Historical genre in the visual arts. the historical genre, one of the main genres of fine arts, is dedicated to the historical events of the past. Historical painting I. Organizational moment

Tasks.

• Give the concept of the historical genre in the visual arts and determine the reasons why artists of different times and peoples turned to the historical theme, determine the significance of works of the historical genre.
• Develop skills and abilities when working with graphic and pictorial materials in the process of creating a sketch on a historical theme.
• To develop an aesthetic attitude to reality, emotional and value perception of the works of artists and respect for the work of masters.

Equipment.

• Reproductions of paintings, sculptures with images of works:
• I. Repin “The Cossacks write a letter to the Turkish Sultan”, “Barge haulers on the Volga”, “Ivan the Terrible and his son Ivan”; V.I.Surikov “Morning of the Streltsy Execution”, “Boyar Morozova”, “Suvorov Crossing the Alps”, V.Vasnetsov “Tsar Ivan the Terrible”; MM. Antokolsky "Ivan the Terrible" O. Rodin "Citizens of Calais"; P.D. Korin "Alexander Nevsky"; A. Deineka “Defense of Sevastopol”, Rembrandt Van Rijn “Night Watch”; J. L. David “The Oath of the Horatii”, etc.
• Samples of drawings and tables of the teacher.
• Children's work.
• Musical fragments of the works of M. Mussorgsky, A. Lyadov.
• Computer, projector. Presentation for the lesson “Historical genre. The process of creating a picture. (Annex 1)

Materials.

• Paper, cardboard, pencil, brushes, watercolor, sanguine, sepia, wax crayons.

Exercise.

• Sketches and sketches to create a collective composition on a historical theme.

Lesson plan.

Lesson 1

I. Organizational moment.

II. Announcement of the topic of the lesson. Definition of lesson objectives.

III. Historical genre in the visual arts. Acquaintance with new material, conversation with viewing the presentation.

IV. Discussion of works of artists. Fine analysis of the composition of the picture.

Lesson 2

I. The process of creating a work of art. Stages of painting.

II. Practical work

Showing the teacher how to work with graphic materials

Creation by students of a sketch-idea on a historical theme.

III. Review and discussion of works, summing up.

Lesson 1

I. Organizational moment.

II. Announcement of the topic of the lesson. Defining Lesson Objectives

III. Historical genre in the visual arts.

The historical genre is dedicated to depicting significant historical events, phenomena, military figures. It mainly refers to the historical past, but it can also show recent events if their historical significance is recognized by contemporaries.

It is often intertwined with other genres: everyday life (historical and everyday images), portrait (figures of the past, portrait-historical compositions), landscape (historical landscape). But the historical genre is especially closely connected with the battle genre, when historical battles (battles, battles), military events are shown.

The historical genre can be represented in painting, sculpture and graphics ( students examine reproductions, illustrations in books, presentation slides, the teacher names the authors and names of paintings and sculptures). (Annex 1)

The origins of the historical genre date back to ancient times, when memories of real events were intertwined with folklore fiction and myths. In ancient Egypt - reliefs and wall paintings on the themes of battles, campaigns, travels, victories of the ruler and his troops. In ancient Greece - mythical themes and images on vases, on reliefs, in Rome - relief images of scenes of military triumphs. In medieval Europe, religious subjects were viewed as historical, and real events were given a sacred meaning (carpet patterns, miniatures).

The actual historical genre began to take shape during the Renaissance in Europe (14-16 centuries), which was facilitated by the entire culture of humanism and the awakening of interest in historical knowledge (wall paintings depicting battles and real events).

By the 17th century, genres had already finally taken shape in art (especially with the advent of easel art) and the historical genre took a leading position in classicism. The opinion was established that this genre is high, including both historical plots and religious-mythological plots. The compositions represented ancient heroes and ruling monarchs ( display of reproductions.).

In Russia, the historical genre was developed in the 18th and 19th centuries. and was associated with the emergence of secular art, historical science, educational ideas. A special role belonged to a large-sized thematic painting, sculptural monuments and portraits on the theme of the war of 1812. Outstanding masters of historical painting were K. Bryullov, V.I. Surikov, I.E. Repin, V.M. Vasnetsov, N.N. Ge and others ( display of reproductions).

