What is a biographical portrait. A short excursion into the history of portraiture. The writer's creative legacy

In today's post, I would like to focus on brief history development of portraiture. It is not possible to fully cover all the material on this topic in the limited volume of the post, so I did not set such a task.

A small excursion into the history of portrait painting

Portrait(from French portrait) - it's a genre visual arts, as well as works of this genre, showing the appearance of a particular person. The portrait conveys individual characteristics, unique features inherent in only one model (a model is called a person posing for a master when working on a work of art).

"Parisian". A fresco from the Palace of Knossos, 16th century BC

But external resemblance is not the only and, perhaps, not the most important property inherent in a portrait ... A true portrait painter is not limited to reproducing the external features of his model, he seeks convey the properties of her character, reveal her inner, spiritual world ... It is also very important to show social status portrayed, to create a typical image of a representative of a particular era.
How the portrait genre appeared several millennia ago in antique art... Among the frescoes of the famous Palace of Knossos, found by archaeologists during excavations on the island of Crete, there are a number of picturesque female images dating back to the 16th century BC. Although researchers have called these images "ladies of the court", we do not know who the Cretan masters tried to show - goddesses, priestesses or noble ladies dressed in elegant dresses.
The most famous is the portrait of a young woman, called by scientists "Parisienne". We see in front of us a profile (according to the traditions of art of that time) image of a young woman, very flirtatious and did not neglect makeup, as evidenced by her eyes, surrounded by a dark outline, and brightly painted lips.
The artists who created the fresco portraits of their contemporaries did not delve into the characteristics of the models, and the external similarity in these images is very relative.

"Portrait of a Young Roman", early 3rd century AD

In Ancient Greece and Ancient Rome easel painting did not exist, so the art of portraiture was expressed mainly in sculpture. Ancient masters created plastic images of poets, philosophers, military leaders and politicians. These works are characterized by idealization, and at the same time, among them there are images that are very precise in their psychological characteristics.
Of great interest are the picturesque portraits created in Egypt in the 1st-4th centuries A.D. According to the place of the find (the tombs of Khavara north of Cairo and the necropolis of the Fayum oasis, which was called Arsinoe under the Ptolemies), they are called Fayum. These images performed ritual and magical functions. They appeared in the era of Hellenism, when Ancient Egypt was captured by the Romans. These portrait images, executed on wooden boards or on canvas, were placed together with the mummy in the tomb of the deceased.
In the Fayum portraits, we see Egyptians, Syrians, Nubians, Jews, Greeks and Romans who lived in Egypt in the 1st-4th centuries A.D. From Ancient rome the custom came to Egypt to keep in the house portraits of the owners painted on wooden tablets, as well as sculptural masks of deceased relatives.

Fayum mummy portrait

Fayum portraits were created using the tempera or encaustic technique, which is especially characteristic of earlier images. Encaustic is painting with paints, where wax was the main connecting link. The artists used melted wax paints (on many tablets with portraits, there are traces of such paints flowing off). This technique required special techniques. On the cheeks, chin and nose, the paint was applied in dense layers, and the rest of the face and hair were painted with more liquid paint. For their portraits, craftsmen used thin planks of sycamore (mulberry fig) and Lebanese cedar.

J. Bellini. "Portrait of a Donor". Fragment

Among the most famous portraits performed in the encaustic technique are " Portrait of a man"(second half of the 1st century AD) and" Portrait of an Elderly Man "(end of the 1st century AD), which are lifetime images. Skillful black and white modeling and the use of a color reflex are striking in these works. Probably, unknown masters who wrote portraits, passed the Hellenistic school of painting. In the same manner, two other paintings - "Portrait of a Nubian" and a beautiful female image, the so-called "Lady Alina" (II century AD) were executed in the same manner. brush and liquid tempera.
During the Middle Ages, when art was subordinated to the church, mainly religious images were created in painting. But even at this time, some artists painted psychologically accurate portraits. Images of donors (donors, customers) were widely disseminated; they were shown most often in profile, facing God, Madonna or a saint. Images of donors had an undeniable external resemblance to the originals, but did not go beyond iconographic canons playing a secondary role in the composition. Profile images coming from the icon retained a dominant position even when the portrait began to acquire an independent meaning.
The heyday of the portrait genre began in the Renaissance, when the main value of the world was an active and purposeful person who could change this world and go against the circumstances. In the 15th century, artists began to create independent portraits, which showed models against the backdrop of panoramic majestic landscapes. Such is the "Portrait of a Boy" by B. Pinturicchio.

