What is a portrait (portrait - French, older - portraire - means to depict) - Portrait is a view fine arts dedicated to the image of a specific person or group of people - an outwardly individually similar representation of a person on canvas or paper, with the aim of presenting him to others, showing his character, inner world, life values depicted.
Drawing a person's face in a portrait is the most difficult direction in fine art. The artist must discover the main accents of the personality, emphasize the characteristic features, the emotionality of the person and reveal the spiritual disposition of the person being portrayed. Depending on the size of the painting, the portrait may be different types: chest, waist, knee and full height. Portrait pose: from the face, three-quarter turn in any direction and in profile. Creative portrait This creative picture, a special genre of painting related to the creation of something new in the depiction of the human personality.
Portrait basics. The main and most important thing in a portrait is the person’s face, which is what portrait painters work on most of time, trying to convey the similarity and character, color shades of the head as accurately as possible. Then the gesture and facial expressions related to a specific character, the artist finds features of greater vitality and naturalness in the depiction of the face, while the remaining details of the portrait, be it clothes, the background, the imprinting of details of a certain surroundings on the canvas, are considered more conventional since the similarity does not depend on this .
Similarity in a portrait plays a major and dominant role; if the similarity is very poor, it outweighs all the other positive advantages of a classic portrait; as a result, it can be a beautiful picture in detail and color, but a faceless one.
On this site, the following styles are portraits, oil on canvas and dry brush. There are portraits different styles and execution technique, the most noticeable style, that is, execution technique, is of course painting a portrait in oil on canvas. Painting a portrait in oil is a very long and labor-intensive process that requires a lot of patience and accuracy. This style comes from time immemorial and has earned great fame throughout the world.
Often, artists draw sketches or quick portraits in charcoal, sepia, sanguine, and much less often, especially nowadays, they draw portraits in pencil or portraits in pastels and watercolors, although these are undoubtedly first-class styles of portraits, more labor-intensive, but deserve special attention. But the dry brush portrait style is also gaining momentum in popularity. You can watch a video where artist Igor Kazarin draws a portrait of a girl in this wonderful portrait drawing style.
Portrait genres are divided into: chamber, intimate ceremonial portraits, and also self-portraits, where, as a rule, artists depict themselves. The portrait genre in fine art is a natural independent genre of painting that does not require specific justification.
Portrait subgenres: The boundaries of the portrait genre reflect various directions interconnected with elements of other genres. For example, Historical portrait: an image of a person in clothes of past centuries, created from the imagination and from available materials, memories of that time. The painting is a portrait - the character is presented surrounded by nature, architecture with a plot of the world of things and household items. A costume portrait depicts a character in historical theatrical costumes that are beautiful to perceive and various paraphernalia interconnected with the plot.
Detailed solution to paragraph § 12 on history for 9th grade students, authors N.M. Arsentiev, A.A. Danilov, A.A. Levandovsky. 2016
- Gdz workbook on History for grade 9 can be found
Question for working with the text of paragraph No. 1. What are the features social movement 1830-1850s do you think are the main ones? Give reasons for your answer.
Main features:
Narrow social base. Conservative direction in the form of a clearly formulated concept “Orthodoxy. Autocracy. Nationality” was supported only by a relatively narrow circle of publicists and a small part of the bureaucracy, while the majority of the population simply believed in the Tsar-Father and followed the instructions of the official authorities. There is nothing to say about opposition movements. Because of this, the social movement was not an important part of the life of society as a whole.
Lack of real action. The radicals who advocated revolution did not go further than appeals. This partly follows from the previous feature: a narrow social base.
Question for working with the text of paragraph No. 2. Explain the essence of the theory of official nationality.
The theory of official nationality is best expressed in the triad “Orthodoxy, autocracy, nationality,” which presupposes a moral and spiritual state based on Orthodoxy with autocracy as the best form of government, as well as the unity of the people within themselves and with the autocrat (nationality).
Question for working with the text of paragraph No. 3. List the most important ideas Westerners, Slavophiles.
The most important ideas of Westerners:
All countries of the world have a single development path, it’s just European countries advanced along it further, but Russia fell behind;
Praising the reforms of Peter I, who led Russia from stagnation to the European path of development;
The requirement to introduce a parliament to limit the power of the monarch;
Demand for the abolition of serfdom and the destruction of the rural community.
