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The art of the High Renaissance brought a different understanding of female beauty than in other eras. The Renaissance titans Leonardo da Vinci, Michelangelo Buonarroti, Raphael Santi, Titian create the image of a perfect man, beautiful both physically and spiritually. The embodiment of this ideal is the Madonna and Child Jesus - a sublime symbol of motherhood and sacrificial love for people.

Leonardo da Vinci (1452-1519) painter, sculptor, scientist architect, anatomist, natural scientist, inventor, writer, musician, Benois Madonna, 1478. Hermitage

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“Madonna Litta” is the pearl of the Hermitage collection. In the picture, young Maria carefully holds a baby in her arms. Her bowed profile is full of exceptional beauty and nobility. Downcast eyes and a barely noticeable smile give Madonna’s appearance an extraordinary expressive warmth, illuminating her with a bright maternal feeling. The artist managed to convey his idea of ​​happiness, the earthly joy of being and the holiness of a mother’s feelings.

Madonna Litta, 1490, Hermitage Madonna of the Rocks, 1483-1486, Louvre, Paris

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The Sistine Madonna brilliantly embodies the idea of ​​motherhood, an earthly, realistic depiction of a woman as a mother. She just took a step towards people. Her movement is calm and majestic, there is nothing hasty or fussy about it. She slightly attracts the baby to her, as if afraid to part with him, and at the same time holds him out to people. This contradictory gesture of the mother hides the deep tragedy of what is happening.

Raphael Santi (1483-1520) painter, graphic artist and architect “Sistine Madonna”, 1513-514, Gallery of Old Masters, Dresden, Germany

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“Madonna del Granduca”, ca. 1504, Palazzo Pitti, Florence, Italy “Madonna in the Armchair”, 1513-1514, Palazzo Pitti, Florence, Italy

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Sacred Face of Our Lady

Icon of Our Lady of Vladimir, 12th century, unknown Byzantine master. Church of St. Nicholas in Tolmachi at the State Tretyakov Gallery, Moscow Feofan the Greek. Icon “Our Lady of the Don”, 14th century, Tretyakov Gallery, Moscow

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The eyes of the Mother of God are full of feeling, which in the Middle Ages was defined as “the joy of holy sorrow.” The baby gently presses his face to his mother’s cheek and wraps his arm around her neck. “Not on the throne, on her hand, with his right arm hugging her neck, looking into his eyes, leaning cheek to cheek…. There is no more dazzling miracle in the worlds, no revelation of pure beauty.”

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In ancient Russian art, the image of the Virgin Mary is associated with the cult of Mother Earth. Both share common principles of holiness and motherhood. “An incomparable, eternal song of motherhood,” Igor Emmanuilovich Grabar said about the icon “Our Lady of Vladimir.” In ancient Russian icon painting, there are 4 types of images of the Virgin Mary.

Purpose of the lesson: to get acquainted with the ideal of motherhood and sacrificial love for people. Lesson plan: - Repetition. - Studying new educational material - Consolidating the learned material. - Information about homework. - Lesson summary D/p: §9.3 p. 85, pres. p:57 Madonnas of the Titans of the Renaissance

The art of the High Renaissance, which had defined its main features by the beginning of the 16th century, would bring a different understanding of female beauty than that of previous artists. The titans of the High Renaissance: Leonardo da Vinci, Michelangelo, Raphael and Titian - strive to create a generalized image of a perfect person, beautiful both physically and spiritually. "The Annunciation" by Leonardo da Vinci

Numerous drawings by Leonardo da Vinci testify to how attracted he was to the theme of a beautiful young mother with her child. He depicted women with faces, sometimes serious, sometimes smiling, in poses expressing tenderness, with a gaze full of trembling feeling and quiet peace, and adorable babies - busy playing and having fun. Saint Anne with Mary and Child

“Madonna Litta” by Leonardo da Vinci is the pearl of the Hermitage collection. The painting depicts young Mary carefully holding a baby in her arms. Her bowed profile is full of exceptional beauty and nobility. Downcast eyes and a barely noticeable smile give the Madonna’s appearance extraordinary expressiveness and warmth, illuminating her with a bright maternal feeling. In this wonderful painting, the artist managed to convey his idea of ​​happiness, purely earthly joy

One of the greatest creations of world art was Raphael’s painting “The Sistine Madonna” (), which brilliantly embodied the idea of ​​motherhood, an earthly, realistic image of a woman-mother. She just took a barely noticeable step towards people. Her movement is calm and majestic. It seems that she is not walking, but floating in the clouds, and there is nothing hasty or deliberate in this movement of hers. She slightly attracts the baby to her, as if afraid to part with him, and at the same time holds him out to people. In this contradictory gesture of the mother, we feel the deep tragedy of what is happening.

