Artistic merits of the drama “Thunderstorm. Artistic merits of the drama "Thunderstorm. What are the undoubted artistic merits?"

The simplicity of Japanese hokku, the lack of rhymes and their brevity are a bit unusual for the European reader. Sometimes it seems that anyone can create such a masterpiece, but this is a deceptive impression. Japanese poets who write hokku have been working on each lyric miniature for years, bringing it to perfection, like a jewel shining with all its facets. Artistic detail in hokku reflects a whole world of feelings, thoughts, observations.

Real images in hokku are drawn in two or three words, but they evoke broad associations and different moods.

Even a hero knight

Near the blossoming sakura

Becomes an ordinary warrior.

In this hokku there are real images - a knight-hero, sakura, a simple warrior, and associations - victory, beauty, worship before something perfectly simple, innocent. The mood is thoughtful, calm, peaceful, surprised.

During sakura blossom

Mountains will not add beauty

Even the morning dawn -

artistic images of spring, blooming garden, morning dawn.

The artistic images of the hokku are rich, roomy and bright; artistic means are few or practically absent. The poetry of hokku lies in the selection and placement of ordinary words.

Before the beauty of flowers

Was the moon ashamed? -

Hid behind a cloud

the image of the night is created in one word - "moon". Nature is humanized - the moon is "ashamed". The decoration of the night is not the full moon, but, probably, the scent of the sea of ​​flowers. Reading Hokku

Mountain rose!

Her needles are begging for

Hat decoration

it is easy to imagine: among the harsh rocks - a magic valley and a blooming miracle - a rose. The rose that conquered the stone earth, the winds, and the bad weather. I would like to keep such beauty around me for a longer time, but the plucked rose on the hat will quickly fade. Therefore, we will not destroy the living beauty, let us admire the beautiful flower and others. The landscape in this hokku is hidden, associative, expressed in just two words - "mountain rose". Even the exclamation mark at the end of the line affects the disclosure of this image - the highest degree of admiration.

The flowers are withered.

Sorrow covers the ground -

Grass seeds

nature is humanized. The metaphor “sorrow covers the earth” creates an image of autumn. Flowers have withered - this is sadness. But the seeds remained - the hope for the future young greenery. “Light sadness” here is the eternal hope for renewal, rebirth, and the continuity of generations.

In Basho, man and nature are inseparable. Nature is humanized, and man seems to dissolve in it, human life with youth and maturity finds its associations in flowering, ripening of fruits and seeds. Basho hokku themes are varied, but often intertwined, very associative, which corresponds to the concept of "yugen" - a subtle hint or subtext that creates the magic of understatement.

