Slide 2

Household genre in Russia.

In the seventies of the 19th century, a new creative association, independent of the Academy of Arts, arose - the Association of Traveling Art Exhibitions. The organization of the Itinerants very soon turned into the largest center of artistic life in Russia, into a stronghold of the new realistic direction in painting, and the Imperial Academy of Arts, although it remained the official governing body in the field of art, increasingly lost its authority and this role of the main center.

Slide 3

Created on the initiative of G.G. Myasoedova, N.N. Ge, V.G. Perov, the Partnership included in its membership the advanced forces of Russian democratic artistic culture. The ideological and organizational leader of the Peredvizhniki for many years was I.N. Kramskoy.

Slide 4

In their work, the Peredvizhniki, based on the realistic method, deeply and comprehensively reflected the contemporary life of the working people of Russia. The everyday genre was the leading one in their work. The art of portraiture, remarkable for its richness of socio-psychological characteristics, also occupied an important place among them. Many of the works of the Peredvizhniki are dedicated to Russian history, in which their attention was especially attracted by the dramatic popular movements. These works were marked by the depth of historical knowledge of the past. In their landscape works, the Peredvizhniki turned to simple, ordinary motifs of their native nature, creating paintings imbued with a patriotic feeling and great social content. A significant number of works by the Peredvizhniki reproduced images of folk art and literature. Truthfully depicting events and scenes from life, in their works they pronounced judgment on the surrounding reality and exposed the cruel oppression of the people. At the same time, the Wanderers showed the heroic struggle of the people for social and national liberation, wisdom, beauty, strength of the working man, diversity and poetic charm of their native nature.

Slide 5

Household genre in Russia.

With their creativity, the Peredvizhniki actively participated in the broad general democratic movement of the era, in the struggle of progressive social forces against autocracy and the remnants of serfdom in Tsarist Russia. That is why the Itinerants were supported by the advanced part of society. Throughout the 70-80s of the 19th century, the work of the Itinerants deepened and improved. Their organization grew stronger, gaining more and more authority and popularity among the general public.

Slide 6

From the very beginning of his independent creative activity, Perov took the path of social satire, which received widespread development in his art. Perov entered painting as a genre painter. In his early works, he used the achievements of his predecessor, the founder of critical realism in painting - P. A. Fedotov, whose works for the first time explained the social meaning of the depicted phenomena. Fedotov was Perov’s predecessor in his views on the tasks of art. Perov posed in his work a new, most pressing problem of his time, related to the situation of the peasants. Neither Fedotov nor Perov’s other predecessor, Venetsianov, touched on this problem.

Slide 7

Historical themes in Perov's paintings.

Perov has been interested in historical topics for a long time. It is known that while still at the School of Painting and Sculpture, he made sketches for “Stepan Razin”. Now, many years later, having approached the creation of a historical painting as a mature master, Perov set a very difficult task - to write a triptych in which he intended to unfold the history of the Pugachev uprising. In the first picture of the triptych, he wanted to reveal the causes of the uprising, in the second - to depict the uprising itself, and in the third - to convey reprisals against the landowners. But out of the entire triptych, he managed to paint only the third picture - “Pugachev’s Court”.

Slide 8

The large multi-figure painting “Nikita Pustosvyat” (1881) testifies to the artist’s enormous work in the field of historical painting. But, taking up the plot from the schismatic movement at the turn of the 17th-18th centuries, which united various opposition groups, Perov also could not provide a satisfactory solution to the task he set, although, perhaps, he came a little closer to realizing his plan. And yet, despite the failures, Perov was the only one of the entire galaxy of contemporary painters who correctly understood the problem of historical painting. He sought to show the people as the driving force of history. Perov did not succeed, but he outlined ways to solve this problem - and this is his great merit.

Slide 9

The significance of Perov in the history of Russian painting is enormous. He was one of the first among artists to speak out against the blatant lack of rights and oppression in which the Russian peasantry found itself in post-reform Russia. Revealing the ulcers of the social system of Tsarist Russia, Perov mercilessly denounced everything that oppressed the people and humiliated their human dignity. Having enriched almost all genres of painting, he outlined ways for their further development. With his deep ideological purposefulness, Perov sets an example of patriotic service to his homeland, his people. His art excites the modern Soviet viewer with its depth of thought and high skill.

Slide 10

The painter always combined creative work with active social activities. It was he who took the initiative to create a new type of artist organization - the Association of Traveling Art Exhibitions. The idea of ​​such an organization originated with Myasoedov back in 1867, when he was abroad and had the opportunity to observe the activities of European artists in organizing traveling exhibitions, held mainly for commercial purposes.

Slide 11

On November 29, 1871, the first traveling art exhibition opened in St. Petersburg, which was then shown in Moscow, Kyiv and Kharkov. Myasoedov presented for this exhibition the painting “Grandfather of the Russian Fleet. (Boat of Peter I)” (1871), in which the solution to the historical theme is given in everyday terms.