In the 19-20 centuries, artists in the works of the historical genre reflected the events of many revolutions, the fight against fascism, the events of liberation movements in different countries

(O. Rodin, P. Picasso, M. Grekov, A. A. Deineka, P. D. Koretsky and others) (Annex 1)

IV. Discussion of works of artists. Fine analysis of the composition of the picture.

The works of the historical genre give us the opportunity not only to see the past, but also to survive, to become a participant in it.

Three works of the historical genre: sculpture by M.M. Antokolsky “Ivan the Terrible”, a portrait of V. Vasnetsov “Tsar Ivan the Terrible” and a painting by I. Repin “Ivan the Terrible and his son Ivan”.

They show us one person - Ivan the Terrible, who is in different life situations, depicted from different positions of the authors of the works.

In the portrait of V. Vasnetsov, this is a great tsar, a ruler, a powerful man, and in the picture of I. Repin, the tsar is frightened, seized with horror. This can be seen in facial expressions and gestures.

This is no longer a ruler and autocrat, but simply a man, a father who, under the influence of emotions, committed the murder of his own son, who realized this and repented.

The picture shows a terrible scene, but calls for mercy and kindness.

This is the great power of art: to reach the human soul through contradiction and convey the call for kindness and compassion.

The next work is a sculpture by M.M. Antokolsky "Ivan the Terrible". Here the hero seems to be tired, aged and no longer so formidable. Here is another image of the king (although his hand is still clenched into a fist), he is with his head down, aged, in thought.

Three works and three different images of one person. The power of art helps to understand not only what and how is depicted, but also to think about yourself and your actions.

Why do artists turn to historical events?

All paintings depict real historical events. It is very interesting for artists to travel the world and time. The viewer, together with the artist, also begins to travel and learn how people lived, what events took place, what they fought for and what heroes were, what things and objects surrounded people, learn about architecture and nature. In addition, the artist conveys to the audience his own opinion and attitude towards the depicted event. We feel it through the characters of the characters in the picture. The whole image is as if alive, and we experience the past as in life. We see people, their relationships, think about the meaning of events, about the meaning of victories and defeats, about why people accomplish feats. And people suffer and perform feats in order to protect their loved ones, the country, the Motherland. Such people are heroes, they want to imitate, to be just as brave, courageous, resolute.

Artists with their works teach us kindness, courage, heroism, the beauty of human deeds. Each painting, sculpture conveys to us not only real historical events (although this is also important), but also an image felt by the author (subtext), which often speaks even stronger than the image: in composition, in movement, in color.

Lesson 2

I. The process of creating a work of art. Stages of painting.

Let's remember how an artistic image is created. Once again we are convinced that the artist depicts the event as if “passes” through himself, lives it and conveys to the audience something important about his time, about the relationship of people, about the meaning of life. Therefore, when we communicate with genuine art, we begin to feel the idea and intention of the author, we begin to reflect, and often find answers to life's questions for ourselves, we learn mercy, courage, compassion.

What is valuable in the art of the historical genre? The works of the historical genre give us the opportunity not only to see the past, but also to survive, to become a participant in it.

Where does the picture begin? How to create it?

You can take a canvas, paper and immediately draw, paint with oil. But you may want to fix something, swap shapes or make something larger. No, you can't paint right away. You need to prepare first. Everything needs to be thought through.

So, the artist has an idea - an image that the author has been thinking over for some time. The artist first embodies this image in quick sketches, figurative sketches in pencil, charcoal, even color. This is the first impression that the author wants to capture in order to further develop it into a whole picture. There may be several such sketches-images. Next, the author makes a sketch-idea, a sketch-image. There may also be several such sketches, because the artist is constantly looking for a better, more expressive material embodiment of his invisible image. The author can swap figures and objects, bring something to the fore, something - push it into the background, that is, he is looking for an expressive composition. But in the process of work, even this version can be corrected and altered, because the artist's inner representation changes. Changes can also be in the composition - in accordance with the plan, the idea. Keep in mind the diversity of any situation.