Having got acquainted with the composition of the novel "A Hero of Our Time", which is unusual and complex, I would like to note the artistic merits of the novel. Lermontov's landscape has a very important feature: it is closely connected with the experiences of the characters, expresses their feelings and moods, the whole novel is imbued with deep lyricism. This is where the passionate emotionality, the excitement of the descriptions of nature, is born, creating a sense of the musicality of his prose. The silvery thread of the rivers and the bluish fog sliding through the water, escaping into the gorges of the mountains from the warm rays, and the glitter of snow on the ridges - the precise and fresh colors of Lermontov's prose are very authentic. In “Bela” we admire the truthfully painted pictures of the morals of the highlanders, their harsh way of life, their poverty. Lermontov writes: “Saklya was stuck with one side to the rock, three wet steps led to its door. I groped my way in and bumped into a cow, I didn't know where to go: here sheep bleat, a dog grumbles there ”. The people of the Caucasus lived hard and sadly, oppressed by their princes, as well as by the tsarist government, which considered them "natives of Russia." Showing the shadow sides of the life of the mountaineers, Lermontov sympathizes with the people. The majestic pictures of mountain nature are drawn with great talent. The artistic description of nature in the novel is very important in revealing the image of Pechorin. In Pechorin's diary, we often come across a description of nature associated with certain thoughts, feelings, moods, and this helps us to penetrate into his soul, to understand many of his character traits. Pechorin is a poetic person, passionately in love with nature, able to figuratively convey what he sees. Often his thoughts about nature are intertwined with his thoughts about people, about himself. Pechorin masterfully describes the nature of the night / his diary, May 16 / with its lights in the windows and “gloomy, snowy mountains”. Sometimes pictures of nature serve as a pretext for thought, reasoning, comparison. An example of such a landscape is the description of the starry sky in the story "fatalist", the appearance of which leads him to reflect on the fate of a generation. Exiled to the fortress, Pechorin is bored, nature seems boring to him. The landscape here helps to understand the state of mind of the hero. This is served by the description of the agitated sea in the story "Taman". The picture that opens to Grigory from the square where the duel was supposed to take place, the view of the sun, the rays of which do not warm Pechorin after the duel - all nature is sad. Thus, we see that the description of nature occupies a large place a. disclosure of the personality of Pechorin. Only alone with nature does Pechorin experience the deepest joy. “I don’t remember a deeper and fresher morning!” - exclaims Pechorin, amazed by the beauty of the sunrise in the mountains. Pechorin's last hopes are directed to the endless expanses of the sea, to the sound of waves. Comparing himself to a sailor born and raised on the deck of a robber's brig, he says that he misses the coastal sand, listens to the roar of the oncoming waves and peers into the distance covered with fog. Lermontov was very fond of the sea, his poem "Sail" echoes the novel "A Hero of Our Time". Pechorin is looking for the desired "sail" in the sea. This dream did not come true neither for Lermontov, nor for the hero of his novel: the “desired sail” did not appear and did not rush them into another life, to other shores on the last pages of the novel. Pgchorin calls himself and his generation "miserable descendants, wandering the earth without conviction and pride, without pleasure and fear." The marvelous image of a sail is a longing for a failed life. The story "Princess Mary" opens with a wonderful landscape. Pechorin writes in his diary: "I have a wonderful view from three sides." Lermontov was highly appreciated by Chekhov. He wrote; “I don’t know a better language than Lermontov’s. I learned to write from him. ” The language of the novel "A Hero of Our Time" delighted the greatest masters of the word. “No one has ever written in our country with such correct, beautiful and fragrant prose,” Gogol said about Lermontov. Like Pushkin, Lermontov ^ sought the accuracy and clarity of each phrase, its perfection. The language of the novel is the fruit of the author's extensive work on the manuscripts. Pechorin's language is very poetic, the flexible structure of his speech testifies to a person of great culture with a subtle and perceptive mind. The richness of the language of the novel is based on Lermontov's personal attitude to nature. He wrote a novel in the Caucasus, nature inspired him. The central part of the novel, Pechorin's Diary, is characterized by a particularly in-depth psychological analysis. For the first time in Russian literature such a merciless exposure of a hero to his personality appears. The hero's experiences are analyzed by him with the "severity of a judge and a citizen." Pechorin says: "I am still trying to explain to myself what kind of feelings are boiling in my chest." The habit of introspection is complemented by the skills of constant observation of others. In essence, all Pechorin's relations with people are a kind of psychological experiments that interest the hero with their complexity, ”entertain him with luck for a while. This is the story with Bela, the story of the victory over Mary. The psychological "game" with Grushnitsky was similar, whom Pechorin was fooling about, claiming that Mary was not indifferent to him, so that later he could prove his deplorable mistake. Pechorin argues that "ambition is nothing more than a thirst for power, and happiness is just pompous pride." If A.S. Pushkin is considered to be the creator of the first realistic poetic novel about modernity, then, in my opinion, Lermontov is the author of the first socio-psychological novel in prose, his novel is distinguished by the depth of analysis of the psychological perception of the world, depicting his era, Lermontov subjects it to a deep critical analysis without succumbing to no illusions and delusions. Lermontov shows all the weakest sides of his generation: coldness of hearts, selfishness, fruitlessness of activity. The realism of A Hero of Our Time differs in many respects from the realism of Pushkin's novel. Pushing aside the everyday elements, the life story of the heroes, Lermontov focuses on their inner world, revealing in detail the motives that prompted one or another hero to do something. The author depicts all kinds of overflows of feelings with such depth, penetration and detail that the literature of his time did not yet know. Many considered Lermontov to be the predecessor of Leo Tolstoy, and I absolutely agree with this, it was from Lermontov that Tolstoy learned the techniques of revealing the inner world of characters, portraiture and speech style. Dostoevsky also proceeded from the creative experience of Lermontov, however, Lermontov's thoughts about the role of suffering in the spiritual life of a person, about the split of consciousness, about the collapse of the individualism of a strong personality turned in Dostoevsky's image of the painful tension and painful suffering of the heroes of his works. Pechorin's rebellious nature refuses joys and peace of mind. This hero is always “asking for the storm”. His nature is too rich in passions and thoughts, too free to be content with little and not demand great feelings, events, sensations from the world. Self-analysis is necessary for a modern person in order to correctly correlate his fate and destiny with real life, in order to understand his place in this world. Lack of conviction is a real tragedy for the hero and his generation. The "Pechorin's Journal" reveals a living, complex, rich, analytical work of the mind. This proves to us not only that the main character is a typical figure, but also that there are young people in Russia who are tragically lonely, Pechorin reckons himself among the pitiful descendants who wander the earth without conviction. He says: "We are no longer capable of great sacrifices, neither for the good of mankind, nor even for our own happiness." The same idea is repeated in Lermontov's poem “Duma”: We are rich, barely out of the cradle, by the mistakes of our fathers and their late minds, And life is already weary, like a straight path without a goal, Like a feast at a stranger's holiday. Every truly Russian person feels uneasy at the thought that M.Yu. Lermontov died early. Solving the moral problem of the goal of life, the main character of his work, Grigory Pechorin, could not find an application for his abilities. “Why did I live? For what purpose was I born? But, it is true, I had a high purpose, since I feel immense strength in my soul, ”he writes. In this uncertainty lie the origins of Pechorin's attitude to the people around him. He is indifferent to their experiences, therefore, without hesitation, he distorts other people's fates. Pushkin wrote about such young people: “There are millions of two-legged creatures for them, the name is one”. Using Pushkin's words, we can say about Pechorin that in his views on life “the century was reflected, and modern man is depicted quite correctly, with his immoral soul, selfish and dry”. This is how Lermontov saw his generation.

