent work.

80 hours are allotted for independent work in accordance with the curriculum.

Types of student’s independent work within the discipline “ Architectural drawing and graphics ».

A. Working on the book:

Elaboration of the book text;

Analysis of illustrative material in the form of drawings and reproductions.

B. Preparation for the practical task. Before starting work, it is necessary to arrange the workplace: prepare an easel or tablet, provide sufficient lighting, if the drawing is done from life, provide the necessary lighting for the depicted object and a sufficient distance for observation. You should also prepare all materials recommended for completing the task.

B. Carrying out practical tasks for independent work.

When completing the assignment, you should be guided by the guidelines for students’ independent work and the corresponding sections of the recommended textbooks.

D. Preparation for the test.

To receive the final credit in the discipline, you must complete all the tasks that were completed in classroom practical classes and practical tasks for independent work. Complete and receive a grade on coursework. Only after this can you receive credit. To successfully complete practical tasks, an understanding of the theoretical foundations is necessary. The fundamental questions given below, as well as basic and additional literature, will help you master the theoretical foundations of the discipline.

Questions for self-study:

1. Name all the details of the Doric capital and their proportional relationships.

2. Explain the principle of constructing a Doric capital and name the most appropriate sequence of construction.

3. Name the features of a perspective construction of an architectural object using a high point of view.

4. Explain the difficulty of depicting the real proportions of objects in perspective and name the techniques for determining and depicting the proportions of objects in a perspective drawing.

5. Name methods for determining and depicting visually perceived ratios of the sizes of all objects in a perspective drawing of the interior. Explain how the real size ratios of all objects in a perspective interior drawing are visually recognized and accurately determined.

6. Name the techniques and sequence of constructing the composition of an interior drawing from life.

7. Name the techniques and sequence of constructing the composition of an interior drawing based on the idea.

8. Explain the meaning of the term “wide-angle perspective.”

9. Explain the specifics of the image of chiaroscuro in an interior drawing.

10. Name the main types of ornamental composition.

11. Explain the meaning of the term “rapport” and the principle of using repeat in the composition of the ornament.

12. Name the main technological techniques for constructing an ornament based on a module and explain the principle of using these techniques to create repeat and layout of different types of ornaments.

13. Name the technological factors that need to be taken into account when designing an ornament for the decorative form of various architectural details.

14. Explain the techniques and sequence of constructing the shape of an object in a drawing using orthogonal projections.

15. Name the main stages of constructing a perspective drawing of an architectural object according to the plan and facade.

16. Name the proportions of the human head.

17. Name the proportions of the human figure.

18. Describe the plasticity of movement of a human figure in the “contraposto” position.

19. Name the main stages of drawing an architectural landscape in the open air.

20. Name possible methods for composing an architectural landscape.

21. Explain how the choice of point of view position (higher - lower, closer - further) can influence the emotional perception of the perspective drawing of an architectural exterior.

22. Name the techniques and sequence of perspective construction of an architectural exterior.

23. Define the concept of “light-air perspective”.

24. Name the rules and techniques of light and shadow solutions for the composition of an architectural exterior.

25. Explain the possibilities of using certain lighting (diffuse light or direct sunlight, the sun from the side, in front or behind the illuminated space) as a means of artistic expression in the architectural landscape.

Practical tasks for independent work

A copy of a drawing of an architectural landscape made by a professional artist.

Purpose of the task – study of techniques for creating an architectural composition using visual means and the capabilities of various graphic materials based on copying drawings of old masters and modern professional artists. Time to complete the task – 15 hours.

A copy is made using the material in which the original was made.

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 nature: the volumes, color, and 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,—a wealth of colors and shades, a 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 feeling of the 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 centuries, 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 is well 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 wide 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 were identified characteristic features architecture. 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 solidity, heaviness of the building or the upward striving, 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" №12, 1987

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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 discounts. And I also bought a course on psychosomatics.. And - I started reading Liz Gilbert’s new book. ⠀ ⠀ This three women have been inspiring me for a long time, giving 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. ⠀ If anyone 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...