School encyclopedia. Decorative painting in the interior

Color solution

Color is important when building a coherent and balanced composition in a work of decorative painting. To correctly construct a composition and determine the color scheme of a work, you need to familiarize yourself with the basics of color science.

Color science is the science of color, systematizing the physical, physiological and psychological data of color, as well as data from philosophy, aesthetics, art history, philology, ethnography, studying color as a cultural phenomenon.

Flower science includes:

1. Physical theory of color,

2. Theories of color vision,

3. The theory of measurement and quantitative expression of color.

4. The subjective aspect of color perception is also known as qualia.

Qualia is a term used to describe how things look to us. “An unusual term for the most ordinary thing possible to us: the way things look to us” - Dennet, D. Quining Qualia.

Coloristics is a branch of the science of color that studies the theory of using color in practice in various fields of human activity.

Color is a characteristic of electromagnetic radiation in the optical range, arising on the basis of a physiological visual sensation, which depends on physical, psychological and physiological sensations. The perception of color is individual for each person, and is also determined by the spectral composition, color and brightness contrast with surrounding light sources and non-luminous lenses. The perception of color is also influenced by such phenomena as:

1. Metamerism is a property of vision in which light of different spectral compositions is perceived as the same colors.

2. Individual hereditary characteristics of the human eye (degree of expression of polymorphic visual pigments);

3. Human psyche.

Color is the sensation that occurs when light rays enter the human eye. Therefore, the same light effects cause different sensations in different people. For each observer, the true color is the one he sees himself.

Also, the perception of color is influenced by the background color and light, its color temperature and visual adaptation.

Different nationalities perceive the color of objects differently. Depending on the importance of colors and shades in the everyday life of the people, some of them are more or less reflected in the language. The first colors to appear in human culture are usually considered to be white, black and red.

The number of “primary” colors varies across cultures: Ancient East assumed the presence of five primary colors; Europe - three primary colors: red, yellow and blue, later - red, green and blue; and since Newton's time - seven colors (except achromatic black and white).

All colors are divided into: chromatic (all spectral and many natural colors), achromatic (white, black and all shades of gray), semi-chromatic (earth colors, that is, colors mixed with achromatic colors).

Each color has measurable physical characteristics:

1. Brightness - any color turns black when the brightness is reduced.

2. Lightness - the degree of proximity of a color to white.

3. Saturation -- As saturation decreases, each chromatic color moves closer to gray.

4. Color tone is a characteristic of color that is responsible for its location in the spectrum.

Artists' primary colors are red, blue and yellow. Black is the absence of light and color (hole). White -- undivided sunlight. When primary colors are mixed, spectral colors are produced:

1. Orange,

2. Green

3. Purple.

Together with the main ones, the primary mixed ones make up the “picturesque” spectrum:

1. Red;

2. Orange;

3. Yellow;

4. Green;

6. Purple.

When mixing adjacent six colors, twelve colors are obtained. This is the range of colors accessible to the ordinary human eye:

1. Red;

2. Orange - red;

3. Orange;

4. Orange - yellow;

5. Yellow;

6. Yellow - green;

7. Green;

8. Blue - green (blue is not considered an independent color, but a whitened blue, blue - green);

10. Violet - blue;

11. Purple;

12. Violet is red.

Color has a great influence on the psychological and physiological state of a person, affects mood and performance. For example, a study was conducted by specialists: at an air temperature of +15 - +17 C, a healthy person in a short-sleeved shirt, being in a room with bright yellow or orange walls, does not feel cold, but at the same temperature in a room with gray - blue walls - it freezes.

Red color excites the nervous system, activates muscle function and activates other systems of the human body.

Orange color - tones, acts like red, but to a lesser extent, improves digestion, awakens appetite, liberates and strengthens the will.

Yellow also tones the body, but not as tiring as red or orange.

Green is a natural color that is neutral, relaxing and passive. Long-term exposure not only does not tire you, but also helps improve performance.

Blue color relaxes and slows down the nervous system, as it is considered calm, passive and cold.

Blue - calms, relieves muscle tension.

Purple color combines the effects of red and blue and depresses the nervous system.

Color harmony is important for the perception of a work of decorative painting.

Color harmony is a combination of colors and color sets that form an organic whole, taking into account all their basic characteristics:

1. Color tone;

2. Lightness;

3. Saturation;

5. Size and arrangement of colors in space, which leads to color unity and has a beneficial effect on a person.

Signs of color harmony:

1. Connection and smoothness. The connecting factor can be: monochrome, achromatic, shift to some color tone, gamma.

2. Contrast.

3. B harmonious composition nothing to add or remove.

4. Proportionality. The relationship of colors to each other and in general.

5. The colors in the composition must be balanced.

6. Clarity and ease of perception of the work.

7. Organization, order and rationality.

Harmony is always higher and broader than the concept of “decorativeness”. Decorativeness can be described as a certain maximum of aesthetic quality. From a decorative standpoint, a harmonious triad of colors is red or yellow, white, black.

Color combinations carry a psychological load on a person. The combination of certain colors can create a certain impression or reaction.

The decorative panel uses a traditional harmonious triad of colors: yellow, black and white. In nature, this combination indicates danger: animals with such coloring tell predators that they are poisonous.

In painting, a pure combination of black and yellow has a negative effect on the psyche: a headache begins, a person becomes irritable. However, if you add a large amount of white or gray to black and yellow, you can get rid of the negative impact of such a color scheme. In small quantities in a black and white composition, yellow enlivens the work, it lifts the mood and stimulates the nervous system. This combination can be exquisite in styles such as art deco, vintage, modern and eclectic.

Coloristic(or color) passport- a document confirming that the external color of the building facades is approved in accordance with current system standards.

