12.05.2020 

6 група -  англійська мова - тема уроку № 46  "Розвиток портретного живопису в Україні"

1)  Повторіть лексику :

·       Landscape – пейзаж;

·       Seascape – морський пейзаж;

·       Still life – натюрморт;

·       Historical pictures – картини з зображенням історичних подій;

·       Allegorical pictures – алегоричні картини;

·       Icon, - ікона;

·       Scenes of daily life – сцени з повсякденного життя;

·       Battle scene – батальні сцени;

·       Self-portrait - автопортрет;

·       Cityscape – міський пейзаж.

2)  Попрацюйте з текстом - читайте , усно перекладайте, намагайтесь переказувати та випишіть нові слова :

Until the 17th century, icons remained the main works of art in Ukraine. The transitional role between icon painting and secular portrait painting was occupied by the so-called parsuns - portraits made by the techniques of icon painting. Wealthy families of Cossack officers ordered their portraits en masse.

Secular portrait in the Ukrainian lands appeared in the late sixteenth century. in three compositional variants - bust, waist and full height, which in the following centuries were kept as established and unchanging supporting elements of portrait painting. Full-length portraits were the most representative, especially those marked by a rich arrangement, waist and bust marked by the simplicity and severity of artistic language. The earliest secular portrait in Ukraine spread among magnates, the vast majority of whom were descendants of ancient Russian Orthodox princely families - as the famous Ostroh, defenders of Orthodoxy, uncrowned kings. It was at the beginning of the seventeenth century. the princely stratum reached the largest number, at the same time began a rapid process of its extinction. In general, the portrait of this time was a more elitist phenomenon than in subsequent periods.

In the Ukrainian lands there were certain types of portraits - the bourgeoisie, the clergy, the nobility, the Cossacks, which corresponded to the social division of society. They have many common features, which are most clearly embodied in the portrait of the nobility, the so-called "Sarmatian portrait" (gentry in the Commonwealth, including Orthodox, considered themselves a descendant of the ancient Sarmatians, western lands were included in the mythical Sarmatia). The emphasized sense of dignity, self-importance is conveyed in the "Sarmatian" portrait by means of rather simple, but extremely expressive means - the image of a human body and entourage in the form of the plane forms underlined by a line, lack of depth and prospects in transfer of an interior. and explanatory, mostly biographical, inscriptions. The most organized forms in the seventeenth century. artistic life acquired in Lviv, where in 1595 a separate shop of painters appeared (in other cities of Ukraine painters were part of various craft shops). The works presented at the exhibition are mostly made by artists from Lviv and some from Volyn. The high level of local art schools is shown by portraits of the famous diplomat Kryshtof Zbarazhsky, figures of the Lviv fraternity, long-time patrons of the Assumption Church, Lviv merchants Kornyaktiv, an unknown tycoon in a red fur coat from Ostroh.

The centers of painting in Kiev and on the Left Bank were icon-painting workshops at monasteries, the existence of which in the seventeenth century. There is no direct documentary evidence, even about the central one - the painting of the Kiev-Pechersk Lavra, but their activities in this period are beyond doubt. Kyiv as the center of the Orthodox metropolis had a special status in the artistic life of Ukraine, at the heart of the development of the portrait there were continuous traditions from the times of Kievan Rus. The skill of Cossack portrait painters in conveying the resemblance of faces noted in the middle of the seventeenth century. in his notes, the Syrian traveler Paul of Aleppo. It is important to exhibit a portrait of the late seventeenth century. the founder of the Pochaiv Lavra, Anna of Kozynski Hoyska, whose name entered Ukrainian history along with the names of Halshka Hulevychivna, the founder of the Kyiv-Mohyla Academy, and Halshka Ostrozka, the trustee of the Academy in Ostroh.

An outstanding artistic center in Kharkiv was the "additional classes" at the Kharkiv Collegium, which were in fact a real academy of art.

The heyday of secular portrait painting dates back to the second half of the XVIII century. At the same time, many talented Ukrainian youth began to study and work at the St. Petersburg Academy of Arts. Thus, the most famous Russian artists of that time, Dmitry Levitsky - a native of Kiev, Vladimir Borovikovsky - from Myrhorod. Anton Losenko (a native of Glukhov) was a Ukrainian creator of the historical genre of Russian academic art.