The most important ideas of the Slavophiles:
Russia has its own development path, different from the Western one, therefore it should not focus on Europe;
Condemnation of the reforms of Peter I, which alienated Russia from the true path of development and introduced despotism and serfdom;
The demand to resume the collection of Zemsky Sobors, but not to limit the power of the monarch, but for the sake of his better connection with the people;
Request to cancel serfdom, but with the preservation of the rural community as the basis of truly Russian life.
Question for working with the text of paragraph No. 4. What were the fundamental differences between the positions of Westerners and Slavophiles?
Principal differences:
Westerners believed that Russia should follow the Western path of development, Slavophiles - their own;
Therefore, Westerners praised the reforms of Peter I, Slavophiles condemned them;
According to Westerners, popular representation in Russia should limit the power of the monarch; according to Slavophiles, it should improve the connection between the monarch and the people, but not limit power;
Westerners considered the rural community a relic of feudalism and proposed to get rid of it; Slavophiles saw in the community the basis of truly Russian life and stood for its preservation.
Question for working with the text of paragraph No. 5. What were the main ideas of the utopian socialists? How did they plan to implement them?
The main idea was to build a society of equals - socialism. It was proposed to build it with the help of a revolution. But different thinkers had different ideas about socialism (as in Europe at that time); there was no single socialist doctrine before Marxism.
We think, compare, reflect: question No. 1. Explain the words of A.I. Herzen: Westerners and Slavophiles “looked in different directions,” but “the heart beat the same.”
This means that both of them sincerely wanted the good for Russia, while both movements were liberal, therefore they used similar methods, their representatives were equally sincere in their work. Many figures from different movements were initially friends with each other and broke up solely because of differences in views. But at the same time, Westerners focused on Europe, and Slavophiles - on pre-Petrine Russia.
We think, compare, reflect: question No. 2. Compose biographical portrait one of the representatives of the conservative, liberal or radical movement in Russia; the second half of the 19th century V.
Timofey Nikolaevich Granovsky lived only 42 years and died in 1855, not having time to see the long-awaited reforms modeled on European modernization.
Granovsky was educated first at Moscow University, and then at Berlin University. His lively mind and curiosity made him an excellent scientist, who laid the foundation for Russian medieval studies (the science of the history of the Middle Ages). He was also a brilliant lecturer. Other teachers continued to naturally read their own dissertations or monographs of their colleagues. In the Middle Ages, this is exactly what was meant by a lecture (“lecture” translated from Latin as “reading”), but times have already changed. Granovsky always spoke for himself, constantly throwing new ideas and the results of his research into the audience. His public lectures were attended by not only students from the entire university, but also simply interested people - the audience was so filled that it was difficult for the professor to enter the department, because even on the floor they were sitting in dense rows.
Granovsky was a Westerner. He believed that Russia should follow the European path of development, which he knew and understood very well. As a medievalist, he found in the state system and life of his homeland much of European Middle Ages. He knew how all this was overcome in the West and believed that the same measures should be taken in Russia.
Timofey Nikolaevich was a bright phenomenon of his time. He can be considered a representative of the first generations of the Russian intelligentsia. He considered himself obligated to take care of the good of the fatherland and tried to choose its path not because he was a nobleman (and his origin was truly noble), but because he had the education and understanding for this.
We think, compare, reflect: question No. 3. What are the radical circles of the 1830s and 1840s? different from the secret societies of the Decembrists?
What is striking, first of all, is the difference that the Decembrists raised an uprising, and the circles of the next two decades did not go beyond talk. But something else was more important. The Decembrists were mostly officers, many of them were heroes Patriotic War, the most worthy people of their generation. And even those who did not wear uniforms were nobles. At the same time, many public figures of the 1830-1840s did not come from the nobility, some were even the sons of serfs. Most of them were promoted thanks to their teaching or social activities(primarily journalism). That is, if Decembrism was a movement of the nobility, then in the following decades the intelligentsia came to the fore, in which people from the nobility were just an organic part; Moreover, even they were first and foremost intellectuals, and then nobles.
We think, compare, reflect: question No. 4. Collect information about the activities of the Petrashevites circle. Find out what participation the writer F. M. Dostoevsky took in the activities of the circle.