The artist needs to know how the characters look, what they are wearing, what they have in their hands, what surrounds the characters in the picture. We need to collect a lot of material, to carry out a lot of search work:

• to study the material culture of the time, what makes the picture convincing (household items, weapons, costumes, architecture);
• find images of the characters in the picture (sketches, sketches, sketches from nature);
• find suitable landscapes, interiors, architectural fragments related to the chosen theme, that is, the historical background of the picture.

Such work can continue for more than one month, even more than one year.

After collecting the material, the artist collects and summarizes his information into a composition - a developed sketch is born, which can also be finalized by the author (showing materials for the picture).

Now, according to the sketch, the master creates a picture, thinking over color, lighting, contrasting comparisons, and composition.

The work of some artists on their works sometimes takes several years (V. Vasnetsov, I. Repin, V. Surikov). Even in the final process of creating a picture, the author can make changes to the canvas in accordance with the vision of his idea.

So, the process of working on a picture may include the following steps:

1. Sketch - an image of the future picture, which the artist saw with "inner vision".

2. The study of the material culture of the time.

3.Search for images of heroes.

4. Search for the environment in which the action takes place.

5. Sketch composition.

6. Work on the final work.

This is not the final stage yet. Who is the painting for?

Of course, the audience should watch the work, it will certainly leave a certain trace in the soul. Of particular importance is who and with what feeling the author portrayed, the attitude of the artist to the depicted is important.

The great power of art helps to understand not only what and how is depicted, but also to think about yourself, your actions.

II. Creative task. Work on the sketch of the composition.

Today we have to create a sketch-idea of ​​your future painting. We will listen to the music of M. Mussorgsky, and the imagination will prompt the plots of the works.

We remember that it is possible to combine the historical genre with other genres in a sketch, to perform a historical portrait, a historical landscape, to create a sketch with a historical, domestic or battle plot.

You can use graphic materials (sanguine, pencil, felt-tip pen), use the expressiveness of the technique of wax crayons in combination with watercolor.

Music sounds, the teacher shows the methods of work on the board.

The students get to work.

Passing through the class, the teacher helps the students to choose the plot of the picture, explains, complements, helps.

After completion of the work, sketches on a historical theme are placed on the stand.

III. Review and discussion of works, summing up.

Artists are always interested in history. Art provides an opportunity to visit the past for both the artist and the audience. But it is very important that you can not only find out how people lived in the past, what surrounded them, but also experience these events together with the author, feel the character, emotions of the characters, their inner world. The works of masters always teach to distinguish between good and evil, to empathize with the heroes, they teach mercy and compassion, they call for feats, inspire for nobler deeds.

Children's work is evaluated, after which students can collect material for collective work on a historical theme based on completed sketches.

Sources of information:

1. A story about Russian painting. G. Ostrovsky. Moscow. "Fine Arts".1989.

2. ABC of Russian painting. N. Astakhova, L. Zhukova. "White City". Moscow. 2007.

3. Man in the world artistic culture. Yu.Solodovnikov.8,9 class “Enlightenment”. Moscow. 2005.

4. Russian artists. V. Artemov. "Rosman". Moscow. 2003.

5. Visual arts. O.Pavlova. A guide for teachers. Grade 7 "Teacher". Volgograd.2006.

7. Visual arts. Grade 5-9. Program-methodical materials. Ed. B. Nemensky. "Bustard". Moscow.2012.

8. Websites: www.bibliotekar.ru, www.museum.ru, www.iskusstvo.info.

Italy, where the historical genre was born, had all the prerequisites for the emergence of this type of painting. The Roman Empire had a very high level of cultural development, and its achievements became the basis of the art of all countries of Western Europe. It is not surprising that it was in Italy during the Renaissance, in the 15th century, that the historical genre in the visual arts arose.

Short story

To understand what art is, it is necessary to take into account the developmental features of the period under consideration. The Renaissance is the heyday of humanistic ideas, which led to interest not only in the human person, but also in civil and political history.

The events of the heroic past of the country and was supposed to reflect the historical genre in the visual arts. Examples include the following: paintings by Andrea Mantegna "The Triumph of Caesar" (1485-1492), various canvases by Paulo Uccello dedicated to the battle of San Romano and others. The achievements of the Renaissance in Italy quickly spread throughout Europe, where the historical genre in the visual arts also began to develop.