B. Pinturicchio. "Portrait of a Boy", Art Gallery, Dresden

Nevertheless, the presence of fragments of nature in the portraits does not create the integrity, unity of a person and the world around him, the person being portrayed seems to obscure the natural landscape. Only in portraits XVI century harmony arises, a kind of microcosm.

Many famous masters of the Renaissance turned to portrait painting, including Botticelli, Raphael, Leonardo da Vinci. The greatest work world art became the famous masterpiece of Leonardo - the portrait "Mona Lisa" ("La Gioconda", c. 1503), in which many portrait painters of subsequent generations saw a role model.
Titian played a huge role in the development of the European portrait genre, creating a whole gallery of images of his contemporaries: poets, scientists, clergymen, rulers. In these works, the great Italian master acted as a subtle psychologist and a wonderful connoisseur of the human soul.

Titian: Empress Isabella of Portugal.

During the Renaissance, many artists who created altar and mythological compositions turned to the portrait genre. The psychological portraits of the Dutch painter Jan van Eyck (Timothy, 1432; The Man in the Red Turban, 1433) are distinguished by their deep penetration into the inner world of the model. The recognized master of the portrait genre was the German artist Albrecht Durer, whose self-portraits still delight viewers and serve as an example for artists.

Albrecht Durer, Self-portrait

During the Renaissance in European painting various forms of portrait emerged. The bust portrait was very popular at that time, although half-length, generational images and portraits in full height... Noble married couples ordered paired portraits, in which the models were depicted on different canvases, but both compositions were united by a common concept, color, and landscape background. A striking example of paired portraits is the images of the Duke and Duchess of Urbino (Federigo da Montefeltro and Battista Sforza, 1465), created by the Italian painter Piero della Francesca.
Group portraits were also widespread, when the artist showed several models on one canvas. An example of such a work is "Portrait of Pope Paul III with Alessandro and Ottavio Farnese" (1545-1546) by Titian.

By the nature of the image, portraits began to be divided into ceremonial and intimate. The first were created with the aim of exalting and glorifying the people represented on them. Ceremonial portraits were ordered from famous artists reigning persons and members of their families, courtiers, clergymen who occupied the upper rungs of the hierarchical ladder.
Creating ceremonial portraits, the painters depicted men in rich uniforms embroidered with gold. The ladies who posed for the artist wore the most luxurious dresses and adorned themselves with jewelry. The background played a special role in such portraits. Craftsmen painted their models against the background of a landscape, architectural elements (arches, columns) and lush draperies.
The largest master of the ceremonial portrait was the Fleming P.P. Rubens, who worked at the royal courts of many states. His noble and wealthy contemporaries dreamed that the painter would capture them on his canvases. Custom-made portraits of Rubens, striking in the richness of colors and virtuosity of drawing, are somewhat idealized and cold. The images of relatives and friends that the artist created for himself are full of warm and sincere feelings, they do not have the desire to flatter the models, as in ceremonial portraits for wealthy clients.

A student and follower of Rubens was the talented Flemish painter A. van Dijk, who created the gallery portrait images their contemporaries: scientists, lawyers, doctors, artists, merchants, military leaders, clergymen, courtiers. These realistic images subtly convey the individual uniqueness of the models.
The portraits performed by van Dyck in the late period, when the artist worked at the court of the English king Charles, are less perfect artistically, because the master who received many orders could not cope with them and entrusted the image of some details to his assistants. But even at this time, van Dyck painted a number of rather successful paintings (Louvre portrait of Charles I, c. 1635; Three Children of Charles I, 1635).

A. van Dijk. "Three Children of Charles I", 1635, Royal Assembly, Windsor Castle

In the 17th century, an intimate (chamber) portrait occupied an important place in European painting, the purpose of which is to show the state of mind of a person, his feelings and emotions. The recognized master of this type of portrait was Dutch artist Rembrandt, who wrote many heartfelt images. "Portrait of an Old Woman" (1654), "Portrait of Titus's Son Reading" (1657), "Hendrickje Stoffels at the Window" (portrait of the artist's second wife, c. 1659) are imbued with sincere feelings. These works present to the viewer ordinary people who have neither noble ancestors nor wealth. But for Rembrandt, who discovered new page in the history of the portrait genre, it was important to convey the kindness of his model, her truly human qualities.