The Petrashevites were engaged in debates about the future of Russia and promoting their ideas verbally and in writing. At the same time, these ideas themselves different representatives the mugs were not the same. Some were inclined towards utopian socialism, but not all comrades shared their views.
Fyodor Mikhailovich Dostoevsky, like most other Petrashevites, was convicted not for the socialist ideas themselves, but for reading Belinsky’s letter to Gogol and for not denouncing others who read them. Nevertheless, this was enough to sentence the writer to death, and then at the very last moment, when the convicts stood before the firing squad, to replace the execution with hard labor, like the other convicts.
We think, compare, reflect: question No. 5. The position of which of the currents public life in the 1830-1850s. do you think is the most realistic view of the conditions in Russia at that time? Justify your answer.
The positions of all movements were largely utopian, but the least unrealistic were the hopes of the Westerners. Over the next century and a half, Russia more than once followed the path of Western countries, and often this led to another round of development (in the second half of the 19th century, at the end of the 20th century). Meanwhile, the position of the conservatives was defeated already in the Crimean War. The Slavophiles imagined an idealized Russia, which never existed in reality and which they could not build. Socialists are called utopians - their ideas were too unrealistic.
NATIONAL AND RELIGIOUS POLICY OF NICHOLAS I. ETHNOCULTURAL APPEARANCE OF THE COUNTRY
(Material for independent work and project activities of students)
Question for working with the text of paragraph 1. What were the reasons for the exacerbation Polish question in 1830?
Many nobles of Poland were not satisfied with anything other than the restoration of independence;
Nicholas I introduced a secret police in the Kingdom of Poland;
He tightened control over the press;
The powers of the Sejm were limited;
Viceroy Konstantin Pavlovich increasingly began to act bypassing the Sejm;
A number of opposition-minded Sejm deputies were arrested;
In 1830, there was a general rise in revolutionary sentiment in Europe (new regimes won in France and Belgium);
As part of the Holy Alliance, Russia was going to send troops to suppress the revolution in France, which was sympathized with in Poland;
Among the troops sent to suppress the uprising there could have been Polish units themselves.
Question for working with the text of paragraph No. 2. What changes took place under Nicholas I in Finland and the Baltic states?
In Finland, formally everything remains the same. However, the Sejm was almost never convened. Nevertheless, autonomy, including its own legislation and the appointment of local natives to all posts, was preserved. There was no autonomy in the Baltic states, but the situation was similar - the Germans served throughout the empire, especially as officials in their homeland. In addition, the peasant reform previously carried out there (the liberation of peasants without land) contributed to the development of industry in these provinces.
Question for working with the text of paragraph No. 3. What was typical for economic development and social movement in Ukraine?
The economic development of the South-Western region (later the Kyiv General Government) was characterized by rapid industrial development, mainly due to rich coal deposits in the Donbass and Kryvorozhye, due to which, first of all, metal-working enterprises developed.
Question for working with the text of paragraph No. 4. What were the main trends in the government’s policy towards the Jewish population in Russian Empire?
In general, the autonomy of the Jewish population and its oppression in the form of the Pale of Settlement (not counting everyday anti-Semitism) were preserved. At the same time, attempts to assimilate Jews intensified through the introduction of recruitment among them (which led to inevitable baptism) and attempts to resettle some of them to Siberia for the agricultural development of the local lands. Both initiatives met with only minor success. Special laws for Jews were maintained. This applies to the same Pale of Settlement. In addition, even the recruitment process for them had its own characteristics: the right to replace recruits with boys was granted, so the community gave away orphans and children from disadvantaged families, retaining members who were more valuable from their point of view.
We think, compare, reflect: question No. 1. What do you think, what does the submission of the Uniate Church directly to the Synod mean?
Such subordination unambiguously showed the intention of the official authorities to subjugate the Uniate Church and became the forerunner of a complete forced union with the Orthodox Church.
We think, compare, reflect: question No. 2. Name and describe the reasons that contributed to Russia's penetration into Central Asia.
The Russian Empire always sought to expand its territories;
The steppe lands bordering Russia were far behind in development, many neighbors tried to subjugate them - St. Petersburg did not want to give in to them;
English influence began to be increasingly felt in the region, which Russia decided to resist;
Russia needed the resources of the region, primarily cotton.
We think, compare, reflect: question No. 3. Explain why the government gave special administrative status to those territories that had a border location.