European artists of historical painting of the XVII-XVIII centuries

The events of the past attracted masters in Western European countries as well. The development of this direction can be attributed to the XVII century - the heyday of classicism and baroque. It should be noted that it was the historical genre that came to the forefront in artistic culture. All other varieties of fine art for some time gave way to him in importance, since classicism meant the creation, first of all, of heroic images and monumental canvases.

In this style, on a historical theme, Peter Paul Rubens worked (the painting "The Battle of the Greeks with the Amazons", 1619-1620), Nicolas Poussin ("The Rape of the Sabine Women", 1614-1615), Jacques-Louis David, who wrote both ancient and modern themes. These works are distinguished by their pathos spirit, heroic poses, sublime facial expressions and gestures. In their composition, the canvases resembled the action of ancient plays and were distinguished by some theatrical pomposity. This direction includes paintings written on gospel stories. For example, Harmens created the painting The Return of the Prodigal Son (1669).

History painting in Europe in the first half of the 19th century

Classicism and baroque soon gave way to a new cultural trend - romanticism. Representatives of this trend moved away from the heroic interpretation of the past, focusing on the emotional component. The artists set out to create such images in order to evoke sympathy and empathy from the audience. The historical genre in painting received a completely different design, since the theme of human experiences and emotions came to the fore. An example is the painting by Eugene Delacroix "Massacre on the island of Chios", written in 1826. Historical motifs can also be found in the work of another prominent Honore Daumier: the painting "Rebellion" (1848).

Western European historical painting of the period of romanticism

In the second half of the 19th century, the historical genre in the visual arts underwent significant changes. This is due to the emergence of a new direction - realism. Its representatives sought to create more believable images and plots. This trend can be attributed to the work of Adolf von Menzel, who created in 1850 a series of paintings dedicated to the era of Frederick the Great. Interest in history in this era is largely due to the numerous revolutions that shook Europe at that time. The centers of uprisings broke out in Italy, France, Germany. Therefore, scientists, artists, writers were looking for answers to the present in the past, which explains the emergence of realism in culture.

The emergence of the Russian historical genre in painting

The domestic history of art is also interesting for analysis. The origins, types and genres in Russia are a topic for a separate discussion, since our culture has borrowed a lot from European art. The era of classicism in the expanses of the motherland dates back to the 18th century: it was at this time that domestic artists turned to the events of the past in their works.

The founder of the historical genre of Russian fine art is Anton Pavlovich Losenko. His pen belongs to the past of Ancient Russia (“Vladimir and Rogneda”, 1770) and canvases dedicated to ancient subjects. His followers were Ivan Akimov, who also turned to the events of Kievan Rus, Pyotr Sokolov, who depicted mythological images, Grigory Ugryumov, who turned to the history of the 13th century. These works, as well as European paintings in the style of classicism, are distinguished by the loftiness of images and plots.

Historical themes in Russian painting in 1800-1850

Genres in the visual arts were the most diverse, however, in connection with the development of academicism, in the first half of the century, historical subjects occupied the dominant direction in artistic culture. Artists of this trend in many respects continued the traditions of classicism, choosing heroic facts from the past as an object for their works. The historical genre in the visual arts, whose paintings were especially expressive, enjoyed the greatest popularity among both the intelligentsia and the mass public.

This direction can be attributed to the work of Anton Ivanov "The feat of a young Kievan during the siege of Kiev by the Pechenegs in 968" (1810), Alexei Yegorov "Rest on the flight to Egypt" (1830). At the same time, a new direction arose - romanticism, whose representatives created vivid, emotional images, saturated with psychological tension. For example, Karl Pavlovich Bryullov, who created the famous canvas about the death of Pompeii, Fedor Antonovich Bruni and Alexander Andreevich Ivanov, who wrote biblical stories.

Historical plots in the works of authors of the last quarter of a century

In the second half of the 19th century, painters began to draw scenes from the history of Russia. A number of paintings appear in art, dedicated to certain events from the past of our country. The historical genre in the visual arts is represented by the following canvases: Ilya Repin’s paintings “Princess Sophia in the Novodevichy Convent” (1879) and “Ivan the Terrible Kills His Son” (1884), the works of Vasily Surikov, who turned to the most dramatic events in the history of Russia in the 18th century. These works are distinguished both by the brilliance and expressiveness of the images, and the background of the situation.