Color passport

The Moscow city law of July 1, 1996 determined the mandatory nature of the color passport of the Moskomarkhitektura when painting building facades. The main purpose of the passport is to record the colors of facades, architectural details, plinths, window frames, doors, roofing, fences, etc. In conditions where construction and reconstruction work involves large number companies, the color passport is a tool for introducing a scientifically based color concept into the practical life of the city.

Story

IN Russian Empire Until 1832, the standardization of the artistic appearance of cities was determined by personal imperial decrees and resolutions on reports and reports on highest name, as well as by orders of the Senate and the government. The instrument for regulating the growing architectural and construction business has become Construction regulations 1832. In addition to the charter, regulatory framework formation appearance cities were actively developed, collected in albums and sent to the provinces " exemplary» drawings of types of government and private buildings that « served as a guide not only in the construction of new ones, but also in the alteration of old buildings, where convenience would allow" The colors of the facades and roofs of buildings were also established. The first standard designs were used from the beginning of the construction of St. Petersburg.

In Moscow, the first attempts at color regulation were made back in the 18th century by Peter I, who, by a special decree, determined what colors the walls of the Mother See should be painted in. Thus, the historical color scheme of the capital was legally formed. Until 1917, a special document was issued for each building.

The practice of creating and using color passports was revived in Russia in the second half of the 1990s. The initiator of their resumption is Larisa Vladimirovna Zhuk, graduate of the Moscow Architectural Institute () and Tatyana Aleksandrovna Usatova, graduate of the Faculty of Chemistry of Lomonosov Moscow State University. L. V. Zhuk in 1973-1997 worked in the Department of Urban Design of the Moscow Architecture Committee, including in 1987-1997. - Head of the department of painting and finishing of facades of buildings in Moscow. Was the author of color solutions large quantity facades of city buildings - the Musical Theater named after K. S. Stanislavsky and Vl. I. Nemirovich-Danchenko on B. Dmitrovka, the M. Rozovsky Theater at the Nikitinsky Gate, a complex of buildings on B. Yakimanka, B. Molchanovka, B. Ordynka, etc. In preparation for the 850th anniversary of Moscow, in 1994-1995, Larisa Zhuk led the development of color schemes for the facades of all buildings on the Boulevard Ring.

Computerization of passports

As part of the joint work of the Moscow Architecture Committee, the Institute of Electronic Control Machines (INEUM) and the VIGRAF design studio, a prototype of an automated information support system for the color concept was created and forms of color passport forms were developed that used all the possibilities computer graphics and database organization. From 1997 to 2012, architectural and coloristic solutions based on applications to the State Unitary Enterprise “Main Architectural and Planning Directorate of Moskomarkhitektura” were prepared in the architectural coloristics workshop (City Color Center) of Mosproekt-3.

The City Color Center is one of the few Moscow groups that have begun to professionally deal with the problems of color in the urban environment. Created in 1996 by the main artist of Moscow A.V. Efimov on the basis of the architectural coloristics workshop No. 10 of the State Unitary Enterprise "Mosproekt-3" under the leadership of T.S. Semyonova. The main activity of the City Color Center was the development of architectural sections of passports " Color solution, materials and technology of work", as well as the production of architectural projects for the reconstruction of building facades.

The technological section of color passports was developed by technologists Enlacom Center(headed by T. A. Usatova) - an expert scientific organization in the field of installation technology, design and inspection of facades.

From 2008 to the beginning of 2013, the City Color Center was one of the lead organizations for the implementation of the city’s target program for comprehensive overhaul regarding the color scheme of the facades of reconstructed residential buildings. Large-scale works The color center of the city was a comprehensive color solution for the development of the Garden and Boulevard Rings of the city, concepts for the color solution for many historical streets and squares, as well as more than one thousand local projects for color solutions for buildings and structures.

In order to improve the procedure for shaping the architectural and artistic appearance of the city, on March 28, 2012, the metropolitan government approved a new resolution on color solutions for the facades of buildings, structures, and structures in Moscow, which determined the procedure for developing standard and individual color solutions. At the same time, the passport allows three options for the coloristic solution of facades with the corresponding color marking in the RAL, NCS systems, which is characterized by a change in color saturation by no more than 5%.

The introduction of color passports has become part of urban planning practice in other cities of the Russian Federation.

Computerization of the selection and recording of color solutions in the passport within the framework of standardized color catalogs opens up the possibility of using computer tinting and automatic dosing technologies to select the required shades at the stage of ordering and production of paints.

Notes

Law of the city of Moscow dated July 1, 1996 No. 22 “On the maintenance and preservation of facades of buildings and structures on the territory of the city of Moscow”
Dedushkin A. Construction law in Mother Rus' - //Moscow Heritage. Vol. 4 (52), 2017. - pp. 26-31
(undefined) .
Pirozhkova I. G. « Exemplary» facades as a normative source of regulation of urban planning in the Russian Empire - //Vestnik Tambovsky state university. Series: Humanities. Right. Vol. 3 (43), 2006. - pp. 10-12
Zhuk Larisa Vladimirovna (undefined) . Archived from the original on September 17, 2012.
Decree of the Moscow Government of November 26, 1996 No. 940 “On the comprehensive improvement of Moscow: color schemes, architectural lighting, landscape architecture”

All hairdressers and colorists speak their own language. Coloristic tasks are the standards that distinguish a high-level colorist from an amateur.

When you come to get a job at an elite beauty salon, you will be asked to solve a color problem. They won't look at your diplomas and won't want to know how many years you have been in the profession. You will be required to provide direct evidence that you are a high-level specialist.

Test yourself.
Imagine that you came to apply for a job and were given a simple task.

Natural base: 6.0

70% gray hair.

The hair is porous and damaged.
Color along length and ends: 9.3

Desired result: 8/06

You have 15 minutes to solve this problem. Time has passed.

Write your solution in the comments.

How to design and solve color problems?

Coloristics is an exact science. She doesn't tolerate guesswork. A single digit mistake can tarnish your reputation forever.