The security of the empire directly depended on the stability in such lands, because in the event of an external war, support by the local population of one side or another could play a significant role. Therefore, in some such areas (for example, in Finland), the government granted more freedoms than in the rest of the empire, hoping in this way to win the favor of the population. In others, on the contrary, it behaved more harshly than on the ancestral Russian lands (for example, in Poland); in such cases, it did not hope for love, but hoped that the measures taken would not allow an uprising to occur despite anyone’s aspirations.
We think, compare, reflect: question No. 4. Compile in your notebook a chronology of the main events of the Polish Uprising of 1830-1831.
Chronology of the uprising:
January 25, 1831 - failure of negotiations with Nicholas I, the Sejm declared him deposed from his post as ruler of the Kingdom of Poland;
end of January 1831 - Joseph Khlopitsky was deprived of his powers because he advocated for a compromise with the tsar, he also refused command of the troops, going to fight as a combat officer;
February 25, 1831 - the Battle of Grochow, which ended in a draw and heavy losses on both sides;
March-April 1831 – successful Polish counter-offensive on the Vistula;
May 17, 1831 - the death of the commander of the Russian troops, General Dibich, from cholera, which suspended the offensive;
We think, compare, reflect: question No. 5. Using additional materials, compare the way of life of Finns and Ukrainians in mid-19th V. Make a presentation illustrating the main similarities and differences.
Title: Comparison of the ways of life of Finns and Ukrainians in the middle of the 19th century
Image with caption: map of the Russian Empire with the territories of the Grand Duchy of Finland and the Kyiv Government General highlighted
Text: To compare the ways of life of these peoples, it is worth turning to ethnographic materials: most of them were collected in the middle and second half of the 19th century.
Title: Dwellings
Image with caption 1: Traditional Finnish dwelling
Image with caption 2: Traditional Ukrainian dwelling
Text: Traditional home Finns - a wooden building coated with clay. Initially, the roof was covered with turf, but in the middle of the 19th century it was often replaced by tiles, less often by straw. Ukrainian mud huts were also covered with clay. But the difference was in the thickness of the walls (due to the climate).
Image with caption 1: Finnish farm
Captioned image 2: Ukrainian village
Text: The main difference is not in the design of the house. Ukrainians usually settled in large villages, where the courtyards were closely adjacent to each other, separated by fences. The Finns usually lived in farmsteads, separated from each other by large spaces. And even on the same farm, the houses stood at a distance from each other.
Title: Transport
Captioned image 1: Ukrainian horse-drawn sleigh
Captioned image 2: Finnish reindeer team
Text: Finns are like northern people traditionally they used reindeer sleds or skis. Ukrainians harnessed horses to sleighs in winter and to carts in summer. In the summer, in a region with dense forests and bad roads, but wide rivers and deep lakes, the Finns preferred to travel by boat. Boats with 16-20 pairs of oars, on which up to 100 people could sail, have survived.
Name: Clothes
Captioned image 1: Finn in traditional costume
Captioned image 2: Ukrainian man in traditional costume
Text: Clothes common people in Finland and Ukraine it was similar: bast shoes, trousers and a shirt (for women, a long one - a dress). It was similar for other neighboring peoples. The greatest difference is in the ornament that covered the collars and ends of the sleeves, as well as in the headdresses.
Name: Kitchen
Image with caption: traditional Ukrainian borscht
Text: Traditional Ukrainian cuisine uses quite large number greens and vegetables, which grow in abundance on these lands due to the warm climate. Of course, meat products are also used (including the famous lard), but on the table of the common people they were more a part of the holiday than of everyday life.
Captioned image 1: Cross-section of Finnish traditional pie kalakukko
Text: Finnish cuisine contains much less vegetables, because they are more difficult to grow in the northern climate, but there is much more fish, especially river fish. Moreover, fish is often combined with meat or lard (as in kalakukko pie). At the same time, when cooked correctly, the fish acquires the taste of lard. This is how the Finns discouraged the taste of boring fish and created the illusion among guests that they were eating mostly pork, which was scarce for peasants.
We think, compare, reflect: question No. 6. Explore additional materials on the history of Kyiv University (University of St. Vladimir). Determine which areas of study were most fully represented.