Historical everyday genre of fine arts

Domestic artists began to turn not only to political events, but also to the image of the everyday life of Russian people. Therefore, a prominent place in painting was occupied by the so-called everyday historical genre. The fine arts of this trend gained great popularity among the educated public of that time.

As an example, we can name the works of the following authors: Vyacheslav Schwartz, who created a picture about the royal hunt, Konstantin Makovsky, who painted canvases about the Moscow kingdom in the 17th century. The historical everyday theme was of great importance in the work of representatives of the association "World of Art". A feature of their paintings was the reproduction of pomp and solemnity, but with a touch of sadness (Albert Benois, depicting the pompous exits of Russian emperors and empresses in the 18th century, Eugene Lansere, depicting the luxurious atmosphere at the court, Valentin Serov, who painted royal amusements).

In Soviet times, artists quite often turned to the events of Russia's past. At the same time, they revived the traditions of academism of the 19th century, depicting heroic episodes from Russian history. For example, the artist V. E. Popkov is considered the founder of the “severe style” in Soviet painting (a painting depicting the construction of a hydroelectric power station). Of particular importance in his work is the theme of the Great Patriotic War ("Mezen Widows", 1965-1968). And the pen of T. E. Nazarenko belongs to the work on which you can see turning points: the uprisings of Pugachev, the Decembrists.

Contemporary artists show great interest in the history of Russia. I. S. Glazunov became famous for creating monumental canvases dedicated to understanding the past of our country: a work that symbolically shows the fate of the author, “Russia, wake up!” (1994) and others.

So, summing up, we can state that historical themes occupied a very prominent place both in European fine arts and in Russian painting. Truthfulness and accuracy, drama and solemnity have always distinguished the historical genre. Everyone conveys expression, but this style is the leader.

We decided to dedicate today's lesson to a real medieval knight.

Everyone knows that a knight is not just a warrior who fought dragons in a medieval epic and often came into contact with other fairy-tale characters. Just like Japanese samurai, knights are holders of a noble title. The knightly estate had a very great influence on the entire history of Europe; many men from various social strata dreamed of becoming a knight in the Middle Ages.

The greatest chances of becoming a real knight were among representatives of wealthy noble families, whose members became famous for their devoted service to the king, or special military merits. Connoisseurs of history will definitely notice the Templar cross on our knight - we chose him for a reason, because this particular order is one of the most recognizable in the entire existence of chivalry. So, we are starting a lesson on how to draw a knight step by step for beginners with a pencil!

To begin with, we want to demonstrate many different examples of drawing knights, and then we will tell you in detail how to draw one of them.

For convenience, you can use the content

The easiest way to draw a knight

Knights from an old drawing book :)

horse rider

Quentin Dorward

Knight with shield

Goblin

Sixth drawing option

Russian warrior on a horse

And one more option

And now we draw in stages

If you have already read the examples above, then it's time to move on to a more detailed discussion of "How to draw a knight?"

Stage 1
You start with a stickman - a special little man made of sticks and circles, which is drawn to indicate the pose and basic proportions. A little about the proportions of the human body - the length of the body should be equal to seven heads. The size of the foot is approximately equal to the height of one head, the distance from the crown to the hips is usually equated to three heads. By the way, the height of the human head in all artistic aids is the main unit of measurement for all proportions of the body.

True, we digress from the stickman. Be sure to pay attention to the proportions, especially to the head. It should appear to be much larger than a human head, since the head of a knight is dressed in a voluminous and massive helmet. The warrior's posture itself is quite simple, it does not imply any sharp actions or attacks - one arm bends (the angle is slightly sharper than a straight one), the hand is located on the hilt of the sword, and the second holds a spear with a flag and bends very slightly.

With legs, everything is very simple. They bend at the knees a little and are in the quite natural position of a person who stands straight and does not strain his legs to give them a straight position. It is important not to forget about two important lines - facial symmetry and eye symmetry, outline them and move on.

Stage 2
In this step, you will add volume to the arms and upper torso, guided by the lines of the stickman. Outline the parts of the body in the form of modified cylinders. This will help you in the future to accurately draw all parts of the knight's body. In general, in the following steps you will only draw the shape of the armor, since, in fact, they hide the entire Templar from head to toe.

