Natural still life. What is still life? Iconographic traditions and still lifes
dead nature is a genre of fine art, mainly easel painting, dedicated to the depiction of inanimate objects: flowers, fruits, dead game, fish, attributes of any activity.
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STILL LIFE
French nature morte – dead nature), one of the genres of painting. Still lifes depict gifts of nature (fruits, flowers, fish, game), as well as things made by human hands (tableware, vases, watches, etc.). Sometimes inanimate objects coexist with living beings - insects, birds, animals and people.
Still lifes included in plot compositions are already found in painting Ancient world(wall paintings in Pompeii). There is a legend that the ancient Greek artist Apelles depicted grapes so skillfully that the birds mistook them for real ones and began to peck them. Still life emerged as an independent genre in the 17th century. and at the same time experienced its bright heyday in the work of Dutch, Flemish and Spanish masters.
There were several types of still life in Holland. The artists painted “breakfasts” and “desserts” in such a way that it seemed as if the person was somewhere nearby and would soon return. A pipe is smoking on the table, a napkin is crumpled, the wine in the glass is not finished, the lemon is cut, the bread is broken (P. Klas, V. Kheda, V. Kalf). Also popular were images of kitchen utensils, vases with flowers and, finally, “Vanitas” (“vanity of vanities”), still lifes on the theme of the frailty of life and its short-term joys, calling to remember true values and take care of the salvation of the soul. Favorite attributes of “Vanitas” are a skull and a watch (J. van Streck. “Vanity of vanities”). Dutch still lifes, as well as 17th century still life in general, are characterized by the presence of a hidden philosophical implications, complex Christian or love symbolism (the lemon was a symbol of moderation, the dog - fidelity, etc.) At the same time, artists with love and delight recreated in still lifes the diversity of the world (the shimmer of silk and velvet, heavy carpet tablecloths, the shimmer of silver, juicy berries and noble wine). The composition of still lifes is simple and stable, subordinated to the diagonal or pyramid shape. The main “hero” is always highlighted in it, for example a glass, a jug. Masters subtly build relationships between objects, contrasting or, conversely, comparing their color, shape, surface texture. Carefully written out the smallest details. Small in format, these paintings are designed for close examination, long contemplation and comprehension of their hidden meaning.
The Flemings, on the contrary, painted large, sometimes huge canvases intended to decorate palace halls. They are distinguished by their festive multicolor, abundance of objects, and complexity of composition. Such still lifes were called “shops” (J. Veit, F. Snyders). They depicted tables littered with game, seafood, bread, and next to them were owners offering their goods. The abundant food, as if it did not fit on the tables, hung and fell right onto the audience.
Spanish artists they preferred to limit themselves to a small set of objects and worked in a restrained color scheme. Dishes, fruits or shells in the paintings of F. Zurbaran and A. Fronts are sedately placed on the table. Their forms are simple and noble; they are carefully sculpted with chiaroscuro, almost tangible, the composition is strictly balanced (F. Zurbaran. “Still Life with Oranges and Lemons”, 1633; A. Pereda. “Still Life with a Clock”).
In the 18th century The French master J.-B. turned to the genre of still life. S. Chardin. His paintings, depicting simple, good-quality utensils (bowls, copper tanks), vegetables, simple foods, are filled with the breath of life, warmed by the poetry of the hearth and affirm the beauty of everyday life. Chardin also painted allegorical still lifes (“Still Life with Attributes of the Arts”, 1766).
In Russia, the first still lifes appeared in the 18th century. V decorative paintings on the walls of palaces and “fake” paintings, in which objects were reproduced so accurately that they seemed real (G.N. Teplov, P.G. Bogomolov, T. Ulyanov). In the 19th century trompe l'oeil traditions have been rethought. The still life experiences a rise in the first half. 19th century in the works of F. P. Tolstoy, who rethought the traditions of “tricks” (“Berries of red and white currants”, 1818), artists of the Venetian school, I. T. Khrutsky. Artists sought to see beauty and perfection in everyday objects.