The humanities were most fully represented there. Technical ones were not initially studied at all. Only later was the Faculty of Physics and Mathematics separated from the Faculty of Philosophy. This is not surprising. It was in Kyiv that they saw the cradle of Russian Orthodoxy, therefore it was theology and philosophy that was correct from the point of view of the official authorities that was given the greatest attention here. Technical and engineering specialties were concentrated in St. Petersburg and Moscow.
Portraiture and drawing tell the story of a person, his beauty, character and aspirations. A portrait artist deals with a person’s character, his complex individuality. To understand a person, to understand his essence by appearance, you need a lot of life and professional experience. The artist is required to have a deep knowledge of the person depicted. In addition to the individual traits of the person depicted, it is also important to convey those traits that his professional environment imposes on him.
Portrait(French portrait - image) - a genre of fine art depicting one person or a group of people. In addition to external, individual resemblance, artists strive in a portrait to convey the character of a person, his spiritual world.
There are many types of portrait. The portrait genre includes: half-length portrait, bust (in sculpture), full-length portrait, group portrait, interior portrait, portrait against a landscape background. Based on the nature of the image, two main groups are distinguished: ceremonial and chamber portraits. As a rule, a ceremonial portrait involves an image of a person in full height(on horseback, standing or sitting). In a chamber portrait, a waist-length, chest-length, shoulder-length image is used. In a ceremonial portrait, the figure is usually shown against an architectural or landscape background, and in a chamber portrait, more often against a neutral background.
Based on the number of images on one canvas, in addition to the usual, individual ones, double and group portraits are distinguished. Portraits painted on different canvases are called paired if they are consistent in composition, format and color. Most often these are portraits of spouses. Portraits often form entire ensembles - portrait galleries.
A portrait in which a person is represented in some allegorical, mythological, historical, theatrical or literary character called costumed. The titles of such portraits usually include the words “in the form” or “in the image” (for example, Catherine II in the form of Minerva).
Portraits are also distinguished by size, for example miniature. You can also highlight a self-portrait - the artist’s depiction of himself. The portrait conveys not only personality traits the person being portrayed or, as artists say, the model, but also reflects the era in which the person depicted lived.
The art of portraiture dates back several thousand years. Already in Ancient Egypt sculptors created a fairly accurate likeness appearance person. The statue was given a portrait likeness so that after the death of a person, his soul could move into it and easily find its owner. The picturesque Fayyum portraits, made using the encaustic technique, also served the same purposes ( wax painting) in the I-IV centuries. Idealized portraits of poets, philosophers, public figures were common in sculpture Ancient Greece. Ancient Roman sculptural portrait busts were distinguished by their truthfulness and precise psychological characteristics. They reflected the character and personality of a particular person.
The depiction of a person’s face in sculpture or painting has always attracted artists. The portrait genre especially flourished during the Renaissance, when main value was recognized as humanistic, effective human personality(Leonardo da Vinci, Raphael, Giorgione, Titian, Tintoretto). Renaissance Masters deepen content portrait images, endow them with intelligence, spiritual harmony, and sometimes internal drama.
In the 17th century V European painting a chamber, intimate portrait comes to the fore, as opposed to a ceremonial, official, exalting portrait. Outstanding masters of this era - Rembrandt, Van Rijn, F. Hals, Van Dyck, D. Velazquez - created a gallery of wonderful images of simple, nothing famous people, opened in them greatest wealth kindness and humanity.
In Russia, the portrait genre began to actively develop with early XVIII c. F. Rokotov, D. Levitsky, V. Borovikovsky created a series of magnificent portraits of noble people. They were especially charming and charming, imbued with lyricism and spirituality. female images, painted by these artists. In the first half of the 19th century. main character portrait art a romantic personality becomes dreamy and at the same time prone to a heroic impulse (in the paintings of O. Kiprensky, K. Bryullov).
The emergence of realism in the art of the Wanderers was also reflected in the art of portraiture. Artists V. Perov, I. Kramskoy, I. Repin created an entire portrait gallery of outstanding contemporaries. Individual and typical features of those being portrayed, artists convey their spiritual characteristics with the help of characteristic facial expressions, poses, and gestures. The person was depicted in all his psychological complexity, and his role in society was also assessed. In the 20th century the portrait combines the most contradictory trends - bright realistic individual characteristics and abstract expressive deformations of models (P. Picasso, A. Modigliani, A. Bourdelle in France, V. Serov, M. Vrubel, S. Konenkov, M. Nesterov, P. Korin in Russia).
