Presentation on the theme of Art Nouveau in the interior. Presentation on the topic “Modern. VI. creative work

The purpose of the lesson: creating conditions for revealing the features of Art Nouveau in painting and architecture through the analytical and creative potential of high school students.

Tasks:

performance of independent work by high school students in groups (analysis of works of art);
familiarization of students with a variety of creative approaches through visual and demonstration material;
performing creative work on creating an ornamental motif in the Art Nouveau style;
demonstration of the subjective perception by high school students of the moral issues of artistic style.

Lesson equipment:

computer presentation (computer, projector, screen);
computers with Internet access;
notebooks, colored pencils.

Detailed schematic lesson planning:

DURING THE CLASSES

I. Greeting

Announcements of upcoming creative work to create a drawing in a new style. Demonstration of three works in a new (unstudied style): “Kiss” by G. Klimt, “Demon” by M. Vrubel, “House of Mila” by A. Gaudi ( Attachment 1 , slide 1)

II. Teacher:

- Let's remember what we depicted in the last lesson (Two apples, one in the spirit of impressionism, and the other in post-impressionism).

How are these two apples different? (The means of expression and the idea that is invested in this image are noted, which will be significant in it for the Impressionists and Post-Impressionists)
– What do you think, what means of expression of impressionism or post-impressionism are used in the presented works? (In terms of expressiveness, these works will be close to post-impressionism, thanks to the linear pattern, the clarity of the silhouette)
Conclusion: The main thing is the images symbol

Association of artists "World of Art" "Secession" (slide 10).
Art Nouveau is focused on traditions opposite to antiquity and the Renaissance, on pre-Renaissance art, on the Russian and Western Middle Ages (slide 11).
Modern is characterized by a craving for "hybrid" images - mermaids, centaurs, sphinxes (slides 12-16).
Eerie symbols of darkness and night are used. The color scheme of Modern creates in the viewer the feeling of being in the underwater kingdom, in the world of multi-valued symbols (slides 17-19).
Dreams about the beautiful, otherworldly are characteristic (slides 20-21).
There is a commitment to the images of nature and especially to the water element. He seeks to restore the connection between man and nature, which is manifested in the wide penetration of "vegetative" motifs (slides 22-29).
Modern opens design. Unity of style and ensemble (slides 30-31).
An object, a motive is a sign of a different content, universal and eternal. External and internal, visible and invisible are inseparable.
Modern is prone to stylization (slide 33).

Exercise: From the proposed words, select only those that will be characteristic of the Art Nouveau style.
Words: beauty, emptiness, spirituality, realism, symbol, splendor, decorativeness, harmony, frivolity, primitiveness, understatement, narrative, nationality, orientalism, canonicity., self-expression.

Exercise: Imagine and describe the following:

Strengths of style (beauty, synthesis of arts, self-expression, etc.)
Weaknesses of style (incomprehensibility of symbols, departure from reality)
Style possibilities ("Beauty will save the world", wide application in design)
Risks (the high cost of the project, due to freedom of expression, going into chaos - modernism))

VI. creative work

Image of a flower in Art Nouveau style. Slides 34, 35 are shown before creative work Apps 1 , where high school students from the proposed emblems of different arts choose those made in the Art Nouveau style.
On the board, the teacher depicts an ordinary, simple-shaped flower. Gymnasium students are invited to depict this flower in the spirit of Art Nouveau, complicating its shape by adding an ornamental pattern.

Example of completed creative work

v. From the proposed aphorisms, quotes, statements, students are invited to choose the most reflective of the topic of the lesson.