A new flowering of the genre is coming at the end. 19 – beginning 20th century, when still life became a laboratory for creative experiments, a means of expressing the artist’s individuality. Still life occupies a significant place in the work of the post-impressionists - V. Van Gogh, P. Gauguin and, above all, P. Cezanne. The monumentality of the composition, spare lines, elementary, rigid forms in Cezanne’s paintings are intended to reveal the structure, the basis of the thing and remind of the immutable laws of the world order. The artist sculpts the form with color, emphasizing its materiality. At the same time, the subtle play of colors, especially cold blue, gives his still lifes a feeling of air and spaciousness. The line of Cezanne still life was continued in Russia by the masters of the “Jack of Diamonds” (I. I. Mashkov, P. P. Konchalovsky, etc.), combining it with the traditions of Russian folk art. The artists of “The Blue Rose” (N. N. Sapunov, S. Yu. Sudeikin) created nostalgic, antique-style compositions. The still lifes of K. S. Petrov-Vodkin are imbued with philosophical generalizations. In the 20th century P. Picasso, A. Matisse, D. Morandi solved their creative problems in the still life genre. In Russia the greatest masters This genre included M. S. Saryan, P. V. Kuznetsov, A. M. Gerasimov, V. F. Stozharov and others.
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Still life Still life
(French nature morte, Italian natura morta, literally - dead nature; Dutch stilleven, German Stilleben, English still life, literally - quiet or motionless life), a genre of fine art (mainly easel painting), which is dedicated to the image things surrounding a person, placed, as a rule, in a real everyday environment and compositionally organized into a single group. The special organization of the motive (the so-called staging) is one of the main components figurative system still life genre. In addition to inanimate objects (for example, objects household items), in a still life they depict objects of living nature, isolated from natural connections and thereby turned into a thing - fish on the table, flowers in a bouquet, etc. Complementing the main motive, a still life may include images of people, animals, birds, insects. The depiction of things in a still life has its own artistic value, although in the process of development it often served to express symbolic content, solving decorative problems or scientifically accurate recording of the objective world, etc. At the same time, a still life can characterize not only things in themselves, but also social status, the content and lifestyle of their owner, give rise to numerous associations and social analogies.
Still life motifs as details of compositions are found already in the art of the Ancient East and antiquity; some phenomena in medieval art are partly comparable to still life Far East(for example, the so-called “flowers-birds” genre), but the birth of still life as an independent genre occurs in modern times, when in the works of Italian and especially Dutch masters of the Renaissance, attention to the material world and its concrete, sensual image developed. The history of still life as a genre of easel painting, and in particular its type of "trompe l"oeil" (the so-called trompe l'oeil), is opened by the illusionistically accurately recreating objects of the "Still Life" of the Italian Jacopo de Barbari (1504). The spread of the still life genre occurs in the second half of the 16th century - the beginning XVII centuries, which was facilitated by the natural scientific inclinations characteristic of this era, the interest of art in everyday life and privacy man, as well as the very development of methods of artistic exploration of the world (the works of the Dutchman P. Aertsen, the Fleming J. Bruegel Velvet, etc.).