Stage 3
Repeat the steps of the previous step, but with respect to the legs and belt of the knight, make them voluminous. The waist area is essentially a triangle, and the thighs look like cylinders. Do not forget to also mark the knees with flat ovals, then draw the calves, feet and move on to the next stage.

Stage 4
Now work on the fabric. We are talking about the mantle of a knight, as well as the elements of clothing that are on the belt and cover his legs to the knees. First, give the mantle some general silhouette, and then draw the folds. Do it with natural and smooth lines.

Remember that you are depicting in the picture as if a light wind that develops the knight's robes. Do not forget to also mark the folded part of the mantle that covers the bent left arm. A little more work with the fabric - draw a surcoat (a piece of clothing that covers the legs and torso). Also at this stage, you draw a sword, the hilt of which is actually completely covered by the brush of a warrior in a mitten.

Stage 5
You have a finished silhouette of a warrior, and from this stage you can begin to draw it in detail from head to toe. First, draw a horizontal seam at the very top. Next, give the shape of the helmet a finished look. Then, based on the two perpendicular lines from the first steps, draw a vertical seam, as well as eye holes that need to be painted over.

Finish the stage by drawing small holes at the bottom of the helmet. Be sure to pay attention to their uniform size and orderly arrangement.

stage 6
Great, now detail the upper torso and arms. First, erase the guide lines from the previous steps in the area of ​​the right arm and chest. Draw a drawstring with two buckles just below the throat - this will be the clasp of the mantle. From it, draw curved smooth lines. They will indicate the folds of the fabric that are pulled together by the fastener.

On the left, the mantle will fall down, and therefore the lines should gradually move into a vertical position. But again, very smooth. Note how the cloak wraps around the warrior's left forearm and note this with folds. Also at this stage, draw a spear - it consists of a thin shaft and a tip that looks like a somewhat elongated rhombus.

Stage 7
Erase all the guide lines from the previous steps on the torso and draw a cross with expanding ends in the center of the chest. On the fabric of the robe, mark a few folds that should run obliquely, from the armpit to the stomach. The belt pulls the warrior's attire, and his right arm is raised, so the folds will go from the belt up, and also towards the right arm. Draw another cross on the left side of the cloak, but don't forget to take into account the folds in the fabric. Draw the belt, the scabbard of the sword in the stripes of the belt and the left gauntlet.

Stage 8
We dedicate this step to the folds on the fabric of the mantle and the lower part of the robe, which covers the legs of our knight. So, first of all, we align the stripes and erase all unnecessary auxiliary lines. The folds should indicate the position of the robe, which hangs loosely from the right shoulder, which means that they should be vertical and relatively long.

Pay attention to the fact that only one fold, which is located near the edge of the mantle, is strongly bent, the rest looks like smooth lines. In addition, at this stage you will need to erase the guide lines from the top of the legs and draw folds on the fabric in this area. Draw them with slightly curving lines in the direction from the waist to the knees.

Stage 9
Now you need to draw the legs from the knees to the feet. Actually, here you just need to give the legs a finished look, draw a couple of lines on the knees and designate the spurs. The chain mail sits quite tightly on the legs, and therefore try to convey the entire shape of the legs as correctly as possible. Draw the lower part of the clothes hanging from the back. It remains to draw a flag with a cross, developing on the shaft of a spear. Do not forget about the folds that go from bottom to top.

10 stage
Actually the knight is ready, it remains only to work with the shadows. Start, as always, with the head. In this case, from a helmet. First, shade the darkest areas with vertical strokes, while trying to indicate the cylindrical shape of the helmet. Pay attention to the light stripe at the bottom of the helmet, it should be marked and left practically unpainted. Now lighter strokes indicate the transition from shaded areas to light ones. These transitions should be natural and smooth.

Stage 11
Continue painting over the warrior and at this point you will be working on the limbs. It should be noted that you need to draw the armor on the legs and arms in exactly the same way. Look at your feet. This is what the first stage of shading should look like.

You cover the entire limb with very small shading, the direction is crosswise. After that, apply the darkest shadows and mark the transition from them to the light areas in the same way as you did with the helmet. Do not forget also about the shadows from the mantle on the arms. They should be especially thick.