You need it in order to accurately determine the level of tone depth of natural or dyed hair. Determine the desired color. These are the conditions of the coloristic task. You will find color maps of different dyes at the end of this article.

Read how to determine hair color from a photograph online on this page>>>.

Color designations.

Hair color is indicated using two characteristics - the level of tone depth and the direction of color.

Tone depth level(UGT) is a gradation natural color hair by lightness. In practice, they came up with a classification of all shades of hair from 1 to 10 - a scale of tone depth levels.

Number 1 corresponds to the darkest, black hair color.

10 is the lightest.

Such a scale natural shades hair you can find in a hairdresser's palette. In general, the designations are generally accepted, but may differ slightly. Some extend it to 12 steps, skipping some levels. You can also see differences in the names of the base shades. Some use the concept of brown-haired instead of brown, others use light brown instead of blond and vice versa. This is due to the linguistic tradition of the countries producing cosmetics and the peculiarities of translating names into Russian.

Color direction- This is the shade that ultimately appears in the hair. The direction of color is also indicated in numbers. The color direction is indicated by the numbers after the fraction or comma. For example 6.43 or 6.34.

Each number is assigned a specific color. 6 is the level of tone depth, 43 is the color direction. When a client tells us that she wants copper-colored hair, she, without realizing it, indicates exactly the direction of the color.

The palette of almost any hair dye includes golden, copper, ash, red, and purple shades.

COLOR CODING SYSTEM.

The direction of color is usually indicated by numbers or letters, separated by a comma, dash, or fraction after the number of the tone depth level. When the color direction is indicated by letters, separating marks are not used, for example P01.

Color direction scale, y different manufacturers cosmetics rarely match. So the number 2 in some dyes indicates the violet direction, in others matte shades, green base. The number 5 indicates the red direction; for others, red goes at number -6.

GENERAL RULES FOR COLOR CODING.

The first digit in the dye number indicates the level of tone depth, the second - the direction of the color.
The neutral or natural direction is most often indicated by the number 0 or the letter N. They indicate the purity of the shade and the absence of additional color nuances.
If in the dye number the separating mark is followed by two or three numbers or letters, then the first of them indicates the dominant shade or main color nuance, and the second and third indicate additional color nuances. 6.43 or 6/43
The serial number of the shade determines its quantity. The closer to the dividing mark it is, the greater its quantity and vice versa. For example 6.31, 3-gold, 1-ash. This means that this shade has more golden than ash.
Repeating identical numbers or letters in the direction of a color indicates the intensity of the hue. 5/55 or 0/400
So, thanks to the coding system, we can assign any number to any shade and vice versa decipher it.

Oxidizing agents.

An oxidizing agent is a stabilized solution of hydrogen peroxide that is added to the dye. The coloring result depends on the percentage of oxidizing agent.

1.5% or 1.9%, 1.7% oxidizers are intended for hair tinting. They work with ammonia-free dyes. They are also called semi-permanent or tinted.

3% oxidizer dyes hair tone on tone.

9% oxidizer colors 3 levels of tone depth lighter.

12% oxidizer colors 4 levels of tone depth lighter. They are used when working with special blondes and lightening dye series.

A client came to you with hair color at level 6. We look at the table of tone levels - this is a dark blond.

She tells you to make her hair lighter.

You show the shade palette and it selects level 8 tone depth.

You see that level 8 is two shades lighter than level 6.

You take dye 8.3 and you need to add an oxidizing agent to it.

Which oxidizing agent should you choose?

One that raises the tone depth two levels higher.

6% oxidizing agent colors hair 2 levels of tone depth lighter.

You take a shade of 8.3+6% oxidizer and as a result, instead of a dark blonde, your client becomes a light blonde.

The task looks like this.

Natural level: 6.0

Desired result: 8.3

Recipe (solution):

This is an example of a simple problem. The solution becomes more complicated if the result is to obtain cool shade 8.1. In this case, you need to neutralize the background highlight.

You can see what background lightening is and how to neutralize it in free videos:

WELLA

Loreal

Estel

LONDA

IGORA

IGORA. Toning and long-lasting shades.

Submitting your good work to the knowledge base is easy. Use the form below

Students, graduate students, young scientists who use the knowledge base in their studies and work will be very grateful to you.

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Work plan

Introduction

1. The creative path of P. Cezanne

2. Innovation in the works of P. Cezanne

3. Significance for modern times

Conclusion

List of used literature

Application

Introduction

My theme test work"Innovation of P. Cezanne's painting."

Relevance of the selected topic is that Paul Cézanne is one of the most significant and talented artists in the history of art. The phenomenon of the influence of the art of Cezanne, this “prophet” the latest art”, on the masters of the 20th century is comparable in scale only to the similar total influence of impressionism as a whole as a movement. Paul Cézanne made a significant contribution to the development of painting. His life position rejected social and political goals and was aimed at the internal state, the consciousness of the master.

Cezanne's role as the "father" of new art was duly appreciated by subsequent generations of artists. Such self-sufficient artists with their own theoretical principles in painting, like P. Seurat and P. Signac, are drawn to Cezanne

Purpose of the work: Determine what is innovative in P. Cezanne’s painting.

Job objectives:

Get acquainted with the creative path of the artist;

Reveal the innovation of P. Cezanne’s painting;

Determine the significance of his painting for modern times.

1. Creative let P. Cezanne

Paul Cézanne was born in Aix-en-Provence on January 19, 1839. He was the only son of a domineering father and grew up in quiet, shady Aix-en-Provence, the old provincial capital Southern France, 15 miles inland from Marseille.

As a child, Cézanne had little idea of good painting, but in many other respects he received an excellent education. After graduation high school He attended Saint Joseph's School and then studied at the Collège Bourbon from age 13 to 19. His education was fully consistent with tradition and the social and religious requirements of the time. Cezanne studied well, if not brilliantly, and received many awards in mathematics, Latin and Greek.