The heyday of still life - the 17th century. The diversity of its types and forms at this time is associated with the development of national realistic schools of painting. In Italy and Spain, the rise of still life painting was greatly facilitated by creativity of Caravaggio and his followers ( cm. Caravaggism). The favorite themes of still life were flowers, vegetables and fruits, seafood, kitchen utensils, etc. (P. P. Bonzi, M. Campidoglio, G. Recco, G. B. Ruoppolo, E. Baskenis, etc.). Spanish still life is characterized by sublime severity and special significance in the depiction of things (X. Sanchez Cotan, F. Zurbaran, A. Pereda, etc.). Interest in the everyday nature of things, intimacy, and often democratic images were clearly manifested in Dutch still life. It is characterized by special attention to the transfer of the light environment, the varied texture of materials, the subtlety of tonal relationships and color structure - from the exquisitely modest coloring of the “monochrome breakfasts” of V. Kheda and P. Klas to the intensely contrasting, coloristically effective compositions of V. Kalf (“desserts”) "). Dutch still life is distinguished by an abundance of different types of this genre: “fish” (A. Beyeren), “flowers and fruits” (J. D. de Heem), “dead game” (J. Wenicke, M. Hondekoeter), allegorical still life “vanitas” " ("vanity of vanities"), etc. Flemish still life (mainly "markets", "shops", "flowers and fruits") is distinguished by the scope and at the same time decorativeness of the compositions: these are hymns to fertility and abundance (F. Snyders, J. Veit) , In the 17th century. German (G. Flegel, K. Paudis) and French (L. Bozhen) still life also developed. WITH late XVII V. in French still life, decorative tendencies of court art triumphed ("flowers" by J. B. Monnoyer and his school, hunting still life by A. F. Deporte and J. B. Oudry). Against this background, the works of one of the most significant masters of French still life, J. B. S. Chardin, stand out with genuine humanity and democracy, marked by the rigor and freedom of compositions, and the subtlety of coloristic solutions. IN mid-18th century V. During the period of the final formation of the academic hierarchy of genres, the term “nature morte” arose, which reflected the disdainful attitude towards this genre of supporters of academicism, who gave preference to genres whose area was “living nature” ( historical genre, portrait, etc.).
In the 19th century The fate of still life was determined by leading masters of painting, who worked in many genres and involved still life in the struggle of aesthetic views and artistic ideas (F. Goya in Spain, E. Delacroix, G. Courbet, E. Manet in France). Among the 19th century masters who specialized in this genre, A. Fantin-Latour (France) and W. Harnett (USA) also stand out. New rise still life was associated with the performance of the masters of post-impressionism, for whom the world of things became one of the main themes (P. Cezanne, V. van Gogh). Since the beginning of the 20th century. still life is a kind of creative laboratory of painting. In France, the masters of Fauvism (A. Matisse and others) follow the path of acute identification of the emotional and decorative-expressive capabilities of color and texture, and representatives of Cubism (J. Braque, P. Picasso, X. Gris, etc.), using the inherent in the specifics of still life, artistic and analytical possibilities, strive to establish new ways of conveying space and form. Still life also attracts masters of other movements (A. Kanoldt in Germany, G. Morandi in Italy, S. Lucian in Romania, B. Kubista and E. Filla in the Czech Republic, etc.). Social trends in still life of the 20th century are represented by the works of D. Rivera and D. Siqueiros in Mexico, R. Guttuso in Italy.
Still life appeared in Russian art in the 18th century. together with the establishment of secular painting, reflecting the cognitive pathos of the era and the desire to truthfully and accurately convey the objective world (the “tricks” of G. N. Teplov, P. G. Bogomolov, T. Ulyanov, etc.). The further development of Russian still life for a considerable time was episodic. Its slight rise in the first half of the 19th century. (F. P. Tolstoy, school of A. G. Venetsianov, I. T. Khrutsky) is associated with the desire to see beauty in the small and ordinary. In the second half of the 19th century. I. N. Kramskoy, I. E. Repin, V. I. Surikov, V. D. Polenov, I. I. Levitan only occasionally turned to still life of a sketch nature; auxiliary meaning of still life in artistic system The Wanderers followed from their idea of the dominant role of the plot and thematic picture. The independent significance of the still life sketch increases by turn of the 19th century and 20th centuries (M. A. Vrubel, V. E. Borisov-Musatov). The heyday of Russian still life occurred at the