Slide 12

Creativity of Myasoedov.

Studying the life of the Russian peasantry leads Myasoedov to stories telling about ancient beliefs and customs, their role in the life of the people. Thus, in the painting “Plowing” (1876) an ancient ritual action is shown: peasants plow the village from evil spirits, harnessing naked girls to the plow.

Slide 13

1878-80 Myasoedov is working on two versions of “Drought,” which features a prayer service in a field. In parallel, there is a search in the field of historical topics: the artist paints the painting “Self-Burners” (1882-84), the plot of which is very closely related to previous genre paintings.

Slide 14

By the beginning of the 1880s. A new stage is emerging in Myasoedov’s work. In the landscape “Road in the Rye” (1881), the simplicity and expressiveness of the motif is striking: the figure of a lonely wanderer receding towards the horizon among an endless rye field. The artist seems to open up the possibility of a more generalized, monumental solution to the genre painting, which was fully manifested in “Mowers” ​​(1887). The author here glorifies the joyful side of life, conveys the beauty of peasant labor, its measured, harmonious, almost musical rhythm. The very dimensions of the canvas (159x275 cm) indicate the importance of the theme of the painting for the artist. At the same time, its solution is not without certain contradictions. By completely abandoning the critical principle, the artist thereby abandoned the basic principle of the artistic system of the 1870s.

Slide 15

Having not mastered a new figurative language and not being prepared to perceive the artistic ideas of a new generation of painters, Myasoedov was among those representatives of the Association of Traveling Art Exhibitions who, at the turn of the 1880s and 1890s. they did not want to allow young artists into their ranks. The last years of the artist’s life did not contribute anything significant to his work.

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Expand your horizons, teach you to see the beauty in ordinary people and the events of everyday life.

• Expand your horizons, teach you to see the beauty in ordinary people and the events of everyday life.
• Give the concept of “everyday genre”.
• Introduce the works of Russian painters P.A. Fedotov. and Perova V.G., Reshetnikova P. and Plastova A.
• Conduct moral education through the perception of paintings from the everyday genre.
• Activate thought processes and conversation skills.

In fine arts, based on the subject of the image, there are -

• In fine arts, based on the subject of the image, there are -
• portrait, still life, landscape.

EVERYDAY GENRE of fine art, dedicated to everyday (usually modern) private and public life. The tasks of the everyday genre include not only a reliable depiction of the relationships and behavior of people seen in life, but also the disclosure of the inner meaning and social content of everyday everyday phenomena.

• EVERYDAY GENRE of fine art, dedicated to everyday (usually modern) private and public life. The tasks of the everyday genre include not only a reliable depiction of the relationships and behavior of people seen in life, but also the disclosure of the inner meaning and social content of everyday everyday phenomena.

What artistic image did Perov want to convey in his paintings?

• What artistic image did Perov want to convey in his paintings?
• What is the main idea of ​​these 2 paintings?
• It is through compositional plot the artist builds the right one plot since in the plot there is a compositional center (which directs the viewer’s gaze to the main event, subsequently expressing in it the idea of ​​composition) and complementary parts that contribute to the definition of the compositional center.
• The law of subordination of the secondary to the main requires the artist to arrange objects in the picture in such a way that one object attracts attention to itself through others, so that all objects are turned to the main thing.

Before us is a typical post-war apartment. This can happen in both Moscow and Vladivostok. The situation is not rich, probably all the family members are in front of us - the war left them without a father, the main breadwinner, and all the concern for supporting three children fell on the shoulders of the mother - a young woman who was pretty exhausted by life.

• Before us is a typical post-war apartment. This can happen in both Moscow and Vladivostok. The situation is not rich, probably all the family members are in front of us - the war left them without a father, the main breadwinner, and all the concern for supporting three children fell on the shoulders of the mother - a young woman who was pretty exhausted by life.

• The center of attention is the boy himself, and three “rays” are directed towards him, as it were, three different attitudes towards him. Of course, the biggest “aggressor,” so to speak, is the excellent student sister. She is a diligent student, she is a pioneer, she is very responsible about her studies and everything connected with it. We can see how neatly she is dressed, how neatly she puts her textbooks, everything is in its place. In her gaze, reproach and dissatisfaction are clearly visible. The sister treats the boy, rather, not as a brother, but as a student who does not fulfill his duties.

Next to his mother, as if in contrast, the youngest son is depicted on a bicycle. Cheerful, full of energy, he looks at his brother with a grin and malice. Dog. She ran to the boy and jumped on him in a friendly manner, she was glad of his arrival, she loved him, and she had no idea what he got there. Everything can still be fixed, the main thing is that there is a desire. If we look at the boy’s face, we will see that it expresses sadness, bitterness, shame, he stands with his shoulders down, and he is even ashamed to look into the eyes of his family.