WITH early years Cezanne was drawn to art, but, at first glance, did not have any pronounced talents. Drawing was a compulsory subject at both the school of St. Joseph and the Collège Bourbon, and at the age of 15 he began attending the free academy of drawing. However, Cezanne never received the annual prize for drawing in college - it was awarded to young Paul's best friend, Emile Zola, in 1857. This friendship lasted almost a lifetime.

At the end of 1858, having passed the bachelor's exams on the second attempt, Cézanne entered the law school at the University of Aix. He did this at the insistence of his father. Louis-Auguste compromised by allowing his son to set up a workshop in Jas de Bouffant. Now Cezanne, in the hours free from studying the laws, was engaged in painting in his studio and at the academy, where his teacher was the mediocre local artist Joseph Gibert.

In the spring of 1861, Louis-Auguste finally gave in to the requests of his wife and son, allowing Paul to leave his legal studies and go to Paris to study painting. In April, Cézanne went to the capital.

After living in Paris for five months, Cezanne finally returned to Aix. “I thought,” he wrote to a friend, “that by leaving Aix, I would get rid of the boredom that haunted me. In fact, I only changed my home, but the boredom remained with me.”

Still, he could not overcome his hatred of the business world, and he again enrolled in the local drawing academy.

In November 1862, shortly after Zola's return to Paris, Cézanne followed him, with modest means but sufficient to enable him to paint without worrying about his daily bread.

Immediately upon arrival, he returned to the Atelier Suisse and, at the insistence of his father, attempted to enter the Ecole de Bozar. The few works Cézanne submitted to the competition, including a portrait of his father and a self-portrait, caused the examiners to quite rightly evaluate his painting as “violent.” He was refused admission, but this did not discourage the young artist. By this time, he had lost his inclination and interest in academic painting and continued his studies at the Atelier Suisse.

The early stage of creativity did not bring the young artist either satisfaction or recognition. Cezanne, obeying his wild imagination, began to paint pictures, the subjects of which were passion, sensuality, and death.

Trying to achieve fame, Cezanne presented paintings to the Salon every year - an exhibition contemporary art. And every year, without exception, all of Cezanne's works were rejected.

Ridiculed by critics and despised by the public, Cézanne drowned out his disappointment with hard work. Gradually, that unique individual style began to develop, which will manifest itself so clearly in the great landscapes and still lifes of his mature period.

Stability and deliberation appeared in Cezanne's manner. As if taming his temperament, the artist, reaching maturity, began to methodically and precisely arrange the details of his paintings. In the landscape "Railway Notch" (Appendix, ill. 1), the first of his depicting Mount Sainte-Victoire near Aix, he carefully balanced the house on the left and the rigid, heavy form of the mountain on the right.

In 1861, when Cezanne first came to study in Paris, French painting was represented by three strong opposing movements: neoclassicism, romanticism and realism. This situation was further complicated by the fact that art was under unprecedented patronage of the bourgeoisie.

Cezanne's picturesque creations are full of flaws: the figures are awkward and disproportionate, the space is depicted unreliably. There is too much reliance on narrative and too little connection to form.

When Cézanne the observer triumphed over Cézanne the seer, he showed a marked preference for the straight line instead of baroque curvature, and for a strict, almost architectural finish of outlines. A remarkable series of portraits of Uncle Dominic, painted between 1865 and 1867, is made in this spirit.

In 1886, Cézanne married Marie-Hortensia Fiquet. Emotional ties made it possible to maintain this strange union for forty years. Three years after their meeting, a son was born, named Paul. Camille Pissarro was the only one in whom Cezanne, mastering landscape painting, saw a reliable mentor. Pissarro was not only nine years older and much more experienced, but obviously possessed the qualities of a born teacher and a remarkably subtle, benevolent critic.

Gradually, Cezanne developed his system of uniform rectangular brushstrokes, running down the diagonal of the canvas (usually from the upper right corner to the lower left) and covering the entire canvas. From time to time he changed the direction of the stroke not only in different works, but also in different areas of the same picture, but he always strictly ensured that within each area the strokes retained the same shape and lay in a strictly parallel direction. This length of brushstrokes gives Cezanne's painting the resemblance to a woven or even carpet surface and the sense of rhythmic movement characteristic of such works as “The Castle at Medan” (Appendix, ill. 2).

Together with Pissarro, Cézanne worked intermittently during 1872, 1873 and the first half of 1874. His desire to learn did not diminish, and his ability to work seemed inexhaustible. In Pontoise and Auvers he worked in oils, watercolors, pastels, painted and even engraved. Cezanne copied Pissarro's paintings to better understand the technical and color techniques of his older colleague.

The painting, which is often called Cezanne’s first impressionist painting, “The House of the Hanged Man” (Appendix ill. 3) was painted in Auvers in 1872 and clearly demonstrates the combination of strictly impressionist color techniques with the individual understanding of form and composition characteristic of the artist.

Pissarro recognized the originality of Cezanne's talent. He argued that Cézanne had a unique vision. Talking about their creative relationship, Pissarro recalled: “We were always together, but each protected the only thing that really matters - his own feelings.”

The critical reaction to Cézanne's work in 1874 is, in fact, only one example of the almost hysterical hostility that haunted the artist throughout his life and even after death. Cézanne achieved some success only at the 1882 Salon. The artist Antoine Guillemet became a member of the official jury and received the right to present the work of one of his students. In this capacity, he exhibited Cezanne's painting known as. This work has since disappeared.

Cezanne expressed his interest in the human figure, which lasted throughout his life, in the creation of group portraits. Some of them depict small groups, as in the famous series of card players; others, especially the bathers, number more than a dozen figures. In the late period of his creativity, the artist became interested in the idea of combining the two largest painting genres, including human figures in the landscape. At the very end of his life, Cézanne brilliantly realized this idea in “Great Bathers.”