“The new art from the very beginning was pretentious and narcissistic. It inevitably led to all sorts of exaggerations, inconsistencies and extravagance ... "
“Whoever a person undertakes to portray, he always plays himself at the same time” ( M.Monten b)
“Painting is something similar between a thought and a thing” ( S. Coleridge)
"Personal presence harms fame" ( F. Petrarch)
“Much that calls itself modern art is babbling about what has already been clearly said by the old art”
“A house should fit its owner like a perfectly tailored dress” architect ( V.Orta)
“I’m watching this film for the fourth time and I must tell you that today the actors played like never before” ( F. Ranevskaya)

Modern style in European and American art of the late XIX - early XX centuries (from the French moderne- latest, modern).

In different countries received different names: in Russia - "modern",

in France, Belgium and England - "Art Nouveau",

in Germany - "art nouveau",

in Austria-Hungary - "secession",

in Italy - "liberty" etc.

The ideological basis for the emergence of modernity was the philosophical and aesthetic views of F. Nietzsche, A. Bergenson and others. According to his theorists, modernity should have to become a lifestyle of a new society, to create an integral, aesthetically rich object-spatial environment around a person.

In the years 1860-1870, the eclectic style dominated Europe, which consisted of quoting and repeating previous artistic styles. But already in 1880s in the works of a number of masters, a new style began to be developed, which opposed eclecticism with new artistic techniques. William Morris (1834-1869) created floral-inspired furnishings, and Arthur McMurdo (1851-1942) used elegant, wavy patterns in book graphics. The most notable feature of modernity was rejection of right angles and lines in favor of smoother, curved lines. Often, artists took ornaments from the plant world as the basis of their drawings. "Business card" of this style was the embroidery of Hermann Obrist "Scourge Strike". This is how the Art Nouveau style was born. ». Art Nouveau strove to become a single synthetic style in which all elements from the human environment were made in the same key.

Circle of Ideas modern often borrowed from symbolism. However Art Nouveau was distinguished by internal inconsistencies: it was focused on refined, refined taste, supported the principles of "art for art's sake" and at the same time strove to serve and "educate" the mass consumer.

Exceptional value in modernity had special principles shaping . They were in assimilation of natural, organic forms and structures . significant place in artistic practice Art Nouveau occupied ornament, especially vegetable.

Modern colors - predominantly cold, dull tones .

For modern painting characteristically accentuated decorative beginning, spot work and the exclusive role of smooth lines and contours.

hallmark of the modern era was a program universalism of artists engaged in a wide variety of artistic activities. This was especially clearly manifested in the work of the masters of the "World of Art" association and the Abramtsevo circle near Moscow, many of whom were both painters and book writers.

mi graphic artists, decorators,

fashion designers, etc.

With Art Nouveau painting associated P. Gauguin, M. Denis,

P. Bonnard in France, G. Klimt in Austria, E. Munch

in Norway, M. Vrubel, V. Vasnetsov, A. Benois,

L. Bakst, A. Golovin, K. Somov in Russia.

Late 1880s in France P. Gauguin and a group of his followers, calling to follow the "mysterious depths of thought", approached symbolism. In the 1890s and in France (group "Nabi"), and in other countries, symbolism has found a fairly broad stylistic justification in the "modern", becoming an inseparable, often defining element of its artistic programs, figurative-content structure, and poetics. P. Gauguin is the founding father of symbolism.

Along with the "Green Christ", the creation of the "Yellow Christ" is considered one of Gauguin's key works in symbolism.

Maurice Denis - French symbolist painter. From 1887 Maurice Denis studied in Paris at the Julian Academy and at the School of Fine Arts. Influenced by Paul Gauguin. Together with Pierre Bonnard, Paul Serusier and Edouard Vuillard Maurice Denis founded an art group "Nabi" and considered to be its most prominent theoretician. In accordance with the ideas of this direction of painting, Maurice Denis painted paintings that were distinguished by the simplicity of forms, the softness of lines and the paleness of colors. During these years, Denis received the nickname “Nabi of beautiful icons”, given to him by the simplified and slightly archaic nature of his painting. In 1919, Maurice Denis participated in the creation of the "Workshops of Religious Art", was the head of the "neotraditionalist

"sky" trend in French painting. At the age of twenty, Denis made the following statement, which is often considered the key to understanding modern painting: "Remember that the picture - before representing a war horse, or a naked woman, or any anecdote - is flat surface covered with paints in a certain order. This perception of art eventually led painting to abstraction.