• Next to his mother, as if in contrast, the youngest son is depicted on a bicycle. Cheerful, full of energy, he looks at his brother with a grin and malice. Dog. She ran to the boy and jumped on him in a friendly manner, she was glad of his arrival, she loved him, and she had no idea what he got there. Everything can still be fixed, the main thing is that there is a desire. If we look at the boy’s face, we will see that it expresses sadness, bitterness, shame, he stands with his shoulders down, and he is even ashamed to look into the eyes of his family.

Plastov's canvases are full of life-affirming power. Through color and thanks to color, he fills his paintings with a living, vibrant feeling. The artist says: “I love this life. And when you see it year after year... you think that you need to tell people about it... Our life is full and rich, there are so many amazingly interesting things in it that even the ordinary everyday affairs of our people attract attention and shake the soul. You have to be able to see it, notice it.”

• Plastov's canvases are full of life-affirming power. Through color and thanks to color, he fills his paintings with a living, vibrant feeling. The artist says: “I love this life. And when you see it year after year... you think that you need to tell people about it... Our life is full and rich, there are so many amazingly interesting things in it that even the ordinary everyday affairs of our people attract attention and shake the soul. You have to be able to see it, notice it.”

What genre of fine art were we talking about?

• What genre of fine art were we talking about?
• Explain the concept of “everyday genre”.
• Name the artists who worked in this genre?
• Name the picture that made the most impression on you and explain why.

This collection was created for everyone who helps children absorb the beauty of fine art from an early age. It's not easy to find outstanding paintings to show to little ones. Often these works contain content that we consider inappropriate for children.

We saved your time and made a selection of 11 paintings in the everyday genre. They can and should be considered with children. This is how we instill a love of art and creativity, and develop artistic taste.

Everyday genre (in painting) is a genre of fine art that involves painting scenes from people’s everyday lives, such as work and leisure, holidays and significant events. It appeared as a separate genre in the 16th century.

It is noteworthy that in Russian painting the everyday genre was formed in the second half of the 19th century. Then the St. Petersburg Academy of Arts officially recognized everyday painting, and the French word “genre” (genre) was adopted to denote it. Artists who created canvases on everyday subjects began to be called genre painters.

In ancient times in Rus', images with events of everyday life were called “everyday letters.”

11 Paintings in the Everyday Genre for Children

1. “Ball at the Moulin de la Galette”, Pierre Auguste Renoir, 1876, Orsay Museum, Paris.

2. “Memories of a Garden at Etten”, Vincent van Gogh, 1888

3. “The Lute Player”, Michelangelo Merisi da Caravaggio, 1595, Hermitage, St. Petersburg

4. “At the harvest. Summer”, 1820s, A. G. Venetsianov

5. “Haymaking”, A. A. Plastov, 1945, Tretyakov Gallery

6. “Capture of the snow town”, V. I. Surikov, 1891

7. “Young painter”, I. I. Firsov, 1760s.

8. “Swing”, Pierre Auguste Renoir, 1876

9. “Hunters at a rest”, V. G. Perov, 1871, oil on canvas. 119 × 183 cm, Tretyakov Gallery, Moscow

10. “Breakfast of an Aristocrat”, P. A. Fedotov, 1849, State Tretyakov Gallery, Moscow

11. “Morning”, Tatyana Nilovna Yablonskaya, 1954

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Presentation on the topic: Everyday genre in painting

Slide no. 1

Slide description:

Slide no. 2

Slide description:

Household genre in Russia. In the seventies of the 19th century, a new creative association, independent of the Academy of Arts, arose - the Association of Traveling Art Exhibitions. The organization of the Itinerants very soon turned into the largest center of artistic life in Russia, into a stronghold of the new realistic direction in painting, and the Imperial Academy of Arts, although it remained the official governing body in the field of art, increasingly lost its authority and this role of the main center.

Slide no. 3

Slide description:

Slide no. 4

Slide description:

In their work, the Peredvizhniki, based on the realistic method, deeply and comprehensively reflected the contemporary life of the working people of Russia. The everyday genre was the leading one in their work. The art of portraiture, remarkable for its richness of socio-psychological characteristics, also occupied an important place among them. Many of the works of the Peredvizhniki are dedicated to Russian history, in which their attention was especially attracted by the dramatic popular movements. These works were marked by the depth of historical knowledge of the past. In their landscape works, the Peredvizhniki turned to simple, ordinary motifs of their native nature, creating paintings imbued with a patriotic feeling and great social content. A significant number of works by the Peredvizhniki reproduced images of folk art and literature. Truthfully depicting events and scenes from life, in their works they pronounced judgment on the surrounding reality and exposed the cruel oppression of the people. At the same time, the Wanderers showed the heroic struggle of the people for social and national liberation, wisdom, beauty, strength of the working man, diversity and poetic charm of their native nature.