Unknown artist. Parsuna "Sovereign of All Russia Ivan IV the Terrible", end of the 17th century.

Rembrandt's skill was also manifested in his large-format group portraits ("Night Watch", 1642; "Syndics", 1662), conveying various temperaments and vivid human personalities.
One of the most remarkable European portrait painters of the 17th century was spanish artist D. Velazquez, who painted not only a great many ceremonial portraits representing the Spanish kings, their wives and children, but also a number of chamber images ordinary people... TO better feelings the viewer is drawn to the tragic images of court dwarfs - wise and restrained or embittered, but always retaining a sense of human dignity ("Portrait of the Jester Sebastiano Mora", c. 1648).

The portrait genre was further developed in the 18th century. The portrait, in contrast to the landscape, gave the artists a good income. Many painters who were engaged in the creation of ceremonial portraits, trying to flatter a rich and noble customer, tried to highlight the most attractive features of his appearance and obscure flaws.
But the most courageous and talented masters were not afraid of the wrath of the rulers and showed people as they really were, not hiding their physical and moral shortcomings. In this sense, the famous "Portrait of the Family of King Charles IV" (1801) by the famous Spanish painter and graphic artist F. Goya is interesting. The National School of Portraiture appeared in England. Its largest representatives are the artists J. Reynolds and T. Gainsborough, who worked in the 18th century. Their traditions were inherited by younger English masters: J. Romney, J. Hopner, J. Opie.
Portrait played an important role in French art. One of the most talented artists of the second half of XVIII- the first quarter of the 19th century was J.L. David, who created, along with paintings of the ancient and historical genre, many beautiful portraits. Among the masterpieces of the master are the unusually expressive image of Madame Recamier (1800) and the romantically elevated portrait "Napoleon Bonaparte at the Saint Bernard Pass" (1800).

The consummate master of the portrait genre was J.O.D. Ingres, who glorified his name with ceremonial portraits, distinguished by sonorous colors and graceful lines.
Excellent examples of romantic portrait were presented to the world by such French artists as T. Gericault, E. Delacroix.
French realists (J. F. Millet, C. Corot, G. Courbet), impressionists (E. Degas, O. Renoir) and post-impressionists (P. Cezanne, V. van Gogh) expressed their attitude to life and art in portraits.
Representatives of modernist movements that appeared in the 20th century also turned to the portrait genre. Many portraits left us famous French artist Pablo Picasso. These works can be traced to the development of the master's work from the so-called. blue period to Cubism.

In his "Blue Period" (1901-1904), he creates portraits and genre types, in which he develops the theme of loneliness, grief, human doom, permeating the spiritual world of the hero and a hostile environment. This is the portrait of a friend of the artist - the poet H. Sabartes (1901, Moscow, Pushkin Museum).

A significant contribution to the development of Russian portrait painting was made by the talented artist of the first half of the 18th century I.N. Nikitin, with the skill of a psychologist, showed in the "Portrait of the Floor Hetman" (1720s) a complex, multifaceted image of a man of the Peter the Great era.

Painting of the second half of the 18th century is associated with the names of such famous portrait painters as F.S. Rokotov, who created many inspired images of his contemporaries (portrait of V.I. Maikov, c. 1765), D.G. Levitsky, the author of beautiful ceremonial and chamber portraits that convey the integrity of the models' nature (portraits of pupils of the Smolny Institute, c. 1773-1776), V.L. Borovikovsky, whose surprisingly lyrical female portraits still delight the audience.

Borovikovsky, Vladimir Lukich: Portrait of Elena Alexandrovna Naryshkina.

The 1860s-1870s were the time of the formation of realism in Russian painting, which was most clearly manifested in the work of the Itinerant artists. During this period, in the portrait genre, the portrait-type enjoyed great success among the democratically-minded public, in which the model received not only a psychological assessment, but was also considered from the point of view of its place in society. In such works, the authors paid equal attention to both the individual and typical features of the portrayed.
An example of such a portrait-type was painted in 1867 by the artist N.N. Ge portrait of A.I. Herzen. Looking at the photographs of the Democrat writer, one can understand how exactly the master captured the external resemblance. But the painter did not stop there, he captured on the canvas the spiritual life of a person striving to achieve happiness for his people in the struggle. In the image of Herzen, Ge showed a collective type the best people of his era.