Agniya Lvovna Barto was born in Moscow in the family of a doctor - veterinarian. She studied at an educational school, at the same time attended drama school, wanted to become an actress. She began to write poetry early: these were mischievous epigrams for teachers and girlfriends. At the age of 20, her first poems appeared in print. A. Barto made wide use of the means of humor even when she told young children about a toy, a bunny, a bear, a bull, a horse. ("Toys 1936)
There is a bull, swaying,
Sighs on the go:
-Oh, the board ends,
I'm going to fall now!
Each toy in the image of the poetess acquires individuality:
Time to sleep!
The goby fell asleep
I lay in the box on the side.
Sleepy bear went to bed
Only the elephant does not want to sleep.
Elephant head nods
He sends a bow to the elephant.
A. Barto's toys are full participants in children's life, friends of kids:
I love my horse
I comb her fur smoothly
I will smooth the ponytail with a scallop
And I'll go on horseback to visit.
Noteworthy is such a feature in poetry about toys, as a rule, they are written in the first person, if we are talking about some kind of good deeds of children - "I am pulling a boat along a fast river ..."; "No, it was in vain that we decided to give the cat a ride in the car ..."; "We will build the plane ourselves ...." and from a third person, when there are no active actions of the child or bad actions "Bunny, the hostess threw it ..."; "Our Tanya is loud ...".
This technique helps to affirm positive character traits in young readers.
More than one generation of Soviet people from childhood knows and loves A. Barto's poems. The secret of such popularity lies in the freshness and spontaneity of the feelings conveyed by the poetess, in her ability to solve the most important pedagogical problems in a vivid artistic form.
Lyrics by A. Barto is a chronicle of Soviet childhood. The heroes of these poems are children from a toddler who still cannot pronounce the word "mother" to a 14-year-old teenager preparing to join the Komsomol. With this knowledge of child psychology, the poet creates books for the little ones. And the collection "Toys" of 1936, composed of light sonorous verses about favorite children's toys - a furry bear, a bull, a ball, a horse, etc., serves as such a book.

Unparalleled in the children's poetry of the world, there is a cycle of international poems by A. Barto - "Translations from children." A lot of nursery rhymes had to

read and sympathize with the poetess in order to feel the mood of a child living in one or another part of the world. Only after that did she begin to create poems that preserve the immediacy of the vision of the world by children from different countries. “Many are related by“ small poets ”, but often their experiences are deeper, richer than a child is able to express. So I tried to preserve the meaning of each poem, to find for it that poetic form that would make it possible to clarify, more accurately convey what the child said, ”A. Barto said about the idea of ​​this cycle. The problems of the poems of the cycle are diverse: attitude to nature, love for mother, first child's love, concern for the future.
"Translations from children"- a landmark work not only in the work of A. Barto, but also in the world of children's literature. This cycle has created a pioneering tradition in the search for poetic self-expression of the world's children's poets. The ability to find new opportunities for poetic self-expression, to pass the baton of traditions - one of the most important features of A. Barto's work for more than one decade. A. Barto's talent did not stop in its development; she tried to say a new poetic word to each new generation of readers.
Written at different times, Barto's poems for children are collected in two-volume "Poems for Children", in collections of poems "For flowers in the winter forest", "Just poems", "Your poems" other. The heroes of her books are children from infancy to 14 years of age.
Barto's poems are loved by children of all ages. The secret of such popularity lies in the freshness and spontaneity of the feelings conveyed by the poetess, in her ability to solve the most important pedagogical problems in a vivid artistic form.
The rhyme of Barto's poems is rich and varied. She is always ringing, strong. The poet's poems organically combine the richness of content with a highly artistic form.
A. Fadeev wrote: “The creativity of A. Barto, full of love for life, clear, sunny, courageous, kind, it brings joy to people, raising more than one generation of children.”