beginning of the 20th century. To his the best examples include impressionistic works by K. A. Korovin, I. E. Grabar; works of artists from the “World of Art” (A. Ya. Golovin and others) subtly playing up the historical and everyday nature of things; acute decorative images P. V. Kuznetsov, N. N. Sapunov, S. Yu. Sudeikin, M. S. Saryan and other painters of the Blue Rose circle; bright, imbued with the fullness of being, still lifes of the masters of the “Jack of Diamonds” (P. P. Konchalovsky, I. I. Mashkov, A. V. Kuprin, V. V. Rozhdestvensky, A. V. Lentulov, R. R. Falk, N. S. Goncharova). Soviet still life, developing in line with art socialist realism, is enriched with new content. In the 20-30s. it includes philosophical understanding modernity in works heightened in composition (K. S. Petrov-Vodkin), and thematic “revolutionary” still lifes (F. S. Bogorodsky and others), and attempts to again tangibly find the “thing” rejected by the so-called non-objective people through experiments in the field of color and textures (D.P. Shterenberg, N.I. Altman), and a full-blooded recreation of the colorful richness and diversity of the objective world (A.M. Gerasimov, Konchalovsky, Mashkov, Kuprin. Lentulov, Saryan, A.A. Osmerkin, etc. ), as well as the search for subtle coloristic harmony, poeticization of the world of things (V.V. Lebedev, N.A. Tyrsa, etc.). In the 40-50s. still lifes that are significantly diverse in style, reflecting significant features modern eras, created by P.V. Kuznetsov, Yu.I. Pimenov and others. In the 60-70s. P. P. Konchalovsky, V. B. Elkonik, V. F. Stozharov, A. Yu. Nikich are actively working in still life. Among the masters of still life in the Union republics, A. Akopyan in Armenia, T. F. Narimanbekov in Azerbaijan, L. Svemp and L. Endzelina in Latvia, N. I. Kormashov in Estonia stand out. The tendency towards increased “objectivity” of the image, the aestheticization of the world of things around a person, led to an interest in still life among young artists of the 70s and early 80s. (Ya. G. Anmanis, A. I. Akhaltsev, O. V. Bulgakova, M. V. Leis, etc.).
V. Kheda. "Breakfast with blackberry pie." 1631. Picture gallery. Dresden.
P. Cezanne. "Peaches and pears." Late 1880s Museum fine arts named after A.S. Pushkin. Moscow.
K. S. Petrov-Vodkin. "Morning still life." 1918. Russian Museum. Leningrad.
I. I. Mashkov. "Moscow food: breads." 1924. Tretyakov Gallery. Moscow.
Source: "Popular Art Encyclopedia." Ed. Polevoy V.M.; M.: Publishing house " Soviet encyclopedia", 1986.)
still life(French nature morte - dead nature), one of the genres of painting. Still lifes depict gifts of nature (fruits, flowers, fish, game), as well as things made by human hands (tableware, vases, watches, etc.). Sometimes inanimate objects coexist with living beings - insects, birds, animals and people.
Still lifes included in plot compositions are already found in the painting of the Ancient World (wall paintings in Pompeii). There is a legend that the ancient Greek artist Apelles depicted grapes so skillfully that the birds mistook them for real ones and began to peck them. Still life emerged as an independent genre in the 17th century. and at the same time experienced its bright heyday in the work of Dutch, Flemish and Spanish masters.
There were several types of still life in Holland. The artists painted “breakfasts” and “desserts” in such a way that it seemed as if the person was somewhere nearby and would soon return. A pipe is smoking on the table, a napkin is crumpled, the wine in the glass is not finished, the lemon is cut, the bread is broken (P. Klas, V. Kheda, V. Kalf). Also popular were images of kitchen utensils, vases with flowers and, finally, “Vanitas” (“vanity of vanities”), still lifes on the theme of the frailty of life and its short-term joys, calling to remember true values and take care of the salvation of the soul. Favorite attributes of “Vanitas” are a skull and a watch (J. van Streck. “Vanity of Vanities”). Dutch still lifes, as well as 17th century still life in general, are characterized by the presence of hidden philosophical overtones, complex Christian or love symbolism (the lemon was a symbol of moderation, the dog - fidelity, etc.) At the same time, artists with love and delight recreated in still lifes the diversity of the world (shimmering silks and velvets, heavy carpet tablecloths, shimmering silver, juicy berries and noble wine). The composition of still lifes is simple and stable, subordinated to the diagonal or pyramid shape. The main “hero” is always highlighted in it, for example a glass, a jug. Masters subtly build relationships between objects, contrasting or, conversely, comparing their color, shape, surface texture. The smallest details are carefully written out. Small in format, these paintings are designed for close examination, long contemplation and comprehension of their hidden meaning.