N.N. Ge portrait of A.I. Herzen

Ge's portraiture traditions were taken up by such masters as V.G. Perov (portrait of F.M.Dostoevsky, 1872), I.N. Kramskoy (portrait of Leo Tolstoy, 1873). These artists have created a whole gallery of images of their outstanding contemporaries.
Remarkable type portraits were painted by I.E. Repin, who managed to very accurately convey the unique individuality of each person. With the help of correctly noted gestures, poses, facial expressions, the master gives a social and spiritual characteristic of the portrayed. A significant and strong-willed person appears in the portrait of N.I. Pirogov. The viewer sees deep artistic talent and passion of nature on his canvas, depicting the actress P.A. Strepetov (1882).

Portrait of the actress Pelageya Antipovna Strepetova as Elizabeth. 1881

Glazunov_ Portrait of Ilya Reznik, 1999

A.M. Shilov ("Portrait of Academician I. L. Knunyants", 1974; "Portrait of Olya", 1974).

A.M. Shilov. "Portrait of Olya", 1974

When preparing the material, materials were used

Detailed solution paragraph § 12 on history for 9th grade students, authors Arsentiev N.M., Danilov A.A., Levandovsky A.A. 2016

• Gdz workbook on History for grade 9 can be found

Question for working with the text of paragraph 1. What are the features of the social movement of the 1830-1850s. do you think the main ones? Argument your answer.

Key Features:

Narrow social base. A conservative trend in the form of a clearly formulated concept “Orthodoxy. Autocracy. Narodnost ”and even then it was supported only by a relatively narrow circle of publicists and a small part of the bureaucracy, while the majority of the population simply believed in the tsar-father and carried out the orders of the official authorities. There is nothing to say about opposition movements. Because of this, the social movement was not an important part of the life of society as a whole.

Lack of real action. The radicals who stood up for the revolution did not go further than appeals. This stems in part from a previous feature: a narrow social base.

Question for working with the text of paragraph 2. Explain the essence of the theory of the official nationality.

The theory of the official nationality is best expressed in the triad "Orthodoxy, autocracy, nationality", which presupposes moral and spiritual state on the basis of Orthodoxy with autocracy as the best form of government, as well as the unity of the people within themselves and with the autocrat (nationality).

Question for working with the text of paragraph 3. List the most important ideas of Westernizers, Slavophiles.

The most important ideas of Westerners:

All countries of the world have a single development path, just the European countries have advanced further along it, and Russia has lagged behind;

Praise of the reforms of Peter I, who brought Russia from stagnation to the European path of development;

Demand to introduce parliament to limit the power of the monarch;

Demanding the abolition of serfdom and the destruction of the rural community.

The most important ideas of the Slavophiles:

Russia has its own development path, different from the Western one, therefore it should not be oriented towards Europe;

Condemnation of the reforms of Peter I, which alienated Russia from the true path of development, introduced despotism and serfdom;

The demand to resume the collection of Zemsky Sobors, but not to limit the power of the monarch, but for the sake of his better connection with the people;

Request to cancel serfdom, but with the preservation of the rural community as the basis of truly Russian life.

Question for working with the text of paragraph 4. What were the fundamental differences between the positions of Westerners and Slavophiles?

Fundamental differences:

The Westerners believed that Russia should follow the Western path of development, the Slavophiles - its own;

Therefore, the Westerners extolled the reforms of Peter I, the Slavophiles condemned;

In the opinion of the Westernizers, the popular representation in Russia should limit the power of the monarch; in the opinion of the Slavophiles, it should improve the connection between the monarch and the people, but not limit the power;

Westerners considered the rural community a relic of feudalism and offered to get rid of it, the Slavophiles saw in the community the basis of true Russian life and stood for its preservation.

Question for working with the text of paragraph 5. What were the main ideas of the utopian socialists? How did they plan to implement them?

The main idea was to build a society of equals - socialism. It was proposed to build it with the help of the revolution. But the ideas about socialism were different for different thinkers (as in Europe at that time), a single socialist doctrine did not exist before Marxism.

Thinking, comparing, reflecting: question number 1. Explain the words of A. I. Herzen: Westernizers and Slavophiles "looked in different directions", but "the heart was beating one."