12 stage
Now you need to draw shadows on the legs. They are superimposed in the same way as on the hands in the previous stage. To add realism, leave narrow strips of reflex light (that is, light that is cast on an object from a very bright surface of something) on ​​the inside of the lower leg in the calf muscles. In particular, thick shadows will be cast by the surcoat fabric.

Stage 13
Well, there are very few left. At this stage, you need to work on the shadows on the mantle. It may seem to you that the step is voluminous and complex, but this is not so if you correctly determine the direction and nature of the lighting. As you can see, the light falls on the knight from the side of his left hand. Therefore, almost the entire left side of his cloak should be illuminated. Areas of shadows that are created from the folds should be marked with light, barely noticeable strokes with a minimum degree of pressure on the pencil. It is necessary to designate the forearm of the left hand protruding under the warrior’s cloak, shading the edges of the bulge for this so that it looks illuminated and bright.

Avoid flashy and harsh shadows, as in drawing various comic book characters. Even the most shaded places must be painted over carefully and accurately. To make the shadow more dense, shade the desired area twice - first, light hatching obliquely, and on top one more layer in order to get a crosswise pattern. On the right, the cloak can only be seen from the inside, and it should just be heavily shaded. Also note the shadows cast by the mantle on the knight's torso. They form a sharp triangle. Its top is under the clasp of the mantle.

Stage 14
The last step is where you will cast the shadow that the knight casts on the surface and lightly shade the sword, spear, and part of the mantle that covers the neck near the left shoulder.

It was a very difficult lesson. If you could not cope with it the first time, then do not be discouraged - track the stage where you made a mistake and be sure to try again. Leonardo da Vinci often said that any obstacle is overcome by perseverance. So just keep trying and you'll be fine.

Source of this example: drawingforall.ru

From the title it is already clear what will be discussed. We will be studying how to draw war with a pencil step by step. It will not be Star Wars and Darth Vader, and not even a shooter game, but a real war! Three soldiers in a trench, with heaps of military equipment. In order to draw all this, you need a lot of knowledge about military affairs. Of course, you can sit down to play WoT, but in the end you won’t draw anything. Who does not know this is such a super action with the participation of tanks, which has gathered a huge mass of gamers in our country. By the way, the yellow-faced Chinese are no less addicted to this. It seems that half of their population is involved in sports, judging by the number of Olympic medals in 2012, but the second is mired in the whirlpool of online games. For the fact that half of our population has been staring at the LCD monitor for two years now, while at the same time managing to smear the gaming mouse with greasy fingers from dinner and pour coffee on the clave ... let's all say "Thank you" Wargaming! Although God is with him. Now let's digress from tanks and try to draw military operations involving real ones. There are five steps ahead.

How to draw war with a pencil step by step

Step One First, let's outline the people in motion. Head, body position, arms, legs.
Step Two Now let's think about what will be around our soldiers: this is a fence, stones, logs. Let's show their contours.
Step Three Let's dress our combatants: helmet, pants, boots. Let's supply one of them with a bag. Draw the profile of the face closest to us. We wrap the fence with barbed wire.
Step Four Let's add details: thorns on the wire, belts on people's clothes, a shoulder blade, etc.
Step Five Let's do the hatching. There are darker areas on the clothes at the folds. Darken the areas on the pillars. Well, here are the soldiers against the backdrop of a military and completely non-picturesque landscape.
See similar military equipment drawing lessons.

Derived from the Italian word "istoria" ("descriptive"), the term "historical painting" refers to any painting of heroic, religious or historical content. The plots of the canvases are based on real events, mythology, biblical texts.

Initially, religious subjects dominated in the visual arts - during the design of this direction of painting in the Renaissance, the gospel and biblical themes were the most popular. Paintings by Surikov, Repin, Gericault, Rembrandt and other artists depict events important for the development of mankind, culture and public consciousness.

Main plots

religious

Any paintings with religious subjects, regardless of belonging to a particular religion (Christian, Islamic, Hindu, Buddhist, Jewish or tribal religion). Christian subjects cover the period from the beginning of our era to the present, highlight the art of the Reformation and Counter-Reformation and other subspecies.

mythological

Pictures illustrating mythical history, legends. Popular topics include Greek deities, creation myths, Roman mythology, and the pantheon of gods.

allegorical

Paintings with hidden meanings. On the canvas, one object or character symbolizes another.