The Flemings, on the contrary, painted large, sometimes huge canvases intended to decorate palace halls. They are distinguished by their festive multicolor, abundance of objects, and complexity of composition. Such still lifes were called “benches” (Ya. Feit, F. Snyders). They depicted tables littered with game, seafood, bread, and next to them were owners offering their goods. The abundant food, as if it did not fit on the tables, hung and fell right onto the audience.
Spanish artists preferred to limit themselves to a small set of objects and worked in a restrained color scheme. Dishes, fruits or shells in the paintings of F. Zurbaran and A. The fronts are sedately placed on the table. Their forms are simple and noble; they are carefully sculpted with chiaroscuro, almost tangible, the composition is strictly balanced (F. Zurbaran. “Still Life with Oranges and Lemons”, 1633; A. Pereda. “Still Life with a Clock”).
In the 18th century The French master J.-B. turned to the genre of still life. WITH. Chardin. His paintings, depicting simple, good-quality utensils (bowls, a copper tank), vegetables, simple foods, are filled with the breath of life, warmed by the poetry of the hearth and affirm the beauty of everyday life. Chardin also painted allegorical still lifes (“Still Life with Attributes of the Arts”, 1766).
In Russia, the first still lifes appeared in the 18th century. in decorative paintings on the walls of palaces and “fake” paintings, in which objects were reproduced so accurately that they seemed real (G. N. Teplov, P. G. Bogomolov, T. Ulyanov). In the 19th century trompe l'oeil traditions have been rethought. Still life experiences a rise in the first half. 19th century in the works of F.P. Tolstoy, who rethought the traditions of “blemneys” (“Berries of red and white currants”, 1818), artists Venetsian school, I. T. Khrutsky. Artists sought to see beauty and perfection in everyday objects.
A new flowering of the genre is coming at the end. 19 – beginning 20th century, when still life became a laboratory for creative experiments, a means of expressing the artist’s individuality. Still life occupies a significant place in the work of the Post-Impressionists - V. Van Gogh, P. Gauguin and above all P. Cezanne. The monumentality of the composition, spare lines, elementary, rigid forms in Cezanne’s paintings are intended to reveal the structure, the basis of the thing and remind of the immutable laws of the world order. The artist sculpts the form with color, emphasizing its materiality. At the same time, the subtle play of colors, especially cold blue, gives his still lifes a feeling of air and spaciousness. The line of Cezanne still life painting was continued in Russia by masters " Jack of Diamonds"(I.I. Mashkov, P.P. Konchalovsky etc.), combining it with the traditions of Russian folk art. Artists "Blue Rose"(N.N. Sapunov, S. Yu. Sudeikin) created nostalgic, antique-style compositions. The still lifes of K.S. are imbued with philosophical generalizations. Petrova-Vodkina. In the 20th century P. solved his creative problems in the still life genre. Picasso, A. Matisse, D. Morandi. In Russia, the greatest masters of this genre were M.S. Saryan, P.V. Kuznetsov, A. M. Gerasimov, V. F. Stozharov and others.
What is still life?
Still life (from the French nature morte - “dead nature”) is a genre of art that depicts inanimate objects in a specially created composition.
Let's take a closer look at what a still life is and what types it can be divided into.
17th century Dutch still life
In the Dutch still life of this era, for the most part, measured, seemingly frozen life was captured.
At this time in Holland, still life as a genre developed quite intensively, which was facilitated by various factors. At this time, the level of scientific development in mathematics, physics, natural sciences, and social sciences was high. Sailors brought many new items from abroad, new technologies for making various things emerged, and many different beautiful goods were displayed in the windows.
There are two types of popular still lifes at this time - floral and scientist.
Flower still life
Since the 40s In the 17th century, still life began to develop as an independent genre. Its popularity is easily explained: at that time it was considered traditional to have luxurious gardens and to actively grow flowers.
Representatives: Ambrosius Bosschaert the Elder, Balthasar van der Ast, Jan David de Hem.