This means that both of them sincerely wanted the good for Russia, while both currents were liberal, therefore they used similar methods, their representatives were equally cordial about their work. Many leaders of different currents were initially friends with each other and broke up solely because of the difference in views. But at the same time, the Westernizers were guided by Europe, and the Slavophiles - by pre-Petrine Russia.

Thinking, comparing, reflecting: question number 2. Make a biographical portrait of one of the representatives of the conservative, liberal or radical movement in Russia in the second half of the 19th century.

Timofey Nikolaevich Granovsky lived only 42 years and died in 1855, not having time to see the long-awaited reforms on the model of European modernization.

Granovsky was educated first at Moscow University, and then at Berlin University. A lively mind and curiosity made him an excellent scientist, who laid the foundation for Russian medieval studies (the science of the history of the Middle Ages). He was also an outstanding lecturer. Other teachers continued to naturally read their own dissertations or monographs of their colleagues. In the Middle Ages, this is exactly what was meant by a lecture ("lecture" in translation from Latin - "reading"), but times have already changed. Granovsky always spoke on his own behalf, constantly throwing new ideas, the results of his research into the audience. His public lectures were attended not only by students of the entire university, but also by simply interested people - the audience turned out to be so full that it was difficult for the professor to get to the department, because even on the floor they were sitting in dense rows.

Granovsky was a Westerner. He believed that Russia should follow the European path of development, which he knew and understood perfectly well. As a medievalist, he found in the state system and the life of his homeland much from the European Middle Ages. He knew how all this was overcome in the West and believed that the same measures should be taken in Russia.

Timofey Nikolaevich was a striking phenomenon of his time. He can be considered a representative of the first generations of the Russian intelligentsia. He considered himself obliged to take care of the welfare of the fatherland and tried to choose his path not because he was a nobleman (and his origin was really noble), but because he had education and understanding for this.

Thinking, comparing, reflecting: question number 3. Than the radical circles of the 1830-1840s. different from the secret societies of the Decembrists?

It is striking, first of all, the difference that the Decembrists raised an uprising, and the circles of the next two decades did not go further than talk. But something else was more important. The Decembrists were mainly officers, many of them were heroes of the Patriotic War, the most worthy people of their generation. And even those who did not wear uniforms were nobles. At the same time, many public figures of the 1830-1840s did not come from the nobility, some were even the sons of serfs. Most of them have come to the fore due to their teaching or social activities(first of all, journalism). That is, if Decembrism was a movement of the nobility, then in the following decades the intelligentsia came to the fore, in which people from the nobility were just an organic part; moreover, even they were first of all intellectuals, and then nobles.

Thinking, comparing, reflecting: question number 4. Collect information about the activities of the Petrashevsky circle. Find out what kind of participation the writer F.M.Dostoevsky took in the activities of the circle.

The Petrashevites were engaged in debates about the future of Russia and the propaganda of their ideas both verbally and in writing. At the same time, these ideas themselves were not the same for different representatives of the circle. Some were inclined towards utopian socialism, but not all comrades shared their views.

Fyodor Mikhailovich Dostoevsky, like most other Petrashevists, was convicted not for the socialist ideas themselves, but for reading Belinsky's letter to Gogol and for not reporting on other readers. Nevertheless, this was enough to sentence the writer to death, so that later, at the very last moment, when the convicts stood in front of the firing squad, they could replace the execution with hard labor, like other convicts.

Thinking, comparing, reflecting: question number 5. The position of which of the currents public life in the 1830-1850s. seems to you the most realistic about the conditions of the then Russia? Justify your answer.

The positions of all currents were largely utopian, but the hopes of the Westerners were least unrealizable. In the next century and a half, Russia more than once followed the path of Western countries and often this led to another round of development (in the second half of the 19th century, at the end of the 20th). Meanwhile, the position of the Conservatives was defeated already in Crimean war... The Slavophiles imagined an idealized Russia, which never existed in reality and which they could not build. Socialists are called utopians - their ideas were too unrealistic.

NIKOLAI'S NATIONAL AND RELIGIOUS POLICY I. ETHNOCULTURAL IMAGE OF THE COUNTRY

(Material for independent work and project activities of students)

Question for working with the text of paragraph 1. What were the reasons for the aggravation of the Polish question in 1830?