Literary

historical

Canvases illustrating real historical events with a high level of accuracy and authenticity. Particular attention is paid to details. A prominent representative of the direction is the Russian painter Vasily Surikov.

The history of development

In his treatise "On Painting", the Italian Renaissance artist Alberti identifies the historical genre with the representation of saints and other biblical figures to demonstrate the moral struggle, historical events associated with the development of religion.

Renaissance

In the tradition of the Renaissance, history painting is aimed at raising the moral level of society, ideal for decorating public spaces, churches, city halls or palaces.

Almost all artistic events in Italian pre-Renaissance and Renaissance art can be interpreted as prerequisites for the development of the "historical painting" direction:

In the Renaissance, the main features of the "historical painting" direction were born - great attention to detail, monumentality, scale, the use of religious themes as the main one in the work of artists.

Renaissance

The historical genre of the Renaissance is represented by such works:

Of the artists of the Baroque era, Peter Paul Rubens vividly represents the historical genre. The main plots are mythological. The Italian artist Caravaggio is known for realistic religious paintings. Velasquez and Rembrandt are the authors of paintings on religious, mythological themes.

Baroque

In the Baroque era, the historical genre is represented by the works of:

In the 18th century

The historical genre of the 18th century is characterized by features not characteristic of previous eras. This period was a turning point in the development of painting. Artists sought to move away from academicism, looked for new themes for paintings, and chose minor events as themes for creating paintings. The development of the direction was influenced by the dogmas of classicism and baroque.

Examples of 18th century work:

The decrease in the importance of the direction is noticeable in the 19th century. Artists sought to dramatize art, not to raise moral norms. The development of the direction was most influenced by romantic and classical styles. The themes of the paintings became narrower - the masters moved away from the exaltation of large-scale events and religious subjects.

The French artist Eugène Delacroix was the most energetic of the Romantic painters - the canvases vividly demonstrate romanticism in painting. The works of Ernest Meissonier, made in a strict academic style, are popular. Adolf Menzel became famous for depicting scenes from the court of Frederick the Great.

In the 19th century

The art academies of the 19th century sought to return the high status and importance to the historical fine arts in strengthening moral norms.

The great artist of the 19th century in France is the academic teacher Gustav Moreau, known for his works on mythological themes. In England, George Frederick Watts was the best of the Victorian painters - a brilliant representative of the allegorical type of historical fine art. In America, the direction was supported by the German-American painter Emanuel Gottlieb Leutze.

Examples of 19th century paintings:

In the 20th century

The 20th century brought changes: revolutions, wars, crises broke the value system. Innovations marked the fine arts - abstract styles of painting, an avant-garde direction appeared. In the 20th century, the direction was no longer attributed special moral and cultural significance. The historical genre has become a resource used by artists to demonstrate the seriousness of their work. New topics - Celtic, Scandinavian mythology, ideological, propaganda, ideological painting.

Works of the 20th century:

In Russia

Russian historical painting is known for the works of Vasily Surikov, Ilya Repin, Vasily Polenov. The direction developed in the 18th - 19th centuries by realist artists of the Wanderers Association. The most popular are mythological and historical subjects. The formation of the direction is connected with the formation of educational ideas, which were promoted by the Academy of Arts. Surikov and other Russian painters worked in the styles of realism and classicism.

Most of the paintings by Surikov, Ugryumov, Ivanov, Losenko are large-scale, detailed, made in accordance with all the traditions of academic art.

The representative of Russian fine arts is Vasily Surikov: “Morning of the Streltsy Execution”, “Boyar Morozova”, “The Capture of the Snow Town”, “Suvorov Crossing the Alps”. Features of the works: monumentality, a significant number of characters on the canvas, dynamism, the use of natural, dark tones. Surikov's paintings are the most representative example of Russian historical painting.

Genre Meaning

The historical genre of the late 20th - early 21st century is developing in the paintings of artists - representatives of contemporary art. Fine art tends to abstractionism, thematically - to the actual problems of mankind. The direction allows painters to express their opinion about the events in the world, changes in politics, economy, culture.