Portraits convey to us not only images of people different eras, reflect part of history, but also speak about how the artist saw the world, how he related to the person being portrayed.
Left a reply Guest
1) Conservatives
The social basis of the conservative movement was made up of reactionary nobles, clergy, townspeople, merchants and a significant part of the peasants. Conservatism of the second half of the nineteenth century. remained true to the theory of “official nationality”.
Autocracy was declared the foundation of the state, and Orthodoxy the basis of the spiritual life of the people. Nationality meant the unity of the king with the people. In this, conservatives saw the uniqueness of Russia's historical path.
In the domestic political sphere, conservatives fought for the inviolability of autocracy and against the liberal reforms of the 60s and 70s. In the economic sphere, they advocated the inviolability of private property, landownership and the community.
In the social field they called for unity Slavic peoples around Russia.
The ideologists of the conservatives were K. P. Pobedonostsev, D. A. Tolstoy, M. N. Katkov.
2) Liberals
The social basis of the liberal trend was made up of bourgeois landowners, part of the bourgeoisie and the intelligentsia.
They defended the idea of a common path with Western Europe historical development Russia.
In the domestic political sphere, liberals insisted on introducing constitutional principles and continuing reforms.
Their political ideal was a constitutional monarchy.
In the socio-economic sphere, they welcomed the development of capitalism and freedom of enterprise. They demanded the elimination of class privileges.
Liberals stood for an evolutionary path of development, considering reforms the main method of modernizing Russia.
They were ready to cooperate with the autocracy. Therefore, their activity mainly consisted of submitting “addresses” to the tsar - petitions proposing a program of reforms.
The ideologists of the liberals were scientists and publicists: K. D. Kavelin, B. N. Chicherin, V. A. Goltsev and others.
3) Radicals
Representatives of the radical movement sought violent methods of transforming Russia and a radical reorganization of society (the revolutionary path).
The radical movement involved people from different walks of life (raznochintsy), who devoted themselves to serving the people.
In the history of the radical movement of the second half of the 19th century. Three stages are distinguished: 60s. - the formation of revolutionary democratic ideology and the creation of secret raznochinsky circles; 70s - formalization of populism, the special scope of agitation and terrorist activities of revolutionary populists; 80 - 90s - weakening of the popularity of populism and the beginning of the spread of Marxism.
In the 60s There were two centers of radical movement. One is around the editorial office of "The Bell", published by A. I. Herzen in London. He promoted the theory of “communal socialism” and sharply criticized the conditions for the liberation of peasants. The second center arose in Russia around the editorial office of the Sovremennik magazine. Its ideologist was N. G. Chernyshevsky, who was arrested and exiled to Siberia in 1862.
Portrait (French portrait - to depict) - a description of a character’s appearance, individual bodily, natural features, as well as everything that is formed in a person’s appearance by the socio-cultural environment: clothes, hairstyles, behavior - gestures, facial expressions, poses, eye expressions, faces, smiles, etc. A portrait, along with dialogue, interior, speech, is the most important means character characteristics. Typical and individual are the most important components artistic portrait. Describing the hero's appearance helps reveal his character. Portraits are used in epic; in lyric poetry and drama, verbal portraiture is limited. For each literary era They had their own peculiarities in conveying the appearance of the characters.
Thus, in folklore, literature of antiquity, and the Middle Ages, portraits were extremely generalized, directly indicating social status hero. The hero’s appearance was often designated by some stable epithet (“Swift-footed Achilles,” “Apollo silver-bowed,” “Mighty Agamemnon,” “hair-eyed Hera,” “rose-fingered Eos” in Homer). Since the Renaissance, static exposure portraits have become common ( detailed description appearance is given once, at the beginning of the story, the most common, unchanging external features). Thus, in the novel by F. Rabelais “Gargantua and Pantagruel” a portrait of Panurge is given. “Panurge was a man of about thirty-five, of average height, neither tall nor short, with a hooked nose that resembled a razor handle, who loved to leave others in the dust, extremely courteous, however, slightly dissolute and from birth susceptible to a special disease, which is mentioned in Those times they said this: “Lack of money is an unbearable illness.” With all that, he knew sixty-three ways of getting money, of which the most honest and most common was unnoticed theft, and he was a mischief-maker, a sharper, a reveler, a reveler and a swindler, of which there are few in Paris. And in essence, the most wonderful of mortals.” It is worth noting that a portrait in works of the Renaissance represents a certain complex of qualities, physiological and mental; the author often lists certain features without trying to discover the internal connection between them. Thus, even if the author mentions the internal qualities of the hero, they are not reflected in the external physiological characteristics of the character. This is the portrait of Niccolosa in “The Decameron” by G. Boccaccio: “She was beautiful, dressed well and for her position had good manners and the gift of speech.”