Many nobles of Poland were not satisfied with anything except the restoration of independence;

Nicholas I introduced the secret police into the Kingdom of Poland;

He tightened his control over the seal;

The powers of the Diet were limited;

Governor Konstantin Pavlovich increasingly began to bypass the Diet;

A number of opposition-minded deputies of the Diet were arrested;

In 1830, a general upsurge of revolutionary sentiments was observed in Europe (the new regimes won in France and Belgium);

Within the framework of the Holy Alliance, Russia was going to send troops to suppress the revolution in France, which in Poland was sympathetic to;

Among the troops sent to suppress the uprising, the Polish units themselves could have been.

Question for working with the text of paragraph 2. What changes took place under Nicholas I in Finland and the Baltics?

In Finland, formally, everything has remained the same. However, the Diet was almost never convened. Nevertheless, autonomy, including its own legislation and the appointment of local natives to all posts, remained. There was no autonomy in the Baltics, but the situation was similar - the Germans served throughout the empire, especially as officials in their homeland. In addition, the peasant reform previously carried out there (the emancipation of peasants without land) contributed to the development of industry in these provinces.

Question for working with the text of paragraph 3. What was typical for economic development and social movement in Ukraine?

The economic development of the Southwestern Territory (later the Kiev General Government) was characterized by the rapid development of industry, mainly due to the rich coal deposits in the Donbass and Kryvyi Rih, due to which, first of all, metalworking enterprises developed.

Question for working with the text of paragraph 4. What were the main tendencies of the government's policy in relation to the Jewish population in the Russian Empire?

In general, the autonomy of the Jewish population and its oppression in the form of the Pale of Settlement (not counting everyday anti-Semitism) remained. At the same time, attempts to assimilate the Jews intensified through the introduction of recruits among them (which led to the inevitable baptism) and attempts to resettle some of them to Siberia for the agricultural development of the local lands. Both initiatives have met with only marginal success. Special laws were kept for Jews. This applies to the same Pale of Settlement. In addition, even recruiting for them had its own characteristics: the right to replace recruits with boys was granted, because the community gave away orphans and children from disadvantaged families, keeping members more valuable from their point of view.

Thinking, comparing, reflecting: question number 1. What do you think, what does the subordination of the Uniate Church directly to the Synod indicate?

This submission unambiguously showed the intention of the official authorities to subjugate the Uniate Church and became the forerunner of a complete forcible union with the Orthodox.

Thinking, comparing, reflecting: question number 2. Name and describe the reasons that contributed to the penetration of Russia into Central Asia.

The Russian Empire has always sought to expand its territories;

The steppe lands bordering on Russia lagged behind in development, many neighbors tried to subjugate them - St. Petersburg did not want to yield to them;

In the region, the British influence became more and more actively felt, which Russia decided to resist;

Russia needed the resources of the region, primarily cotton.

Thinking, comparing, reflecting: question number 3. Explain why the government gave special administrative status to those territories that had a border location.

The security of the empire directly depended on stability in such lands, because in the event of an external war, the support of the local population of one side or another could play a significant role. Therefore, in some of these areas (for example, in Finland) the government granted more freedoms than in the rest of the empire, hoping in this way to win the favor of the population. In others, on the contrary, it behaved more harshly than in the original Russian lands (for example, in Poland); in such cases, it did not hope for love, but hoped that the measures taken would not give rise to an uprising, despite anyone's aspirations.

Thinking, comparing, reflecting: question number 4. Write in your notebook a chronology of the main events of the Polish uprising of 1830-1831.

Chronology of the uprising:

January 25, 1831 - failure of negotiations with Nicholas I, the Diet declared him deposed from the post of ruler of the Kingdom of Poland;

the end of January 1831 - Joseph Khlopitsky was deprived of his powers for advocating a compromise with the tsar, he also refused command of the troops, going to fight as a combat officer;

February 25, 1831 - the Battle of Grokhov, which ended in a draw and heavy losses on both sides;

March-April 1831 - a successful Polish counteroffensive on the Vistula;

May 17, 1831 - the death of the commander of the Russian troops, General Diebitsch, from cholera, which halted the offensive;

Thinking, comparing, reflecting: question number 5. Using additional materials, compare the way of life of Finns and Ukrainians in mid XIX v. Make a presentation that illustrates the main similarities and differences.