ARTISTIC VALUE - a work of art in its relevance to the highest human needs and interests, realized in its content-artistic merits and functions, thanks to which it has a positive effect on the feelings, mind, will of people, contributing to their spiritual development.

Artistic value is the emotional, sensory-psychological, ideological content of a work as a system of images, a set of meanings contained in it and the meanings it generates. Since this content is objectified by the author with the help of a "carrier-constructor" (created from a certain material in accordance with the laws of a given type of art), the qualities arising as a result of the artistic processing of this material are also valuable. These qualities (organic unity of form and content, compositional harmony, harmony, completeness, expressiveness, artistic truthfulness of means, linguistic intelligibility) acquire aesthetic value as achieved perfection, manifestation of talent, evidence of skill.

Artistic value is formed by the unity of objective meanings and meanings that arise when mastering a work. Depending on the genre of the work, its purpose and content aspects that are organic for it (psychological, social-analytical, philosophical, etc.), some of the possible value meanings may prevail in this unity (for example, cognitive, educational, socially mobilizing, hedonistic etc.).

Truly significant works of art belong to artists who create for the good of man and therefore protect, assert, and poeticize the significant values ​​of life and culture. At the same time, the work itself is created as a potential artistic value. It becomes a social value to the extent that the meanings and author's thoughts contained in it are cognized, its merits are recognized, and its functions are developed and carried out. Since this development is carried out by subjects whose value orientations are not identical, the work receives a non-identical assessment. According to the relativistic concept, which ignores the dialectics of subject-object aesthetic relations, artistic value is interpreted as a function of evaluation, it turns out to be a derivative of the orientations, tastes and opinions of one or another part of the public or an individual recipient. Thus, avant-garde products, pseudo-artistic products, perceived as phenomena of art, are referred to the sphere of artistic value. According to the Marxist concept, an adequate qualification of artistic value is possible only if the subject of the value attitude has a common culture, corresponding to artistic education, good aesthetic taste and value orientation, which corresponds to the trends of social and cultural progress. The historical variability of artistic taste not only does not exclude, but presupposes the continuity of ideas about well-defined merits, which have an enduring value, and about the corresponding criteria.

The artistic value is unequal in its objective significance, which is determined by the degree of depth in the subject of display, ideology, creative originality, innovation. The highest value is possessed by works in which, with a humanistic aspiration and truthfulness, creative acquisitions and discoveries are contained, deep generalizations of social relations, human characters and destinies, universally significant psychological states and feelings are embodied. Depending on the subject-plot certainty and problematics of the work, its value meanings can be predominantly “situational” concrete-historical in nature or have universality. Universal value meanings arise in specific historical, social, national conditions and cultural contexts. However, if the living conditions of people change, their psychological stereotypes, morals, customs, then cardinal questions about the meaning of life and happiness of a person, his dignity, the search for harmony in relationships with other people remain generally valid. The status of universal human artistic values ​​is acquired by works that raise and discuss these "eternal" questions, contain universal meanings that are open for reading to people of different nations and different eras. So, due to the certainty of the properties of "human human" and the presence of axiological constants of humanistic aesthetic consciousness, it is possible to inherit artistic values, interethnic exchange of them, the emergence and enrichment of their common human fund.

History

In 1240, a market arose at this place, where a grain trade was carried out in an open loggia with pilasters, which protected from the rain. In memory of the church located on this site, two images of St. Michael and the Mother of God. The latter was believed to have miraculous powers.