The Madonna's eyes look trustingly and openly. A light, enlightened sadness colors her divine features. Yes, she understands perfectly well what severe and difficult trials of life are destined for her son. The baby clings to his mother, he looks a little surprised and scared at the world spread out in front of him. What lies ahead for him? In the childish spontaneity and purity of view there is a premonition of future suffering.. Raphael “The Sistine Madonna”

The exceptional charm of this painting by Raphael lies in the natural combination of simplicity and solemnity, gentle femininity and royal grandeur. In it, the human rises to the divine, and the divine becomes earthly. Raphael "Sistine Madonna"

Michelangelo Buonarroti “Madonna Doni” The figure of Mary, Joseph and the infant Christ form a helical group, introducing a strong charge of plastic energy into the compositional whole. The painting is often called the "Tondo Doni" because, firstly, it belonged to the Doni family in Florence, and secondly, it has a round shape ("tondo" in English). According to the generally accepted hypothesis, the painting was executed for the wedding of Agnolo Doni with Maddalena Strozzi, whose coat of arms is carved on the frame.

Parts of the polyptych were separated back in the 17th century. Giorgio Vasari left us information about the location of the parts of the polyptych, many parts of which are lost today. “In the Church of Carmine in Pisa, on a board located in one of the chapels of the transept, he painted the Virgin and Child, at her feet there are several playing angels, one of whom, playing the lute, listens attentively to the harmony of sounds. Around Our Lady - St. Peter, St. John the Baptist, St. Julian and St. Nikolai - figures full of movement and life.” Masaccio "Madonna and Child"

Botticelli “Madonna Magnificat” The composition skillfully inscribed in a circle is one of the master’s most remarkable creations. The exquisite lines of the arms surrounding the figure of the infant Christ close on the crown of Mary. The ring of hands is like a kind of whirlpool, in the center of which a distant peaceful landscape is visible. Christ holds a fruit in his hand - a symbol of the immortality that he will bring to humanity.

Botticelli "Madonna Magnificat" The face of Botticelli's "Madonna Magnificat" is the ideal of beauty. Thin light skin, graceful facial structure. The expression of purity is complemented by a hint of tenderness visible in the rounded lips. The braided hair gives an earthly impression, reminiscent of the appearance of a peasant girl, but fashionable toiletries - a scarf and a transparent coverlet - transform the model into an ideal Madonna image.

The painting is named after the first word of the prayer of the Mother of God, the text of which is clearly visible on the spread of the open book. The Child Christ holds a pomegranate in one hand, and with the other leads the hand of the Madonna, who writes the beginning of a song of thanksgiving into an open book (Heb. From Luke, I, 46). Two boys, accompanied by a third, older one, hold a book and an inkwell, while two angels raise a crown over the head of the Madonna. Botticelli "Madonna Magnificat"

The mystery of female beauty has troubled humanity throughout the history of its existence. There is hardly an artist who would not try to comprehend it. BUT the main and constant theme remained the theme of motherhood.

During archaeological excavations in different countries of the world, many small female figurines were found, which were called “Paleolithic Venus”. They were extremely primitive and rude. Their height was 10-15 cm. Their faces had no drawn features, and their arms and feet were barely outlined or absent altogether, their torsos were excessively elongated. Particular attention is paid to the depiction of everything that emphasized the feminine principle: exorbitantly large breasts, hips, a huge belly in which new life is maturing.

The fact is that in the primitive era, a woman - a mother - occupied a special place in the life of the tribe. There was a cult of a woman, a continuer of the family. The ideas of fertility and protecting the home were associated with women. The Paleolithic Venus contained not only a magical cult, but also the aesthetic ideal of distant ancestors, associated with utility. What is beautiful is what is useful. And a woman brings offspring.

In the Middle Ages, the image of a woman - a mother - changed. In Western Europe he was associated with the cult of the Madonna. And in Russia - with the Mother of God, i.e. Mother of God. This image is depicted in many works of art. One of the best works of Byzantine painting is the icon of “Our Lady of Vladimir”, created in Constantinople in the 12th century.

Then she was brought to Rus' and since then has not left the Russian land. For a long time she was in the Assumption Cathedral in Vladimir, and recently she was transported to the Assumption Cathedral in Moscow.

The mother’s eyes are full of a feeling that was previously defined as “the joy of holy sorrow.” The future is inevitable. The baby affectionately presses his face to his mother's cheek and wraps his arms around her neck. Maria holds the child, trying to timidly protect him from the fate prepared for him. There was sadness on his face. The appearance conveys an inevitable sense of sacrifice.

In ancient Russian art, the image of the Virgin Mary was associated with the cult of Mother Earth. In the minds of Russian people, the image of the Mother of God has always been surrounded by an aura of purity, holiness and sacrificial love.

There are four main types of images of the Mother of God: the Sign (the birth of the Savior, the embodiment of new life), Our Lady Oranta (praying with her hands raised to the top), Hodegetria (a guide pointing to the baby Jesus sitting in her arms) and Eleusa (tenderness).

The masterpieces of ancient Russian icon painting include “Our Lady of the Don”, created by Theophan the Greek in the 14th century and “Our Lady of Oranta Panagia the Great” and others.