Pierre Bonnard- French painter, draftsman, lithographer. Painter - neo-impressionist, symbolist. Studied law in his youth. Classical Japanese engraving, as well as the work of the famous painter Paul Gauguin, had a huge influence on his work. For some time, Bonnard was part of a group of young painters organized by Gauguin himself and heavily influenced by the symbolic-synthetic works of his founder. It was said of him: "He knows how to decorate the sides of our lives with witty and iridescent patterns of his imagination." The sensual and festive beauty of his canvases was given by a skillful combination of the flexible rhythm of lines with subtle color contrasts. Bonnard was in the art group "Nabi", striving for the image through the simplification of color, drawing and plot, which was fully reflected in his works, not only pictorial, but also lithographic. Perfectly mastering the language of color and lines, he transferred the main semantic load of his works to the way of self-expression. Warm, enveloping color, picturesque comfort, contemplativeness of the author fill all the works of Bonnard. The name of this artist is closely associated with the concept of the "Paris school", which spread around the world a special worldview of young French artists.

Gustav Klimt(1862-1918), the most famous Austrian painter. One of the most prominent representatives of the Art Nouveau style. Born on the outskirts of Vienna in the family of an engraver. Graduated from the Vienna School of Decorative Arts. His early works consisted mainly of large theater frescoes and were painted in a naturalistic style. Klimt's paintings combine two opposing forces ; one sides- this is a thirst for absolute freedom in the depiction of objects, which leads to a play of ornamental forms. These works are in fact symbolic and should be seen in the context of symbolism as an expression of an unattainable world above time and reality. With another sides- this is the power of perception of nature, the influence of which softens the splendor of ornamentality in his paintings.

Kiss 1908 .

Frieze by Beethoven 1902 .

Mikhail Alexandrovich Vrubel stood at the origins of Russian symbolism in Russia. He turned to the symbol in an attempt to depict the unrepresentable, to understand the unknown, to see the invisible. The true element of Vrubel's paintings is silence, silence, which seems to be heard. His world is immersed in silence. He depicts moments indescribable, feelings that do not fit into words. The silent duel of hearts, views, deep meditation, silent spiritual communication is expressed in the symbolism that can be seen in his paintings. At the turn of the century, the direction of tastes changed, now the public read Ibsen, the Symbolists, visited the Art Theater. And there was a recognition of Vrubel. Against the backdrop of new trends, the emotional structure of his art, his symbolism, his cult became more and more intelligible and acceptable. beauty and secrets.

Princess Greza 1895.

Girl on the background of the Persian carpet

An angel with a censer and a candle, A demon's head against the backdrop of mountains, A seated demon, A flying demon, A defeated demon,

Portrait of a son, Funeral Lamentation, Virgin and Child, Pieta, Rose in a glass,

Vasnetsov Viktor Mikhailovich (1848–1926) great Russian artist, one of the founders of Russian modernity in its national-romantic version. Vasnetsov - founder of a special "Russian style" within pan-European symbolism and modernity. The painter Vasnetsov transformed the Russian historical genre, combining the motifs of the Middle Ages with the exciting atmosphere of a poetic legend or fairy tale; however, the tales themselves often become the themes of his large canvases.

Principles Russian style" the master also developed in the field of architecture and design: according to Vasnetsov's sketches, stylizing ancient Russian antiquity, the Church of the Savior Not Made by Hands (1881–1882) and the Hut on Chicken Legs (1883) were erected in Abramtsevo, and in Moscow - a memorial cross at the site of the murder of Grand Duke Sergei Alexandrovich in the Kremlin (1905, destroyed under Soviet rule, recreated on the territory of the Moscow Novospassky Monastery) and the facade of the Tretyakov Gallery (1906).