Ground floor arcades decorated with openwork windows

External arcades with richly decorated windows appeared only in 1367. The church began to play its role in the history of art only in 1348, when the first wave of plague swept through Europe. The church of Orsanmichele at this time became rich: survivors of the plague epidemic donated 350 thousand florins to the parish out of guilt or repentance, which exceeded the city's annual budget and allowed the church to order a large tabernacle of marble. Since the grain trade was little combined with the magnificent tabernacle of Orcanyi, the market was moved elsewhere. From that time on, the lower floor of Orsanmichele served exclusively for religious purposes, and for the first time in the history of Florence, trade gave way to art. The upper floors continued to function as a reserve granary until the beginning of the 16th century.

In the XIV century. a new function was assigned to the building - the center of handicraft workshops. In the decades that followed, guilds of the guilds donated funds to create sculptures of their patron saints and other saints, housed in 14 niches on the four outer walls of the church. The guilds were rich enough to employ renowned artists: Nanni di Banco, Donatello, Lorenzo Ghiberti and Andrea del Verrocchio.

·

Orsanmichele interior

Altar Tabernacle in Orsanmichel

St. Mark by Donatello

Thomas the Unbeliever by Verrocchio

Catholic temple
Santa Maria dei Miracoli Santa Maria dei Miracoli
The author of the project	Lombardo, Pietro
San Giorgio Maggiore Santi Giovanni and Paolo Santa Maria dei Frari Santa Maria della Salute Builder	Lombardo, Pietro and Lombardo, Tullio
Construction	February 20, 1367 - c. 1422
Side-altars	6.96 m deep and 5.38 m wide
Relics and shrines	frescoes by Masolino, Masaccio and Filippino Lippi

Brancacci Chapel(ital. Cappella brancacci) is a chapel in the Church of Santa Maria del Carmine in Florence, famous for its early Renaissance wall paintings. Masaccio's frescoes in the Brancacci Chapel revolutionized European fine art and predetermined the vector of its development for several centuries to come.

The Church of Santa Maria del Carminevo in Florence, where the Brancacci Chapel is located, like many old churches, has an unusually unassuming facade that hides a real gem of painting inside

On February 20, 1367, Piero di Puvicsese Brancacci ordered the construction of a family chapel in the church of Carmine, which was under construction since 1268. Later, the Brancacci Chapel became not just a private family chapel, it played a significant role in the public life of Florence: it housed the famous icon of the 13th century "Madonna del Popolo", which was an object of public worship (the trophies of the Pisa war were hung in front of it). Therefore, as V.N. Lazarev, and the painting with which the chapel was decorated contained a number of unequivocal allusions to the social events of that time.

Madonna del Popolo

This room owes its famous fresco cycle to a descendant of the founder of the chapel, the rival of Cosimo the Elder Medici - an influential statesman Felice Brancacci(ital. Felice Brancacci; 1382-c. 1450), who, around 1422, commissioned Masolino and Masaccio to paint the chapel located in the right transept of the church (the exact documented dates of work on the frescoes have not survived). It is known that Felice Brancacci returned from the embassy in Cairo on February 15, 1423, and hired Mazolino shortly thereafter. He fulfilled the first stage of painting: painted the now-lost frescoes of the lunette and vault, and then the artist left for Hungary. When did it start second stage of painting, it is not known exactly - Mazolino returned from Hungary only in July 1427, but perhaps his workmate Masaccio got down to work even before his return, in the 1st half. 1420s

Work on the frescoes was interrupted in 1436 after Cosimo the Elder returned from exile. Felice Brancacci was imprisoned by him in 1435 for ten years in a prison in Kapodistria, after which in 1458 he was also declared a rebel with the confiscation of all property. The painting of the chapel was completed only half a century later, third stage, in 1480, by the artist Filippino Lippi, who managed to preserve the stylistic features of the manner of his predecessors, painstakingly copying. (Moreover, according to the testimony of contemporaries, he himself in childhood wanted to become an artist, having seen the frescoes in this particular chapel).

The chapel belonged to the Brancacci family for more than four hundred years - until August 18, 1780, when the Marquises of Ricordi signed an agreement on the ransom of the patronage for 2000 scudi. In the 18th century, the frescoes were restored several times, and in 1771 they were badly damaged by the soot of a large fire. Restorations were carried out at the beginning of the 20th century and in the 40-50s. In 1988, the final large-scale restoration work was carried out on clearing.

As Lazarev points out, the restorations of the 18th century affected not only the painting, but also the architecture of the room: the double-wing lancet window (biforium), under which the altar was located and which reached the very top, was changed to a rectangular window, the entrance arch into a chapel was transformed from a lancet in a semicircular, ribbed vault and lunettes have also undergone alterations. At one time, the architecture of the chapel looked more "Gothic" than it does now.