Scientist still life
It is considered an intellectual type of still life. To understand such a still life, a person needs to understand the Bible and religious symbolism. This genre often uses illusions to create optical illusions. They gained the greatest popularity in the middle of the 17th century in Holland and abroad.
Popular artists include the following: Jacob de Geyn the Younger, Floris van Dyck, Hans van Essen, Amborius Bosschaert the Elder and the Younger, Clara Peters, David Bayly, Maria van Oosterwijk, Cornelis Briese, Abraham Mignon, Willem van Aalst, Jan van Huysum.
Still life in Russia XVIII-XX centuries.
Still life took shape as a genre in Russia at the beginning of the 18th century. Until the 19th century, it was considered a lower genre; it was understood in a limited way, mainly as a simple composition, for example, a setting of fruits and flowers. Initially, still life depicted gifts of the sea and land, various things.
In the 20th century, this genre rose a notch higher; this was the time of its heyday in Russia. The search for new colors, shapes, and compositions began. Within literally 15 years, still life changed from impressionism to abstract art.
In the 30-40s. In the twentieth century, the development of the genre slowed down a bit, but in the 50s there was a new rise, and still life strengthened its position among other painting genres.
Russian artists working at this time: Pyotr Konchalovsky, Viktor Teterin, Sergei Zakharov, Nikolai Pozdneev, Ilya Meshkov, Konstantin Korovin, Sergei Osipov, Maya Kopytseva, Evgenia Antipova, Yaroslav Krestovsky, Kapitolina Rumyantseva, etc.
Still life of the XX-XXI centuries.
Still life in this era is a wide field for experimentation. This genre develops in various areas:
Now, knowing what a still life is, if you wish, you can practice in this genre. The article will be useful to you; you will also find useful materials in the section.
Still life as an independent genre of painting finally took shape in the 17th century. in the works of Dutch and Flemish artists.
Until that time, it was not an independent genre, but was only included in other genres as a frame for other paintings (for example, with flower garlands), decorating furniture, interiors, etc.
Term
The word “still life” translated from French means “dead nature” (nature morte). Flowers in a vase are a still life; the same flowers in a flowerbed or in the front garden - landscape. In a broad sense, still life is artistic image inanimate objects: plants, game, dishes, etc. The artist does not depict objects “from nature”, as they are located in the interior, but deliberately arranges them in such a way as to solve some of his own semantic and artistic problems.
Often still lifes contain a hidden allegory through the use of ordinary objects, which the artist endows with symbol, additional meaning and meaning. An example of an allegorical still life is vanitas (from the Latin vanitas “vanity, vanity”).
Varieties of still life
Vanitas
Michael Conrad Hirt. Vanitas
Vanitas is an allegorical still life. Usually it depicts, among other things, a skull. Such a still life is intended to remind us of the transience of life, the futility of pleasures and the inevitability of death - reflection on the meaning of human existence. The term is taken from a verse from the Bible: “Vanity of vanities, said Ecclesiastes, vanity of vanities, all is vanity!” In Latin it sounded like this: “ Vanitas vanitatum dixit Ecclesiastes vanitas vanitatum omnia vanitas" You can read more about vanitas.
Dutch still life
Dutch still life, formed in the 17th century. as an independent genre, influenced the further development of all European painting. It turns out that ordinary objects also live, but their life is quiet and unnoticeable to humans. There is some kind of mystery in this. Apparently, this is why the genre of still life became popular and has survived to this day. Sometimes a still life attracts the eye, excites the senses, it is impossible to tear yourself away from it - some associations arise, fleeting memories...
Flower still life
This type of still life is perhaps the most common and the very first to emerge as a separate genre.
Jan Davids de Heem (1606-1684). Still life with flower vase (circa 1645). National Gallery arts (Washington)
Traditionally, many flowers were grown in the Netherlands and gardens were planted, so floral still lifes were a natural extension of social life. The very first artists of this genre were Ambrosius Bosschaert the Elder (1573-1621) and Balthasar van der Ast (1593-1657).
