Target : Formation of ideas about the principles of rhythmic composition, transmission of movement using rhythm in a creative collective task.

Type of lesson: A lesson in learning new material.

Lesson objectives:

For the teacher:

For students:

1.To form an idea of ​​the principles of rhythmic composition in the visual arts to create an artistic image. 2. Reveal the value aspect of the relationship between rhythm in life, nature, fine arts (as a micromodel: man, nature, culture, personality). 3. Reveal the relationship between the rhythmic alternation of elements to create an artistic image.

1. Be able to identify the transmission of movement using the rhythmic alternation of elements in the visual arts, and logically justify your answers. 2. To form a general concept about the value role of rhythm in nature, human life, in the fine arts, about the value role (man, nature, culture, personality). 3. Develop the skills of “reading” rhythm in works of fine art for a deeper holistic perception.

Objectives and results:

Upbringing: Value attitude towards nature, visual activity.	Personal: Development of a value attitude towards nature and works of artistic culture.
Development: Abilities of figurative and value perception of rhythm in nature and works of art.	Personal: Development of emotional and figurative perception of rhythmic alternations in nature and works of fine art. Formation of a holistic perception of the surrounding world and civic identity in the form of awareness of “I” as a cultural personality. Metasubject: Development of UUD: 1.Cognitive: A) General subject: Be able to structure information and choose an effective way to respond. B) Logical: Be able to analyze and synthesize information, compare common and distinctive features of rhythm in life, nature, and fine arts. IN) Statement and solution of problems:Be able to formulate problems and be able to create ways to solve them. 2.Regulatory: Plan your actions in connection with the task. 3.Communicative: A) Formation of tolerance to the opinions of other participants in the educational process. B) Be able to express your thoughts orally.
Mastery: Skills in “reading” rhythm in works of fine art for a deeper holistic perception.	Subject: Be able to analyze the figurative “content” of works of fine art, be able to determine rhythm in nature and fine art.

To achieve the goal and objectives of the lesson, the following methods are used:

• dialogue;
• observations and comparisons;
• partial search method;
• method of problem situations;
• method of creative tasks;
• method of collective completion of tasks.

Structural components of the lesson:

1. Setup: (2 min.)

Addressing class problems through presentation slides.

Updating knowledge.

1. Climax: (15 min.)

1. Students determine the topic of the lesson: “Rhythm. Movement to the center. Flight of birds."
2. Definition of the purpose of the lesson: “Formation of ideas about the principles of rhythmic composition, transmission of movement using rhythm in a creative collective task.”
3. Through the demonstration of presentation slides, students must determine the rhythm:

a) in the world of living nature;

b) in works of art;

1. Determination by students of the rhythmic structure of a composition with movement to the center, the compositional center, the rules and laws of composition, and graphic means.

As a result of the analysis, a generalization is made on the topic under consideration, the class is divided into groups that perform a collective panel.

1. Determining criteria for assessing student work.

/ conducting physical education /

1. Interchange: (20 min.)

Independent work of students. The class is divided into groups. The group decides which movement to the center they perform. A speaker is selected who must present the collective work of the group at the end of the lesson. When performing practical work (a product of creative activity), musical works are played, which help in creating a creative and favorable psychological atmosphere and intensify the creative activity of students.

1. Epilogue: (5 min.)

Mini-presentation of the work of each group, summing up the lesson.

Cleaning the workplace.

1. Consequence: (1 min.)

Recording homework.

Materials:

Paper format A-2, A-4, black felt-tip pens, markers, stroke.

Lesson equipment:

Multimedia complex, musical accompaniment.

Progress of the lesson:

1. Tie (2 min.)

Leading students to the topic of the lesson through a slide presentation.

Guys! I invite you to view the slide. Look carefully at the image and answer what is characteristic of it.

(Slide 1)

Suggested answer. - (On the slide we see a graphic image of the flight of birds, whose heads are directed at the bird flying in the center. The movements of the birds’ wings are the same, as if repeating each other.)

1. Climax:

So, you have actually answered the question, what will be the topic of the lesson today.

1. Students determine the topic of the lesson:"Rhythm. Movement to the center. Flight of birds."

Well done! The topic of the lesson is defined correctly. Based on the topic of the lesson, we can determine the purpose of the lesson.

“Art Park” - The Kingdom of the Netherlands occupies an area of ​​41.5 thousand square meters. km, 40% of which is below sea level. Stunning colors and smells leave an unforgettable impression. The official language is Dutch. The journey lasts 1 hour and guarantees you the most beautiful views for filming. Flower growers compete in creating flower arrangements.

“The image of nature in art” - Works of painting. Isaac Levitan. Life is like a flash. Pushkin called art a “magic crystal.” Levitan. Birches. Forest edge. Explain the meaning of the statement of the French writer. The people around us are seen in a new way. Thoughts of a poet and writer, revealing the secrets of our native Russian nature. Antonio Vivaldi.