Title: Comparison of the ways of life of Finns and Ukrainians in the middle of the 19th century

Image with caption: map of the Russian Empire with the highlighted territories of the Grand Duchy of Finland and Kiev governorship general

Text: To compare the ways of life of these peoples, it is worth turning to ethnographic materials: most of them were collected just in the middle and in the second half of the 19th century.

Name: Dwellings

Image with caption 1: Traditional Finnish dwelling

Image with caption 2: Traditional Ukrainian dwelling

Text: The traditional Finnish dwelling is a wooden building covered with clay. Initially, the roof was covered with sod, but in the middle of the 19th century, it was often replaced by tiles, less often by straw. Ukrainian huts were also covered with clay. But the difference was in the thickness of the walls (due to the climate).

Image with caption 1: Finnish farm

Image with caption 2: Ukrainian village

Text: The main difference is not in the construction of the house. Ukrainians usually settled in large villages, where yards were tightly adjacent to each other, separated by wattle fences. Finns, on the other hand, usually lived in farmsteads, separated from each other by large spaces. And even on the same farm, the houses stood at a distance from each other.

Name: Transport

Image with caption 1: Ukrainian sleigh pulled by a horse

Image with caption 2: Finnish reindeer team

Text: As a northern people, the Finns traditionally used reindeer teams or skis. The Ukrainians harnessed their horses to sleighs in winter and carts in summer. The Finns, on the other hand, in the summer, in a land with dense forests and bad roads, but wide rivers and deep lakes, preferred to travel by boat. Preserved boats for 16-20 pairs of oars, which could sail up to 100 people.

Name: Clothes

Image with caption 1: Finn in traditional costume

Image with caption 2: Ukrainian in traditional costume

Text: The clothes of the common people in Finland and Ukraine were similar: bast shoes, trousers and a shirt (long for women - dress). It was similar for other neighboring peoples. The biggest difference is in the ornamentation that covered the collar and the ends of the sleeves, as well as in the headdresses.

Name: Kitchen

Image with caption: Traditional Ukrainian borsch

Text: Traditional Ukrainian cuisine uses a fairly a large number of greens and vegetables that grow in abundance on these lands due to the warm climate. Of course, there are also meat products(including the famous bacon), but on the table of common people they were more a part of the festive holiday than of everyday life.

Image with caption 1: Finnish traditional Kalakukko pie cutaway

Text: There are far fewer vegetables in Finnish cuisine because they are more difficult to grow in northern climates, but there are many more fish, primarily river fish. Moreover, fish is often combined with meat or bacon (as in the Kalakukko pie). At the same time, when properly cooked, the fish acquires the taste of lard. So the Finns beat off the taste of annoying fish and created the illusion among the guests that they were eating pork, which is in short supply for the peasants.

Thinking, comparing, reflecting: question number 6. Explore additional resources on the history of Kiev University (St. Vladimir's University). Determine which areas of study were presented in it most fully.

The humanities were presented most fully there. The technical ones were not initially studied at all. Only later was the physics and mathematics department separated from the philosophy department. No wonder. It was in Kiev that they saw the cradle of Russian Orthodoxy, therefore, it was precisely the theology and the philosophy that was correct from the point of view of the official authorities that they paid the most attention. Technical and engineering specialties were concentrated in St. Petersburg and Moscow.

Mikhail Mikhailovich Prishvin is remembered by the world for his prose works. His works are imbued with love for the homeland. The author wrote short stories, essays and stories, which were illustrated by the artist O.G. Vereisky. His works are part of the school curriculum, which indicates a high level of skill.

Biographical portrait of Prishvin

The prose writer was born in February 1873. He came from a prosperous merchant family. The boy grew up an active and noisy child, as evidenced by his dismissal from school in the fourth grade for impudent behavior. Being a rebel by nature, the writer Prishvin later admitted that his character was formed by two main actions in life:

• Expulsion from the gymnasium.
• Escape from the gymnasium.

Prishvin's biography is not white as snow. While studying at the Riga Polytechnic School, he was seriously carried away by Marxism, for which he was arrested and exiled into a two-year exile. This trick did not go unnoticed, and the young man received a ban on further education in Russia. However, his mother was a wise woman and did her best to get her son to continue his studies. In 1900, Mikhail Prishvin went to study in Leipzig and received an agricultural education there.