In the 1880-90s, Cézanne was truly fascinated by the landscapes of Provence. The interest was such that Cézanne created 300 picturesque landscapes, and half of them were completed between 1883 and 1895.

The natural relationship of the forms of the heavy, sun-scorched land of Provence and the transparency of the local light reminded Cézanne of his ideas about Italy and Greece, and Provence was associated for him with these countries as one of the “great classical landscapes.”

During his life Cézanne wrote huge amount views of Provence. But there were a few among them that he turned to more often than others. Among them, the most thoughtfully arranged views of the city of Gardana. Another favorite place for Cézanne the landscape painter was the area around Estac. By the early 90s, Cézanne's interest in the landscapes of Estac had faded, and the artist concentrated on the views of Mount Sainte-Victoire, which invariably fascinated him. He painted Sainte-Victoire more than 60 times. Since the mid-80s, Sainte-Victoire has become the only and most important topic Cézanne's landscapes and remained so until the end of his life.

The focus on structure drove mood out of Cézanne's landscapes, and this had a significant impact on the artists who came after him.

2. Innovatorart in the works of P. Cezanne

The famous French painter Paul Cezanne was a pioneer of post-impressionism. Having lived and worked with the most famous masters of impressionism, being at the beginning of his path under their influence, Cezanne, in search of own style, went further than his colleagues. Having learned the art of conveying the wonderful states of nature, the artist delved into the search for the formative foundations of everything around him and tried to understand the internal logic of things. The painter's innovative approach did not allow him to receive the success and fame he deserved during his lifetime.

All his work and life were assessed as recklessness and madness. But it was precisely this state of mind that prompted the master to create a completely new course in the development of painting - post-impressionism, and also helped to take a fresh look at the already existing movements of Fomism, Cubism and Symbolism.

The technique of creating canvases, which allows you to create the feeling of something woven, is also of great interest. A layer of paint was applied to the canvas using strokes in the shape of rectangles. And the technique itself consisted of applying even, parallel strokes diagonally from right to left.

Cezanne's ability to bring out the essence of a landscape while smoothing out most of its details says a lot about the artist and his work. It would be simpler and more accurate to say that he taught the world new vision. He was not attracted, unlike numerous representatives of the academic school, by photographic accuracy of reproduction of the visible world. He did not strive, like his Impressionist contemporaries, to capture fleeting states of nature. Cezanne believed in the constancy of the forms and colors of the world and the stability of the relationships between them.

These forms and colors were for Cezanne the language of expression of the feelings awakened in him by nature. And the meaning of painting, in his opinion, is to convey these feelings. For him, paintings were not impressions of nature captured on canvas, social commentary, an illustrated story, or a decorative object. They were an expression of emotions caused by the constancy of the shapes and colors of the world.

This view of painting distinguishes Cezanne from most of his contemporaries. Individual experiences are invariably present in the work of most masters mid-19th century century, but their expression was considered only as a particularity in relation to the main artistic task- moral, social, political or any other. Cezanne shifted the emphasis in painting from the subject of the image to the consciousness of the depicter. Thus, he opened the path that led in the 20th century to the creation of so-called abstract art, completely dependent on the consciousness of the author.

Not many prominent artists of the 19th century centuries have been subjected to such violent attacks or found themselves victims of general misunderstanding. Among the epithets assigned to Cézanne were “madman” and “anarchist.”

If Cézanne shook the foundations of the art of his time, it was because of a way of seeing based on adherence to the principles of post-Renaissance painting, which he highly valued.

The main one among these principles is spatial, problem solver representing the three-dimensionality of the world within the two-dimensional surface of the canvas. The other is to understand a painting as a closed structure, built according to the laws of harmonic and logical proportionality of its parts. Like Giotto, Uccello, Piero della Francesco and Poussin, Cézanne was one of the greatest painterly designers. In this sense, he revived rather than destroyed traditions. The artist Paul Sérusier wrote a year before Cézanne’s death: “He cleansed the art of painting from centuries-old mold, returning to it the integrity and purity of classical examples.”

Cézanne's genius and historical significance are expressed in his ability to combine "the purity and integrity of classical examples" with the traditions of romantic art. He united two greatest and seemingly incompatible artistic systems that had existed separately in French art since the 17th century.

Classicism glorifies reason; romanticism exalts feeling. For classicism, the main principle is structural; for romanticism - color. Cezanne relied equally on both of these principles: he was not only a great master of composition, but also a great colorist, comparable to Titian, Rubens and Delacroix. In his mature work, romantic intensity of feelings is combined with classical clarity and rigor. Taking these two traditions as a basis, Cezanne led them to final unity and thereby completed an entire era. But at the same time he discovered a new one: his mature works had an irreversible impact on the formation of artistic vision in modern painting. Subsequent generations unconditionally recognized that Cézanne, like the Old Testament Moses, opened the way to the world of new art.

Paul Cézanne made a significant contribution to the development of painting. His life position rejected social and political goals and was aimed at the internal state, the consciousness of the master. At his core, Paul Cézanne was a fighter. His struggle was with the fears that filled the artist’s soul, with the desire to find an expression of his own significance.

The painting “The House of the Hanged Man” (1873, Musee d'Orsay, Paris) (see Appendix. Ill. 3), despite its gloomy name, is a sunny landscape. Masterful and unusual compositional structure The canvases are like a collage and are based on the combination of different plans.

The foreground introduces the viewer into the space of the picture. Here we see an unremarkable sandy slope, with tree stubs in the lower left corner, placed here as a “starting point” for gradually moving deeper. The second plan is occupied by a building with a dark roof and a hill overgrown with grass, behind which an unsightly “house of the hanged man” opens, as if protruding from the hill and representing the third plan of the picture. Behind it you can see the roof of the house located just below - the fourth plan, behind which buildings with bright red brick walls are depicted.