Ambrosius Bosshart the Elder "Tulips, roses, white and pink carnations, forget-me-nots and other flowers in a vase" (circa 1619). Oil on copper
Scientist still life
The most intellectual type of still life. Such still lifes required reflection on what was depicted, and for this, knowledge of the Bible and other knowledge about the world. Vanitas can also be included in this category, but the scientific still life has a broader theme: it contains books, musical instruments, etc.
Maria van Oosterwijk. Still life
D. Annenkov “Reflections with Baudelaire”
Still life in Russian painting
In Russia, still life as an independent genre appeared at the beginning of the 18th century. But for some time (almost until the end of the 19th century) still life was considered a lower genre and depicted only flowers and fruits.
A famous artist of this genre in the 19th century. there was I. Khrutsky.
I. Khrutsky. Still Life with Vase (1832)
I. Khrutsky “Flowers and Fruits” (1838)
In the 20th century Russian still life painting became equal among other genres. Artists worked on the perfection of color, form, composition, and the genre began to develop rapidly.
Famous Russians and Soviet artists who worked and are working in the genre of still life: Konstantin Korovin (1861-1939), Igor Grabar (1871-1960), Pyotr Konchalovsky (1876-1956), Kuzma Petrov-Vodkin (1878-1939), Martiros Saryan (1880-1972), Ilya Mashkov (1881-1944), Elena Skuin (1909-1986), Peter Alberti (1913-1994), Sergei Osipov (1915-1985), Evgenia Antipova (1917-2009), Victor Teterin (1922-1991), Maya Kopytseva (1924-2005), Yaroslav Krestovsky (1925-2003), Vladimir Stozharov (1926-1973), Boris Shamanov (1931-2008), etc.
E. Skuin “Peonies and Cherries” (1956)
V. Stozharov. Still Life with Rowan (1969)
Still life in various styles and art movements
Turn of the XIX-XX centuries. known for experiments in the field artistic creativity. Still life also did not escape this fate. The first to experiment with still life were Paul Cézanne, Paul Gauguin, Henri Matisse and others.
P. Cezanne. Still life with drapery (1889). Hermitage (St. Petersburg)
The cubist P. Picasso boldly experimented.
P. Picasso “Jug, glass and book” (1908)
J. Braque also worked in the Cubist style.
J. Marriage " Musical instruments"(1908)
Cubo-futurists worked in search of a new space-time dimension.
K. Malevich “Cow and Violin” (1913). State Russian Museum (St. Petersburg)
His “... intuitive feeling found in things the energy of dissonance obtained from the meeting of two opposite forms” (K. Malevich “From Cubism and Futurism to Suprematism”).
In the metaphysical still lifes of Giorgio Morandi (1890-1964), objects press against each other, forming dense groups, as if trying to preserve warmth, fearing external cold and aggression.
Giorgio Morandi. Natura Morta (1956)
Most famous representative surrealism Salvador Dali in his famous work “The Persistence of Memory,” which is essentially an allegorical still life, reflects on the relativity of time.
S. Dali “The Persistence of Memory” (1931)
Commercial advertising of the second half of the 20th century. fostered in people a greedy attitude towards things and insatiable consumption. There is a fetishization of the subject. Elements of the still life genre are beginning to transform from art into a source of consumption.
Andy Warhol "Campbell's Soup Can" (1968)
Dmitry Krasnopevtsev represents Russian “unofficial” art, although he has a completely official classical art education (graduated from the Moscow Art Institute named after V. I. Surikov).
D. Krasnopevtsev. Still life
Krasnopevtsev’s main genre is “metaphysical still life” close to surrealism with simple, often broken ceramics, dry plants and shells. These works, written in ashen tones, develop the motif of the frailty and unreality of the world.
Here are still life paintings contemporary artist Dmitry Annenkov is quite “animated”. They are different: joyful, sad, funny, but quite alive. I want to touch them. Looking at these still lifes, it is impossible not to smile kindly.
D. Annenkov “Still life with a coffee grinder”
D. Annenkov “Spring Sun”
D. Annenkov “Memories of Summer”
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