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In this work Korovin laid the foundation to further development of a still life. The aspiration of the artist to expand still life borders, more closely to connect it with the person, with world around brings in many cases to organic merge of this genre to a portrait, a landscape, an interior and a genre painting. The image of "dead nature" to become more significant here, turns into active means of disclosure of an image. And it is characteristic not only for the initial stages, but also for the entire period of development of a still life of the end of XIX-of the beginning of the XX centuries. Especially communication of a still life with a landscape is traced in K. A. Korovin and E. Grabar's creativity.

But K. Korovin and Grabar can be united, only too widely and generally understanding impressionism as art of impression and, so to speak, optical perception and treatment of the nature. But behind this general essential distinction and in the most concrete perception begins.

Together with lighting the still life "includes" air. Subjects seem shrouded in an easy bluish thought of the transparent spatial environment. From it the living tissue of flowers and leaves finds new reverence hardly notable mobility. The petals which are given to drink by moisture reveal, reach for light of a cup of flowers, greens puff up the cut-out lace. Life appears in one quality - in a charm only, fragile, is unique a fine moment. There is in own way bright, though a little unilateral disclosure of certain properties of world around.

This canvas is executed in the same equipment, as all his pictures of these years. In it there is all that new that introduced in painting impressionism: air and light. It is yellow - the brown background lies a thin layer and as if water flows round flowers and a vase, creating effect of lightness. And on this background with bright color butterflies heads of flowers burn. Shaped dabs emphasize effect of fire. The dark vase counterbalances a bouquet. The surface of a table merges with a background that the big space of one color did not outweigh composition. And only the small light spot specifies a surface on which there are flowers. Game of patches of light and color strokes create unique naturalness and a spontaneity which is present at all works of Renoir.

The art of a still life which developed in the XVII century defined the main qualities of this genre. The picture devoted to the world of things told about the main properties inherent in the subjects surrounding the person opened the relation of the artist and contemporary to that is represented, expressed character and completeness of knowledge of reality. The painter reported material life of things, their volume, weight, the invoice, color, functional value of subjects of use, their live communication with activity of the person.

Throughout eras changed not only methods and ways of the picturesque solution of a still life, but art experience was saved up, in the course of formation more difficult and constantly enriched view of the world developed. Not one subject as that, but its various properties became object of transformation, and through disclosure of again understood qualities of things the, modern attitude towards reality, revaluation of values, a measure of understanding of reality was expressed.

The space problem in Cezanne's creativity was decisive because "there was no place to continue impressionism and there is no need. Unless to the deadlock to abstraction. There was only one way of rescue of the art capable to capture the world in its integrity, - a way of creation of the latest system of vision which could contain in itself both space, and time. It was necessary to go for storm of time as once Giotto went for storm of space. Here then there was Cezanne" (Prokofiev V.N)

Severe, intense and ascetic art of Byzantium, creating the immortal, monumental generalized, sublime and heroic images, with unusual expressiveness used images of separate subjects.

Formulated in the XVII century, problems of a genre in general existed at the European school up to the middle of the XIX century. However it does not mean that artists did not set for themselves new tasks, mechanically repeating ready decisions.