Long travels in the north of Russia and Scandinavia left an imprint on the imagination of the future writer, which was the reason for writing the first story - "Sashok". This was followed by other writers' sketches of Prishvin, but soon he had to change his craft. In 1914, the writer's mother died, and he decided to start building a house on the piece of land left to him. This was not destined to happen, as it began and Prishvin went to the front as an orderly and part-time.

After the end of the war, Prishvin took up teaching and at the same time wrote his works. The author died in 1954 in Moscow.

The writer's creative legacy

Prishvin's portrait is unremarkable from the point of view of biographical sensations and does not stand out against the background of portraits of other writers. Having lived simple life, Prishvin managed to write enough works that became part of the Russian treasury of literary masterpieces.

The very first works of the author fall on the years 1906-1907, when the book "In the Land of Unafraid Birds" and "Behind the Magic Kolobok" were published. As a result of Prishvin's travels Far East in the 30s. the story "Zhen-shen" and the novel "The Condemned Road" were written. The collections of short stories: Nature Calendar "and" Forest Drops "deserve a lot of attention. Over time, appeared famous fairy tale"Pantry of the sun", which was recognized the best book for kids.

O.G. Vereisky - illustrator

Few people think about how much the readers would love the books if they did not have masterfully selected illustrations. This is especially true for young readers, for whom pictures are an essential attribute of a good book. Among the geniuses who spent their lives in the margins of books, working for the glory of writers, was O.G. Vereisky. He is not as famous as Vasnetsov or Vrubel, but, nevertheless, his merits are hard to overestimate. He was a People's Artist of the USSR and a member of the Academy of Arts.

Vereisky's career began in Leningrad under the supervision of Osmerkin. However, the artist gained wide popularity while working in the capital. In his creative career, the master was remembered for illustrations to the classics. Among the most famous writers, on whose books Vereisky worked, are Hemingway, Paustovsky, Sholokhov, Fadeev and Bunin. Sketches for Prishvin's works deserve special attention. In 1984, the artist was awarded the prize for the best illustration for the work "Anna Karenina".

Portrait of M. M. Prishvin

Orest Georgievich Vereisky, in addition to illustrations for short stories and stories, also painted a portrait of M. M. Prishvin, which is kept in the museum of the same name in Russia. The work was completed in the form in 1948, but from this it is no less significant. The portrait of Prishvin was painted from life, as evidenced by the entries in the writer's personal diary. The size of the canvas is small - 39.5x48. The paper depicts the head of the writer and the signature of the artist.

Where is the portrait of M.M. Prishvin, painted by the hand of the illustrator Vereisky

In the creative environment, a symbiosis of representatives of art is often observed, which help each other become more popular and leave a mark on history. The portrait of M.M. Prishvin, painted by the hand of the illustrator Vereisky, was not an attempt to publicize each other. It is rather a tribute to Mikhail Mikhailovich.

Orest Georgievich succeeded in his craft thanks to the abundance of easel works, author's lithography and many watercolor sketches. The portrait of Prishvin was not for him the work of his entire life, as evidenced by the manner of writing - a pencil drawing. The writer kept a diary throughout his life, describing in detail all the events. The portrait painted by Vereisky bears not so much artistic value as biographical.

In the spring of 1946, Prishvin was vacationing in the Porechye sanatorium near Moscow, where he looked for a house nearby. The writer's wife made every effort to make the house resemble an old manor, where everything would indicate the versatile interests of her husband. It turned out picturesquely. After the death of the writer, people came here, and the house officially received the status of a museum.

The decoration of the house illustrates Prishvin's usual daily routine. There is a samovar on the table, and the rooms are decorated with flowers and books. Of particular interest is the writer's room, where you can see one of the most famous portraits of Mikhail Mikhailovich, painted by Orest Vereisky.

A painting of Prishvin's head hangs directly above the head of his bed in the bedroom. A thick dark brown frame is framed by a yellow sheet of paper on which the prose writer is drawn in pencil. On the left at work, you can see the date the portrait was created. The whole room expresses the individuality of its owner and indicates his modesty and neatness. To the left of the portrait hang crossed guns - the personification of Prishvin's love for hunting. The wooden floor is decorated with carpets with a characteristic patterned pattern. But, in spite of these trifles, the central element of the room is precisely the portrait painted by Vereisky. Undoubtedly, such an arrangement betrays the writer's respect for the artist's work. This was their final a joint project, a few years later Prishvin died.