Then, until the era of romanticism, idealizing portraits dominated in literature. We find a similar type of portrait in N.V. Gogol in the story “Taras Bulba”: “He raised his eyes and saw a beauty standing at the window, such as he had never seen in his life: black-eyed and white as snow, illuminated by the morning blush of the sun. She laughed with all her heart, and her laughter gave sparkling power to her dazzling beauty.”
In the 19th century, portraits appeared in literature, revealing all the complexity and versatility of spiritual appearance hero. The portrait of Pechorin in the novel by M.Yu. Lermontov: “He was of average height; his slender, thin frame and broad shoulders proved a strong physique, capable of enduring all difficulties nomadic life and climate changes, not defeated by debauchery metropolitan life, nor spiritual storms. His gait was careless and lazy, but I noticed that he did not wave his arms - a sure sign of some secretiveness of character.<…>At first glance at his face, I would not have given him more than twenty-three years, although after that I was ready to give him thirty. There was something childish in his smile.<…>To complete the portrait, I will say that he had a slightly upturned nose, teeth of dazzling whiteness and brown eyes; I must say a few more words about the eyes.
First of all, they didn't laugh when he laughed. Have you ever noticed such strangeness in some people?.. This is a sign of either an evil disposition or constant deep sadness. Because of the half-lowered eyelashes, they shone with some kind of phosphorescent shine, so to speak. It was not a reflection of the heat of the soul or the playing imagination: it was a shine, like the shine of smooth steel, dazzling, but cold; his gaze, short, but penetrating and heavy, left an unpleasant impression of an immodest question and could have seemed impudent if he had not been so indifferently calm.” This portrait- portrait-impression, which is dominated by psychological characteristics hero.
In the works of writers of the 19th century (second half), dynamic portraits begin to predominate (the description of the hero’s appearance is given in movement, in action, his gestures, intonation, facial expressions are noted at one time or another). These are, for example, portraits in the works of L.N. Tolstoy.
There are various types portraits: portrait-description (an objective description of the character’s appearance, without author’s assessments and psychological comments - portrait of Masha Mironova in the story “ Captain's daughter» A.S. Pushkin) and an impression portrait (records the author’s assessment of the hero’s appearance or conveys the thoughts and impressions of others - the portrait of Pechorin in the novel “A Hero of Our Time”); detailed (expanded, detailed - portrait of Oblomov in the novel of the same name by I.A. Goncharov) and short (fragmentary, composed of 1-2 details - portrait of Liza Muromskaya in the story “The Young Lady-Peasant Woman” by A.S. Pushkin); static portrait (a one-time image of the unchanging features of the hero’s appearance - a portrait of Manilov in the poem “ Dead Souls") and a dynamic portrait (the description of the hero’s appearance is given in dynamics, the appearance is conveyed through a complex description of the hero’s poses, gestures, facial expressions, movements, and speech - the portrait of Raskolnikov in the novel “Crime and Punishment” by F.M. Dostoevsky); a complete portrait (completely given at the moment of the first acquaintance with the hero - a portrait of Shvabrin in the story “The Captain's Daughter” by A.S. Pushkin) and a diffuse portrait (details of appearance are presented throughout the entire work - a portrait of Natasha Rostova in the epic novel "War and Peace" ); leitmotif portrait (highlighting two or three expressive features of a character’s appearance and the author’s emphasis on them every time a given character appears - the portrait of Liza Bolkonskaya in the novel “War and Peace” by L.N. Tolstoy); psychological portrait (a reflection of the hero’s mental world in the description of his appearance - a portrait of Pechorin in the novel “A Hero of Our Time” by M.Yu. Lermontov).