Following the artist, the viewer's gaze from the lower left corner of the canvas descends along the hillside, meandering among the walls of buildings and uneven terrain and thus revealing the entire depth of space. And the more you look into this space, the more complex it seems. Cezanne conveyed the landscape exactly as he saw it in reality, without reconstructing it using perspective, so the orange houses seem to be standing right on the roof of the nearest building, and the spreading trees in the upper left corner of the composition are absurdly piled up right above the “house of the hanged man.”

It was precisely such compositional absurdities, unthinkable for classical art, that enabled the artist to truthfully depict the world as he saw it. The painting “House and Tree” (see Appendix, Ill. 4) in its compositional structure resembles a fragment of the previous work: the same empty foreground, a white stone building still grows straight out of the hill, against which a branchy tree flaunts. The winding trunk of which seems to cross out the plane of the wall, “spreading” along it like a giant crack. This motif gives strangely exciting dramatic chords to the entire work, creating the impression of the secret that the house holds, as if hidden behind the trunk and branches of a tree.

The canvas “The House of Dr. Gachet in Auvers” (Appendix, ill. 5) is distinguished by the alternation of the first, empty, and second, overly filled plans. This is how Cezanne creates a harmonious composition. The depicted houses, which the artist sculpts tightly one to another, seem to be cramped on this provincial street. When you look closely at the lines of their walls, it becomes obvious that they are far from even. Cezanne does not strive for clarity of lines; on the contrary, he deliberately distorts them, just like sunlight, which illuminates surfaces unevenly, depending on their texture and proximity to other objects.

Paul Cezanne paints only what he sees, without ennobling his surroundings, as a “correct” artist should do. Already here the artist’s gravitation towards simple monumental forms is manifested, which will become distinctive feature individual style of the master. Under the patronage of Camille Pissarro, Cézanne, in 1874, participated in the first exhibition of the Impressionists. Once again his works are ridiculed, however, his work “The House of the Hanged Man” is bought by a very large collector, which gives hope to the artist, tormented by misunderstanding.

In the work “Love Struggle” (Appendix, ill. 6), the artist turns to a mythological theme, which allows for a free depiction of the layout in space of naked intertwining bodies. The expressive canvas gives the impression of a sketch due to the emphasized lack of elaboration of the figures themselves.

A whole series compositional techniques aggravates the slightly oppressive impression of the frantic struggle of fiercely passionate lovers: trees hang menacingly, the low horizon emphasizes the huge sky, as if pressing on the heroes, even the swirling clouds with unusually sharply outlined contours seem aggressive. The picture is built on the principle theatrical scenery: cliffs of banks with trees growing on them serve as backdrops. The lack of depth in the canvas only emphasizes this effect.

An important meeting for Cezanne took place in 1875, when Auguste Renoir introduced him to the avid collector Victor Choquet, who bought one of the artist’s paintings. From that moment their long friendship began. In 1877, the painter created “Portrait of a seated Victor Choquet” (Appendix, ill. 7), in which we see the artist’s friend sitting on a magnificent armchair from the era of Louis XVI, in a relaxed home environment.

On the walls are visible works of art that are part of the Choquet collection. True, they are not included in the “frame” entirely, but are given in fragments or are only indicated by gilded frames. The artist does not strive to carefully reproduce the furnishings of the room or photographically accurately convey the features of the hero. He creates a generalized image of the collector as an attentive and thoughtful person, capable of intuitively assessing artistic value works. The tall figure of Victor Choquet looks somewhat comical on an antique low chair, the upper edge of the canvas cuts off his gray hair, and the model’s legs and the legs of the chair are painted almost close to the lower edge of the canvas. This creates the impression that the collector is cramped within the allotted frame of the painting.

One of the many portraits of Hortense - “Madame Cezanne in a red chair” (Appendix, ill. 8), who, by the way, has not yet become the artist’s official wife, is unusually effective in terms of color scheme. The red upholstery of the chair contrasts with the greenish-olive and blue colors of Hortense's clothes and the wall behind her, and also perfectly highlights the heroine's figure. The work makes a monumental impression thanks to the young woman’s maximum proximity to the viewer. The top edge of the canvas cuts off part of her hair, and the bottom edge cuts off the hem of her skirt. Cezanne's life partner looks away, and her hands with crossed fingers build a psychological barrier between the model and the viewer.

We see a very generalized representation of the terrain features in the landscape “Mountains in French Provence” (Appendix, ill. 9). Cézanne mentally disassembles objects into their individual constituent forms, and then constructs his own reality from them. This technique will later be a characteristic feature of the constructivists.

Having gone through a significant creative path, Paul Cezanne never became an impressionist. His fascination with the impressionistic rendering of the image of nature and the light-air environment was replaced by an awareness of the need for speculative ordering of the surrounding reality. It was not enough for the artist to see and reproduce; he needed to see and convey the hidden structure of the world.

All of Paul Cézanne's still lifes are recognizable: with the simplest minimal set of objects (a few fruits, porcelain vases, plates and cups), deliberately careless draperies with kinks and numerous folds thrown onto the table give the composition a decorative and unique expressiveness.

The painting “Still Life with Sugar Bowl” (Appendix, ill. 10) is one of Cezanne’s most famous works. Here the painter refuses linear perspective, we do not see a common vanishing point of the planes on the canvas.

We see a rectangular tabletop with a white drapery casually thrown over it, laden with porcelain dishes and fruit, from two points of view at once: from above and from the front, which is impossible for traditional art, which, since the Renaissance, has worked to correctly convey three-dimensional space on the two-dimensional plane of the canvas.

Paul Cezanne builds his still life contrary to the main law of painting - perspective. Due to the incorrect construction of space and distortion of perspective, it becomes impossible to determine the distance from the wall to the table, or to the carved wooden legs visible in the background, apparently a jardiniere. The relationship between the parallel and perpendicular planes of the walls, table, floor and drawers also becomes implicit. A space devoid of depth and perspective, built with relative respect for geometry, makes still life similar to religious painting, the style of which was created and approved before perspective, and often ignored it.