Description

Masaccio. "Expulsion from Paradise" (fragment, before restoration)

Michelino da Bezozzo, “The betrothal of St. Catherine "- the painting, also painted in the 1420s, is an example of the International Gothic style, in comparison with which the realism of the frescoes in the Brancacci Chapel was a real shock

The main theme of the frescoes, on the recommendation of the customer, was the life of the Apostle Peter and original sin. The frescoes are arranged in two rows along the side and rear walls of the chapel (the third row of the lunette has been lost). At the bottom is a panel that mimics the marble cladding.

In total, twelve scenes have survived, six of which were completely, or almost entirely, written by Masaccio. The series begins with the Fall of Adam and Eve (top right wall) and continues with the Expulsion from Paradise (top left side wall). Then there are "The Miracle with the Statir", "Peter's Sermon to Three Thousands", "The Baptism of the Neophytes by Peter", "Peter's Healing of the Crippled", "The Resurrection of Tabitha". Bottom left: "Paul visits Peter in prison"; "The Resurrection of the Son of Theophilus"; “Peter healing the sick with his shadow”; “Peter distributing the property of the community among the poor”; "The Crucifixion of Peter and the Dispute between Peter and Simon Magus"; "An angel frees Peter from prison." Compositions of vertical images, as a rule, combine several episodes of different times, which is a tribute to the medieval tradition of pictorial story.

"The fall"

In the corners of the chapel there are double pilasters, separating the frescoes of the altar scene from the frescoes of the side walls. These pilasters carry a cornice with croutons, which goes between the registers (the same cornice was undoubtedly located above the second register). Probably, similar pilasters were also placed at the end of the lateral registers, near the entrance arch (the extreme frescoes were partially cut off during its reconstruction).

• lost frescoes:
• In 1422, the church was consecrated, and Masaccio then captured this event on one of the frescoes of the church, called "Sagra" and then very famous, but, alas, destroyed at the beginning of the 17th century during renovations.
• murals of lunettes (including "The Calling of Peter and Andrew") and vaults by Mazolino

Artistic merit

The Masaccio frescoes in the Brancacci Chapel are considered a masterpiece of Renaissance painting, they are distinguished by their clear lines, vital concreteness in the depiction of characters and the ability to penetrate into the characters of the depicted persons. In addition, the great Masaccio lived for only 27 years, and it was this cycle that remained his main work.

Masaccio's works, thanks to the artistic solutions he used - in particular, the use of a hitherto little-known linear and aerial perspective, immediately became a role model, they began to be called "the foundation on which the entire building of European painting is based." The Biographies of the Most Famous Painters contains a long list of Italian artists who, according to Vasari, owe their achievements to the influence of Masaccio:

“All the famous sculptors and painters from that time to the present, who practiced and studied in this chapel, became excellent and famous, namely Fra Giovanni da Fiesole, Fra Filippo, Filippino, who completed it, Alessio Baldovinetti, Andrea del Castagno, Andrea del Verrocchio, Domenico Ghirlandaio, Sandro Botticelli, Leonardo da Vinci, Pietro Perugino, Fra Bartolomeo of San Marco ... and the divine Michelangelo Buonarotti ... Rafael Urbinsky also drew from here the beginning of his beautiful manner ... and, in general, all those who tried to learn this art, constantly went to study in this chapel, in order to learn the instructions and rules for good work from the figures of Masaccio. "

An important advantage of Masaccio's works was that he paid special attention to the authentic anatomy of his characters, applying the knowledge he gained from antique sculpture - therefore, his people seem to have real, massive bodies. In addition, he places his frescoes in a real architectural setting, paying attention to the location of the window in the chapel, and painting objects as if they were illuminated from this light source. Therefore, they appear three-dimensional: this volume is conveyed by means of powerful cut-off modeling. In addition, people are scaled to the landscape background, which is also painted with a light-air perspective.

Lazarev writes about the color of these frescoes: “Masaccio, like all Florentines, subordinated color to form, using color to reveal its plasticity. Pale colors disappear from his palette, the color becomes dense and weighty. The master prefers lilac, blue, orange-yellow, dark green, dark purple and black colors, white plays a very modest role in his paintings, always gravitating towards gray. Compared to the lightened late Gothic color range, Masaccio's color is perceived as much more material, closely related to the structure of the form. Everything fabulous and festive has disappeared from the range of colors, but it has become much more serious and significant. And thanks to the light, it has acquired such a plastic expressiveness that, next to it, the coloristic solutions of the late Gothic masters always look somewhat naive. "