Slide no. 5

Slide description:

Household genre in Russia. With their creativity, the Peredvizhniki actively participated in the broad general democratic movement of the era, in the struggle of progressive social forces against autocracy and the remnants of serfdom in Tsarist Russia. That is why the Itinerants were supported by the advanced part of society. Throughout the 70-80s of the 19th century, the work of the Itinerants deepened and improved. Their organization grew stronger, gaining more and more authority and popularity among the general public.

Slide no. 6

Slide description:

From the very beginning of his independent creative activity, Perov took the path of social satire, which received widespread development in his art. Perov entered painting as a genre painter. In his early works, he used the achievements of his predecessor, the founder of critical realism in painting - P. A. Fedotov, whose works for the first time explained the social meaning of the depicted phenomena. Fedotov was Perov’s predecessor in his views on the tasks of art. Perov posed in his work a new, most pressing problem of his time, related to the situation of the peasants. Neither Fedotov nor Perov’s other predecessor, Venetsianov, touched on this problem.

Slide no. 7

Slide description:

Perov has been interested in historical topics for a long time. It is known that while still at the School of Painting and Sculpture, he made sketches for “Stepan Razin”. Now, many years later, having approached the creation of a historical painting as a mature master, Perov set a very difficult task - to write a triptych in which he intended to unfold the history of the Pugachev uprising. In the first picture of the triptych, he wanted to reveal the causes of the uprising, in the second - to depict the uprising itself, and in the third - to convey reprisals against the landowners. But out of the entire triptych, he managed to paint only the third picture - “Pugachev’s Court”. Historical themes in Perov's paintings.

Slide no. 8

Slide description:

The large multi-figure painting “Nikita Pustosvyat” (1881) testifies to the artist’s enormous work in the field of historical painting. But, taking up the plot from the schismatic movement at the turn of the 17th-18th centuries, which united various opposition groups, Perov also could not provide a satisfactory solution to the task he set, although, perhaps, he came a little closer to realizing his plan. And yet, despite the failures, Perov was the only one of the entire galaxy of contemporary painters who correctly understood the problem of historical painting. He sought to show the people as the driving force of history. Perov did not succeed, but he outlined ways to solve this problem - and this is his great merit. Historical themes in Perov's paintings.

Slide no. 9

Slide description:

The significance of Perov in the history of Russian painting is enormous. He was one of the first among artists to speak out against the blatant lack of rights and oppression in which the Russian peasantry found itself in post-reform Russia. Revealing the ulcers of the social system of Tsarist Russia, Perov mercilessly denounced everything that oppressed the people and humiliated their human dignity. Having enriched almost all genres of painting, he outlined ways for their further development. With his deep ideological purposefulness, Perov sets an example of patriotic service to his homeland, his people. His art excites the modern Soviet viewer with its depth of thought and high skill.

Slide description:

On November 29, 1871, the first traveling art exhibition opened in St. Petersburg, which was then shown in Moscow, Kyiv and Kharkov. Myasoedov presented for this exhibition the painting “Grandfather of the Russian Fleet. (Boat of Peter I)” (1871), in which the solution to the historical theme is given in everyday terms.

Slide no. 12

Slide description:

Creativity of Myasoedov. Studying the life of the Russian peasantry leads Myasoedov to stories telling about ancient beliefs and customs, their role in the life of the people. Thus, in the painting “Plowing” (1876) an ancient ritual action is shown: peasants plow the village from evil spirits, harnessing naked girls to the plow.

Slide description:

Creativity of Myasoedov. By the beginning of the 1880s. A new stage is emerging in Myasoedov’s work. In the landscape “Road in the Rye” (1881), the simplicity and expressiveness of the motif is striking: the figure of a lonely wanderer receding towards the horizon among an endless rye field. The artist seems to open up the possibility of a more generalized, monumental solution to the genre painting, which was fully manifested in “Mowers” ​​(1887). The author here glorifies the joyful side of life, conveys the beauty of peasant labor, its measured, harmonious, almost musical rhythm. The very dimensions of the canvas (159x275 cm) indicate the importance of the theme of the painting for the artist. At the same time, its solution is not without certain contradictions. By completely abandoning the critical principle, the artist thereby abandoned the basic principle of the artistic system of the 1870s.

Slide no. 15

Slide description:

Having not mastered a new figurative language and not being prepared to perceive the artistic ideas of a new generation of painters, Myasoedov was among those representatives of the Association of Traveling Art Exhibitions who, at the turn of the 1880s and 1890s. they did not want to allow young artists into their ranks. The last years of the artist’s life did not contribute anything significant to his work.