Cezanne creates his own coordinate system, in which each object becomes self-sufficient and can itself be a “model” for the artist. The “extra” section of the jardiniere legs, at first glance, was introduced for a reason: it is this detail, firstly, that “holds” the entire composition in the right top corner canvas and, secondly, serves as a powerful coloristic accent in the overall cold color background of the upper part of the picture; its brownish shades harmoniously echo the brown tabletop and warm tones of ripe fruit. It is no coincidence that the artist freely arranges objects on the plane of the table, without combining them into groups - if we mentally remove any of them, the integrity of the composition will not be compromised.

The same features are characteristic of the “Still Life with Apples and Oranges” (Appendix, ill. 11), “Still Life with Drapery” (Appendix, ill. 12) and “Still Life with Eggplants” (Appendix, ill. 13). In the first work, the role of fabrics is especially obvious, forming space with their picturesque folds. It is the luxurious fabrics that fill the entire surface of the canvas. They make perspective unnecessary; in the absence of a familiar coordinate system, space loses its three-dimensionality. A chaotic, at first glance, pile of folds hides the furniture and premises. It is not at all clear where the objects are located. Thanks to this effect, the impression of emphasized decorativeness, and even theatricality, is created, even more enhanced by the flat interpretation of space.

In this still life, the master works extremely expressively with color. Bright oriental fabrics, reminiscent of the exotic draperies of the paintings of the great romantic painting Eugene Delacroix, who was an idol for Cezanne, create the backdrop for a carelessly thrown, folded snow-white tablecloth and a porcelain vase. The viewer's attention is first drawn to this dazzling, complexly constructed spot, in order to enjoy the masterful rendering of the fabric, then concentrate on the bright fruit, as if glowing against a white background. Exactly white skillfully organizes the entire composition. It prevents the eye from getting lost in the festive colors and wandering around the canvas, bringing rigor to the color scheme and “collecting” the composition towards the center.

With the help of color, the unity of the composition is achieved in “Still Life with Eggplants”. Thanks to the cold blue-lilac tones, the canvas looks surprisingly solid, while having a bright contrast in the form of orange-red apples. The overall tonality of the work smoothes out, like a random arrangement of objects in a still life. If it were not for the color, the ceramic vases, plate and bottle, placed too close to each other, would look like an absurd pile of random things.

Mount Saint Victoria became Paul Cézanne's favorite place to create his landscapes. He admired her majestic beauty back in early years. In the late period of his creativity, the master repeatedly painted views of this mountain, conveying its beauty in different atmospheric conditions and under different lighting.

Towards the end of his life, Cézanne conceived a large-format, multi-figure composition of naked bathers in the lap of nature. The artist has long dreamed of painting this canvas and there are several versions of it, created in different times. Due to natural timidity and lack of funds, Cezanne never used the services of models. Therefore, to create his composition from several naked female bodies, he even asked one of his friends to get photographs of female nudes. Perhaps this explains a certain angularity of all the figures, created by the artist without relying on nature.

On the canvas “Great Bathers” (Appendix, ill. 14), the painter worked a lot and persistently, carefully thinking through the arrangement of naked figures in space, meticulously checking the rhythm of the body lines and outstretched arms, which, together with bent tree trunks, form a harmonious semicircle. The work was supposed to become a masterpiece, a kind of apogee of Cezanne’s work. The artist hoped to find himself through the harmony of “the roundness of a woman’s chest and the shoulders of the hills.” Unfortunately, we will never know what the artist would ultimately like to see in his work, since death interrupted his work.

3. Significance for modern times

Cezanne's role as the "father" of new art was duly appreciated by subsequent generations of artists. It is enough to recall the influence that he had on the formation of an innumerable number of masters and such artistic directions, such as symbolism, fauvism, cubism and expressionism. Cézanne's significance is not limited to this influence. He stepped over the boundaries of his contemporary and subsequent eras, in his exclusivity and completeness standing on a par with other giants of European painting.

In the history of art, it was the fruitfulness of Cezanne's attempts to create a new great style, and not Cezanne's style itself as an artistic canon, that constituted his fame. This is all the more true since one can draw a variety of artistic conclusions from Cezanne’s works. They are multidimensional, which in itself is characteristic of many outstanding work different eras, but multidimensionality in the era of free artistic searches takes on a special meaning. Everyone can take for themselves from Cezanne’s works what they want, and not what the artistic canon previously dictated. That is why Cezanne’s work remains a kind of “artistic treasure house” for modern artists.

Artists absolutely different from Cezanne, such as P. Gauguin and V. Van Gogh, considered it possible to learn from him the vision of nature. Gauguin collected Cezanne's paintings and at some point in his career painted in Cezanne's scale. Van Gogh believed that Cézanne so accurately conveyed the essence of the nature of Provence that he thereby taught him to understand the specifics and spirit of the place.

Through the efforts of Cezanne, the picturesque image of Provence becomes iconic. Here is what K. Clark writes about this: “Just as Lorrain and Poussin made generations of artists believe that only in the Campania can one find a landscape worthy of the attention of a serious landscape painter... so the images of Provence created by Cézanne influenced landscape painters throughout the world for thirty years peace. I even saw Japan interpreted in the manner of Cézanne, with Mount Fuji transformed into Mount Sainte-Victoire.”

If we recall the Russian Cezanne painters, we can say that through the prism of Cezanne’s Provence, the Crimean landscapes of R. Falk, the Italian landscapes of P. Konchalovsky, and the landscapes of the Moscow region of A. Kuprin were painted. An artist like D. Rivera also painted Spain in Cezanne’s manner. The Fauvists A. Matisse, A. Derain, C. Van Dongen, R. Dufy at the initial stage of their work were captivated by the innovation of Cezanne, from his hands they received freedom of expression, freedom of interpretation of reality.