Portrait of the XVIII century. compared to the previous century, there is a wider social diversity of portraits - portraits of Polish kings, Russian empresses were made in Ukraine, portraits of hetmans, Cossacks, descendants of magnates, local nobility, burghers, clergy, and at the end of the century - the newly established courtier. Execution of portraits acquires a mass character. An indicative fact of the change of worldview towards democratization was the appearance in the middle of the eighteenth century. images of peasants in the interiors of the Zhevuski palaces in Pidhirtsi and Rozdol. Peasant portraits, however, in the general artistic situation were still an exception - as a tribute to fashion in the magnate's environment.

From the first half of the eighteenth century. portraits survived less than the second. The same is observed with the names of masters - the works of the first part of the century preserved to this day have brought a small number of names of Ukrainian artists of the first half - Vasyl Klikovsky, Petro Rogulya, Hyacinth Oleksinsky, Yuriy Radyvylovsky - and a little more - 2nd: Frantsysk Pavlikovych, Yakiv Holovatsky, Andriy Moklakovsky, Fedir Zemlyukov, Abbot Arseniy, hieromonk Samuil, Luka Dolynsky, Ostap Bilyavsky, Dmytro Levitsky, Volodymyr Borovykovsky. The archives contain the names of at least a thousand painters who worked in Ukraine in the sixteenth and eighteenth centuries, but to distinguish among them all those who were engaged in portrait painting is an impossible task.

In the eighteenth century. the dynamics of the influence of European schools on Ukrainian painting increased. Confirmation is the number of names of foreign masters who painted portraits of figures from Ukraine. The artists represented are the Scotsman Sylvester Augustine de Miris (studied in France), the Hungarian Adam Cassava (studied in Germany), the Italian Maria Giovanna Battista Clementi (Clementina), the Italian Marcello Bacharelli, the Germans Heinrich Heusker, Philip Jacko,? Austrian Johann Lampi are specific carriers of influence of individual countries, and more precisely - the Academies of Arts. Portraits of the "foreign brush" are ordered, as in the seventeenth century, only by representatives of the upper classes, they are made in Europe, very rarely in Ukraine. Arrivals of foreign masters to the Ukrainian lands remain exceptional.

The revival of artistic life affected the stylistic features of portrait painting - in it the features of the European Baroque style began to appear more and more persistently. But in general, the leading role continued to play a portrait of the Sarmatian type with its planar interpretation of forms, local colors and linearity. As a full-fledged and viable phenomenon, it coexisted not only with the dying Baroque, but also with the newborn classicist portrait, successfully competing with them in demand, in many cases acquiring a symbiosis of flatness with elements of European painting.

Throughout the XIX century. portrait painting in Ukraine did not stand out beyond the average scope of provincial demands, and until the beginning of the XX century, with the approach of a new wave of national upsurge, both in the Dnieper and Black Sea, and in Galicia, a number of talented portraitists - O. Murashko, P. Volokidin , M. Zhuk, O. Kulchytska, O. Novakivsky and others, who created the foundation on which the Ukrainian psychological portrait of the interwar twentieth century grew.

The second half of the century in Ukraine was not particularly conducive to portrait painting. Painters and sculptors, under instructions from above, painted portraits of people "needed" but poor in spirit and often primitive to the point of fantasy. The same few compositions, which were created at the call of the soul, mostly donated to those depicted on them or hid behind a closet until better times. Therefore, to this day, these paintings are not available to viewers or professionals, and the number of such works is relatively small.

On the other hand, it should be noted the surprising carelessness of even very cultured people regarding picturesque portraits. For some reason, the prevailing opinion is that photography solves all the problems of fixing the appearance, which, of course, is a profound mistake. A photograph of a certain person, even in the majestic moments of his existence, remains no more than a fixation of only one moment. The painter, communicating with nature for a long time, has the opportunity to say more and more meaningfully about it.
3)  Знайдіть додаткові відомості за темою