The famous Russian artist A.G. was the first to discover the beauty of the faces of rural women and create the poetic ideal of the beauty of the Russian mother. Venetsianov. The humanity, morality and calm beauty of man, especially the Russian working woman, were close and understandable to him. And he creates canvases that depict images of peasant women who

From an early age we got used to work:
Weaved and spun, knitted and sewed,
They sowed, reaped and kneaded the dough...

Painting “At the harvest. Summer" contained the bottomless sky, the vastness of the Russian land, and deep human feelings. This painting is written on an eternal theme that has gone through the entire history of art. For centuries, hundreds of artists from different centuries, countries, and artistic movements have turned to it. This scene - a mother breastfeeding her child - has always expressed the life-giving power of motherhood. The young mother left her sickle for a moment to feed the infant brought by her older children. Well, how can we not remember Nekrasov’s poem.

The village suffering is in full swing...
Share you! - Russian female share!
Hardly any more difficult to find.
No wonder you wither before your time,
All-bearing Russian tribe
Long-suffering mother!

A young, slender, beautiful peasant woman in a long sundress, a white shirt and a Russian national headdress easily and smoothly walks across a plowed field, leading two horses harnessed to a harrow. Venetsianov paints the “type of Russian Slav woman”, later glorified by Nekrasov.

There are women in Russian villages
With calm importance of faces,
With beautiful strength in movements,
With the gait, with the look of queens...

The theme of femininity and motherhood occupies a significant place in the work of one of the major and original artists of the early 20th century - K. Petrov-Vodkin. The painting “Mother” is a completed, perfectly composed work in which the artist achieved a complete, fresh and poetic disclosure of the theme. The painting is distinguished by its particularly clear and transparent colors, dominated by flaming red and various shades of ultramarine blue. This is a hymn to family happiness, joy and holiness of mother's love. In this painting, Petrov-Vodkin pursues one of the main goals - to reveal through the means of painting the essence and beauty of life in all its manifestations. This is an exalted image of a mother, enduring in its spiritual purity and moral strength. A young mother, clutching a sleeping baby, with her general appearance and silhouette resembles a Madonna.

The theme of motherhood was sung by the artist B.M. Kustodiev in his lyrical paintings “Morning”, “Lilac”, “On the Terrace”. The paintings are permeated with light and air and are perceived as a hymn to motherhood and simple human joys. He drew material for his works from childhood memories and lovingly recreated characteristic maternal images.

Female portraits of the artist O. Kiprensky occupy a worthy place in his work, reflecting his understanding of the ideal of maternal beauty. The painting “Mother with Child” shows the mother’s attractively kind, sympathetic face and the look of her warm eyes.

The most powerful embodiment in the development of art of the outstanding Soviet artist Alexander Deineka was the painting “Mother”. A calm, confident young woman with a proud posture - this is how the image of a mother appears. The great tenderness and all-consuming love of a woman for her baby gave the artist the opportunity to create a generalized image of a noble and beautiful maternal soul. The child, who has fallen asleep in her arms, gently leans his heavy head towards his mother’s shoulder. The whole appearance of the woman is filled with happiness and faith in the future. The canvas, made in restrained, warm colors, resembles a wall fresco painting. Only this “Madonna of the twentieth century” could give Deineka the right to one of the first places in Soviet art.

In the image created by A. Deineka, kindness and strength of character, lyricism and courage inextricably merged. The artist managed to embody not only the enduring charm of motherhood, but also the spiritual beauty of the Soviet woman, aware of her human dignity.

In his works, Yuri Petrovich Kugai, a representative of a dynastic family of talented artists, creates a full-blooded image of a woman-mother, worker, creator and protector. The painting “On Saturday” (1964) is especially famous. In many Russian families, Saturday is traditionally considered a day for cleaning the house, doing laundry and taking a bath. In the picture, the scrubbed floors and benches, freshly washed rugs and the curtain on the stove sparkle with cleanliness. And the women themselves had just returned from the bathhouse. The young mother, who is the compositional and ideological center, combs her hair. Her younger sister is carrying a samovar. A little girl drinks milk from a mug, and an elderly woman braids her granddaughter’s hair. In another work by Y. Kugach “In the Family,” the composition is composed as if in the shape of a triangle, the vertices of which are three women of different ages: young, young, and the highest point of the composition is a wise, dignified elderly woman. In the center of the picture, a little girl takes her first steps, afraid of losing her balance, stretches out her hands to her mother (the second title of the picture is “First Steps”). She is ready to pick up the child at any moment. The work shows four generations, visually embodying four important stages in a woman’s life: childhood, adolescence, maturity and old age. The connecting link is the family, which allows you to enjoy every manifestation of life, the first steps of a little man, and which will lead this baby through life, teach him kindness, culture of behavior, understanding and hard work. The female images of this author’s paintings include the eternal ideas of humanity about the life-giving nature of the mother, the source of all things, a symbol of life, warmth and love.