The posthumous retrospective exhibition of Cézanne’s works in 1907 had a huge influence on the formation of P. Picasso and all of Cubism in general. It, along with the exhibition of ritual sculpture of Africa, became “the recognized harbinger and impulse of Picasso’s “Les Demoiselles d’Avignon” and the beginning of the first, analytical, or heroic , stage of cubism by Picasso and Braque. Thus, the formal analytical method of creativity, based primarily on Cartesian rationalism and rooted in the work of Cezanne, was developed by cubists, futurists, cubo-futurists, purists and constructivists” ( I. Azizyan). A. Barr believed that from Seurat and Cezanne, through cubism, stretches a line of abstract art with “clearly expressed geometric and structural tendencies.” This direction includes K. Malevich, El Lissitzky, A. Rodchenko, L. Popova, R. Delaunay, P. Mondrian, F. Stella, Theo van Doesburg and others.

The national school of monumental art in the countries of Central and Latin America also developed not without the influence of Cezanne. Artists such as D. Rivera and D. Siqueiros traveled to France for a kind of internship and enthusiastically studied both the work of the Cubists and their source - the work of Cezanne.

It is especially worth noting the influence of Cézanne on the so-called Russian Cézanneists - artists of the association “ Jack of Diamonds" He became an idol for P. Konchalovsky, I. Mashkov, A. Lentulov, R. Falk, A. Kuprin, V. Rozhdestvensky, who, according to J. Tugenhold, “carried out a major artistic mission, bringing Russian painting closer to French artistic culture" Cezanne and M. Larionov and N. Goncharova did not escape the influence, although they saw French painting an obstacle to the expression of the national principle.

Conclusion

“Cézanne’s art as a whole showed the world a kind of final picture of the 19th and previous centuries. Cezanne's painting retains the qualities of a classical painting: “resemblance” to real nature, isolation from the world by the frame, spatial pathos, visual rhetoric, concreteness of the motive, plastic plot. But the spatial and coloristic searches of the past centuries - from the Renaissance to Impressionism - were forced to stop before the Cezanne stronghold of a flat canvas, which accumulated his artistic cosmos, reduced to a clear formula, closed in itself, like the universe. And here we can talk about Cezanne’s painting as the first painting of modern painting. "Absoluteness" which was mentioned above, allows us to see in the plane of Cezanne’s works complete independence, autonomy of forms that are born at that particular stage of the movement of art when the value of spot, tone, color saturation of the plan, the rhythm of the outlines of the form finally acquire self-sufficient value... The inventor of a new plastic language, the creator of new monumental images, a reformer of the classical landscape, a sovereign master of watercolor - that's all he is, but there is something else. A classic, a romantic, a master of the Baroque depending on the time, the heir of one tradition and the inventor of another, a descendant and an ancestor - how to define the limits of this personality.”

The definition of Cézanne’s work given by Mikhail German very accurately captures his place between his predecessors and his followers.

Rarely has any artist had to work in such difficult conditions of misunderstanding and creative loneliness as Paul Cézanne. Even having finally achieved recognition towards the very end of his life, he still did not have the happiness of being understood. We assert that the majority of his “followers”, Cézanneists of various stripes, abstractivists and other epigones had nothing in common with this artist.

The terrible effort - Cézanne's life's work - was consciously aimed at protecting the great realistic tradition of craftsmanship; the “work” of his epigones was aimed at eliminating realism; the epigones did not rely on the conscious efforts of the artist, not on his achievements; they clung to those aspects of his individual manner that were the result of difficulties that spontaneously arose in the process of the artist’s creativity.

Not understanding some of the conventions in Cézanne’s works, associated with the incompleteness and contradictory nature of his quests, the epigones tried to make them the banner of their snobbery; they moved towards formalistic degeneration.

List of used literature

1. Dukhan I.N. - Merleau-Ponty and Cezanne: towards the formation of the phenomenology of the visible. Historical and philosophical yearbook, Moscow, 2011.

2. Lindsay D. Paul Cezanne. "Phoenix", Rostov-on-Don, 1997.

3. Medkova E. Story about the artist “Heir and Inventor” Newspaper “Iskusstvo” No. 3, 2010.

4. Perrusho A “Life of Cezanne” and afterwords by K. Bohemian. - M.: "Rainbow", 1991.

5. Rzheznikov A. - Paul Cezanne Part 1. Newspaper “Art”, No. 2 1940.

6. http://vlkrylov.ru/ Artist Vladimir Krylov - “Manuscripts do not burn or what is art”, chapter five “The Work of P. Cezanne”

7. http://www.bibliotekar.ru/ Henri Perryucho. Paul Cezanne

Application

Illustration 1. “Railway cut”

Illustration 2. “Castle in Medan”

Cezanne creative innovative artist

Illustration 3. “House of the Hanged Man”

Illustration 4. “House and Tree” (1873-1874, private collection)

Illustration 5. “House of Dr. Gachet in Auvers.” 1874 Musée d'Orsay, Paris

Illustration 6. “Love Struggle” (Bacchanalia, 1875, W.A. Harriman Collection, New York)

Illustration 7. “Portrait of a seated Victor Choquet” (Gallery fine arts, Columbus) 1877

Illustration 8. “Madame Cezanne in the Red Chair” (1877, Museum of Fine Arts, Boston)

Illustration 9. “Mountains in French Provence” (1878, National Museum Wales, Cardiff).

Illustration 10. “Still life with a sugar bowl” (circa 1888-1890, State Hermitage Museum, St. Petersburg)

Illustration 11. “Still life with apples and oranges” (1895, Musée d'Orsay, Paris)

Illustration 12. “Still life with drapery” (1899, State Hermitage Museum, St. Petersburg)

Illustration 13. “Still Life with Eggplants” (1893-1894, Metropolitan Museum of Art, New York)

Illustration 14. “Great Bathers” (circa 1906, Art Museum, Philadelphia)

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