Bogatyrs, Alyonushka, Ivan Tsarevich on a gray wolf, Princess - a frog, Three princesses of the dark kingdom, Sirin and Alkonost, Knight at the crossroads, Flying carpet, Tsar Ivan the Terrible, After the battle of Igor Svyatoslavovich with the Polovtsy, Dobrynya Nikitich's fight with a three-headed dragon

Benois Alexander Nikolaevich (1870-1960) graphic artist, painter, theater artist, publisher, writer, one of the authors of the modern image of the book. Representative of Russian modernity. He was talked about as a talented art critic who turned over the established ideas about the development of domestic art.A. Benois became one of the organizers and ideologists of the artistic association "World of Art", founded the magazine of the same name.

During his life, Alexander Nikolaevich Benois was the head of the artistic part of Diaghilev's entreprise, where he often participated in his Russian Seasons. He also managed to work as a director and artist of the Moscow Art Theater. In the work of Benois the artist, history decisively prevailed. Two topics invariably attracted his attention: "Petersburg in the 18th - early 19th centuries." and "The France of Louis XIV". The main place in the works of A. Benois was occupied by landscapes. On his canvases, the artist expressed the idea of the eternity of nature and creations created by human hands, and focused on the transience and transience of human life. It was the landscape that fully reflected the worldview of the artist. Benois depicted court life, in which he emphasized conventionality, contrasted its artificial beauty with the prose of real life. The Benois landscape is reminiscent of historical scenery, stylized as the art of the era of absolutism. There is no lively sense of color in Benoit's coloring.

Walk of the king, Parade under Paul I, Italian comedy, Apollo and Daphne, Peter I on a walk in the summer garden, Chinese pavilion, Book graphics, Sketches of scenery

Lev Samoilovich Bakst (1866-1924) did not immediately come to his system of artistic thinking, original creative manner. At the very beginning of the century, his creative searches were directed towards the portrait genre. He creates acute psychological portraits of a major Russian religious philosopher and writer V. V. Rozanova; organizer of the Russian Seasons S. P. Diaghilev. In his graphic portraits of the symbolist poets Zinaida Gippius and Andrei Bely, the artist is not inferior to the works of Serov and Somov in terms of skill. The Art Nouveau style is most consistently realized by Bakst in the painting "Dinner". The artist depicted a lady at a table with oranges. Her gaze is directed at the viewer, the line of the figure is curved. The expressiveness of lines and spots triumphs here. Later sketches of costumes and theatrical scenery by Bakst echo this painting with their energetic harmony and dynamics. Passion for antiquity and a trip together with Serov in 1907 to Greece became for Bakst a source of stylization in the spirit of Greek archaism. This interest in antiquity culminates in the large decorative panel Ancient Horror. The artist depicted the death of civilization under the influence of the elements: the sea is ready to swallow up ancient temples, ancient columns, coastal rocks are collapsing. And in the foreground, with her back to everything, Aphrodite is depicted with a frozen smile, as if not noticing the catastrophe. The picture looks quite arbitrary. Bakst's idea in this panel was obviously that art cannot perish. The highest point in the development of Bakst's talent was his design, theatrical and decorative work during the period of Diaghilev's Russian Seasons in Paris at the end of the first decade of the 20th century.

Golovin Alexander Yakovlevich (1899 - 1969)- Russian artist, stage designer, representative of symbolism and modernity. He was a member of the World of Art association. By the end of the 19th century, he was engaged in the design of interiors, furniture and utensils, participated in the design of the Russian pavilion at the World Exhibition in Paris (together with his friend K.A. Korovin; 1900) and the creation of the majolica frieze of the Metropol Hotel "(1900-1903).

At the beginning of the century he received an invitation to the theater. The first success in the new field was brought to him by his work at the Bolshoi Theater (the operas The Ice House by A.N. Koreshchenko, 1900; and The Maid of Pskov by N.A. Rimsky-Korsakov, 1901). He created his most striking stage masterpieces in St. Petersburg, where he was invited in 1902 to the post of chief artist of the imperial theaters (Carmen J. Bizet, 1908, and Orpheus and Eurydice K.V. Gluck, 1911, in the Mariinsky; Thunderstorm A.N. Ostrovsky, 1916, and Masquerade M.Yu. Lermontov, 1917, in the Alexandrinsky ; etc.). Golo-vin also worked for S.P. Diaghilev's enterprise in Paris (I.F. Stravinsky's Firebird, 1910). -decorative in color portraits, landscapes and still lifes, in which Art Nouveau and expressionism were also organically combined (Pavlovsk, 1910; Porcelain and Flowers, 1915; both paintings in the Tretyakov Gallery, Moscow). His theatrical portraits became classic art documents.

Konstantin Andreevich Somov (1869-1939), – Russian painter and gra-

fic, portrait master, representative of the Russian symbolism and modernity. One of the founders

magazine "World of Art", a member of the association of the same name.

The manner of Konstantin Somov corresponded to the aesthetics of the “World of Art”, combining the harmony of dreams with reality, distinguished by the poetic nature of images combined with refinement and spirituality. Retrospectivism, elegiacity, refinement are inherent in his work.

Presentation "Modern architecture" will acquaint you with the basic principles and external features of the Art Nouveau style in the art of the turn of the 19th-20th centuries.

Art Nouveau architecture

I am completing a conversation about the work of artists: Cezanne, Gauguin, and. The next few presentations will introduce symbolism and modernity in the art of the turn of the 19th and 20th centuries.

This happened over twenty years ago. From a primary school teacher, I turned into a teacher of world art culture. For four years I was lucky enough to attend a course on the art of the unforgettable Vera Vasilievna Alekseeva, art critic, author of the book and video course “ What is art". It was then that I fell in love with modern art for the rest of my life.

« The mansion is so ugly and absurd that even honest snowdrifts and blocks of snow, with which it is surrounded and covered, do not mitigate its hideousness.».

« The ugliest example of decadent style. There is not a single straight line, not a single right angle. Everything is spoiled by obscene squiggles, mediocre impudent krivuli. Stairs, ceilings, windows - everywhere this vile vulgarity. Now painted, varnished and therefore even more shameless.

Korney Chukovsky

This characteristic refers to one of the most beautiful monuments of modern architecture - the Ryabushinsky mansion, I would like to say "created" by my favorite architect Fyodor Osipovich Shekhtel. How do I like these "obscene squiggles and mediocre impudent krivuli", which so resented the famous writer.

Ryabushinsky's mansion

Presentation "Modern architecture"

The purpose of my presentation, which was created for the lesson of world art culture, was to acquaint the eleventh graders with Art Nouveau architecture and try to draw their attention to those numerous monuments of Art Nouveau, which they usually pass by indifferently while walking around the city.

Don't pass by!

Residents of different cities of Russia, Europe, and America can admire the monuments of modern architecture. Despite the fact that they were created by different architects, they are united by common features characteristic of modernity.

Modern style has come to replace eclecticism. "Modern" means "new". The novelty was the use of new building and finishing materials: concrete, glass, metal, as well as the desire of architects to abandon sharp corners and flat walls in favor of natural natural lines. Art Nouveau architects sought to create a comfortable and certainly beautiful environment for human habitation. Every detail of the interior was thought out: from furniture and lamps to door handles and window shutters and to the dresses of the hostess, which had to be in harmony with the interior.

Design in modern architecture

Walking along the streets of your native city, pay attention to the building, which is most often distinguished by an asymmetrical volume (architects planned the building from the inside, based on convenience for the inhabitants), the presence of double and triple windows (moreover, window and door openings often have oval shapes or ends). bay windows, facade decoration with ceramic glazed tiles (boar) or textured plaster, female graceful heads with flowing long strands of hair, floral ornament of algae, lianas, orchids, marvelous cast-iron grilles of fences and balconies - all these are signs of Art Nouveau architecture. Stop! Take a look! Isn't it so pleasing to the eye?!

“Despite the wealth of artistic ideas and many original trends, the Art Nouveau style did not receive further development. The influence of industrial architecture on civil architecture led to the emergence of modernism, one of the manifestations of which was constructivism. In various constructivist trends, the artistic and figurative content of art disappeared, the human content disappeared, and the “connection of times” was interrupted, and, as Nikolai Berdyaev wrote in 1917, “the boundaries separating one art from another and art in general from what is no longer art were violated.” That is why Art Nouveau is called “the last great artistic style”” Emokhonova L.G.

Good luck!

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Slides captions:

Art Nouveau MHK, 11th grade Taran E.A.

Modern - (French moderne - the latest, modern) style of art of the late XIX century. - beginning of XX. He strove, using new technical and constructive means, to create objects of art that were unusual in appearance and design.

Style features Decorative and dynamic, flexible and movable wavy line Ornamentality Functionality The source of ideas is nature Interest in the exotic of the East, especially in Japanese art

A lively, self-willed line dominates the ornament of modernity, gaining unprecedented freedom in its stubborn run.

The wavy line has become a kind of symbol of Art Nouveau, it seemed to have descended from the walls of Art Nouveau buildings and became an integral part of the decor or the basis of the form, the silhouette of candelabra and sofas, bracelets and magazine covers, porcelain cups and women's dresses. This ornament permeated all spheres of arts and crafts and became an unmistakable sign of Art Nouveau.

Art Nouveau gave rise to its own ornament, which is its original hallmark. This is a wavy, winding line in many of its material incarnations: bindweed stalks, a wave, strands of hair, a snake.

Functionality Art was tasked with creating a beautiful and comfortable environment "Art for All"

Victor Horta - "the perfect architect of Art Nouveau" Tassel House, Belgium

House of Tassel

Considered the first example of "pure modernity" House of Tassel

House of Tassel

Russian Art Nouveau Asymmetric multi-volume composition Free arrangement of windows The role of the staircase as the main element of the interior space Construction of forms “from the inside out”

Creativity of F.O. Shekhtel Yaroslavl station of the Moscow Art Theater

Ryabushinsky's mansion

MODERN Modern (from French moderne - modern), Art Nouveau (French art nouveau, lit. "new art"), Jugendstil (German Jugendstil - "young style") - an artistic direction in art, the most popular in the second half XIX - early XX century. Its distinctive features are: the rejection of straight lines and angles in favor of more natural, "natural" lines, interest in new technologies (especially in architecture), the flourishing of applied art.

Gaudi Antonio () Spanish architect; The brightest representative of the Art Nouveau style; Worked in Barcelona

Gaudi spent the last years of his life at the walls of the cathedral under construction. He did not take money for his work, on the contrary, he invested all his funds in the construction of the cathedral. When an old man dressed in rags was hit by a tram, none of the witnesses of the tragic incident recognized the famous architect in him. Gaudi was buried in his cathedral, under arches of intertwined "branches" of columns. "It will be like a forest. Soft light will pour through the window openings at different heights, and it will seem to you that the stars are shining" ... This is how Gaudi saw the greatest of his creations.

Park Güell was bought by the government of Barcelona, declaring it a monument of Art. In 1969, the Spanish government awarded it the title of National Monument. And in 1984, UNESCO declared it a Heritage of Humanism. Thus, Park Guell is under a triple protectorate. 26 At the final exam, one of the professors said: "Gaudi is either crazy or a genius." Since then, these two words have been most often used to describe the architect and his creations.