“Symbols and signs” - In art. In life: in the field of traffic, in medicine…. In the ancient world, the image of a cornucopia was a symbol of wealth. In heraldry. Signs and symbols arose at the dawn of humanity. For example: (any medical sign). What are signs and symbols? And more about signs and symbols. Historical path of signs and symbols.

“Synthesis of Arts” - In the 11th-13th centuries, many cathedrals belonging to the Gothic style arose throughout Western Europe. Romanesque period of the Middle Ages. Church of Sainte-Chapelle in Paris. XII century. Art 9th grade. Notre Dame Cathedral in Reims. Church of the Intercession on the Nerl. XIII century. The interior space of the cathedral: numerous architectural and sculptural decorations, light pouring through the stained glass windows - creates an image of the heavenly world.

“The Concept of Art” - Development of a correct understanding of the world around us. Painting. The idea of ​​painting. Modern Art. The concept and essence of art. The universal language of the world. A collection of any written texts. The social role of art. Stage. Photographic art. Theater. Decorative and applied arts. Architecture.

“World Art” - You need to write in such a way that the image is somewhere between similar and dissimilar. Social science. Types of arts. Functions of art. Styles in Western art. The connection between art and reality. The problem of the relationship between reality and fiction in art. Various types of arts are interconnected. Art. The main directions of art of the 20th century..

Kryuklya Oksana Vladimirovna

Composition. 1st grade of the art department (students 10-11 years old)

Subject. Rhythm as a means of compositional structure.

In this lesson we continue our acquaintance with the techniques and means of composition.

The explanation of new material occurs with a presentation (see Appendix No. 1), which increases the efficiency of the educational process by simultaneously presenting theoretical information by the teacher and showing demonstration material with a high degree of clarity.

Students' independent creative work on the computer occurs at the stage of consolidating the studied material. Since 1st grade students of the art department of the Children's Art School do not yet have a sufficient level of graphic skills and the depiction of identical repeating elements in a composition causes difficulty and slows down the process of working on creating a composition, where the main task is to compile a rhythmic or metric series, completing the task using a computer (graphic editor Paint.)makes it possible to save time,allows you to completely eliminate one of the most important reasons for academic failure - failure. All children, including the weakest, are not afraid to make mistakes, work with interest, and are active. Complexes, stiffness, and fear of the result disappear. Perseverance, attentiveness, and accuracy are developed. The compositions become more expressive and varied. Creative possibilities are realized in a new type of visual activity. The use of a computer creates an emotional mood in the lesson, which has a positive effect on the development of artistic creativity and increased motivation.And the use of variable material and different ways of working in tasks contributes to the individualization of learning.Based on the individual characteristics and learning capabilities of students,The class is divided into three groups, and students in each subgroup are given tasks of different levels and offered different methods of completion. For each task, an algorithm is developed, which is given to children in printed or electronic form. Before starting independent work, examples of performing these tasks are shown.

Lesson objectives. Teach children to create a rhythmic pattern in a composition;developing the ability to use techniques and means of composition. ANDusing the graphic editor “Paint” as a tool for artistic activity.

Lesson objectives: Educational: introduce students to the concept of rhythm in composition. Strengthening skills in working in the graphic editor Paint: (brush and pencil, eraser, tools for drawing geometric shapes, sprayer, fill, color palette).Developmental: develop cognitive interest, promote the formation of creative imagination, develop taste and sense of composition. Rdevelopment of logical thinking, memory, attentiveness, ability to work on a computer.Educational: cultivate interest in art, love of nature.

Lesson type : learning new material.Computer assisted lesson - several computers (in the computer lab), all students work on them at the same time.Form of student activity : individual.

General didactic principles used in the lesson:

1. The principle of consciousness and activity of students:learning is effective when the student shows cognitive activity and is the subject of educational activities. The computer contributes to the development of cognitive activity and the formation of the student as a subject of educational activity.2. The principle of visualization of learning. 3. The principle of systematicity and consistency: reliance on previously acquired knowledge of students and their skills. 4. The principle of accessibility: taking into account the age and individual characteristics of students.

Teaching methods and techniques used in the lesson:

1. Methods of organizing and implementing educational activities for students: methods of verbal transmission and auditory perception of information (verbal methods): elements of a story-introduction; elements of frontal conversation; methods of visual transmission and visual perception of information (visual methods): demonstration method; methods of transmitting information through practical activities - creative work. 2.Methods of stimulating and motivating students.

Lesson equipment: for the teacher: PC (Microsoft Office Power Point program), projector, screen. For students: PC, the graphic editor Paint must be installed on computers. (The editor allows you to create quite complex and visually attractive drawings. The user has at his disposal various means and tools for “artistic” creativity - a color palette, a brush, an aerosol can, erasers for erasing, ready-made geometric shapes (lines, rectangles, ellipses, polygons). hard drive folder “Drawings.” Sheets (files) with the task and algorithm.

Amount of knowledge required for the lesson: students should know:
safety regulations; concepts of “information”, “computer”, “program”, “menu”, “desktop”, “icon”, “graphics editor”; that the input devices are a keyboard and a mouse; basic text editor tools; basic tools of a graphic editor. Students must be able to: use the alphabetic and numeric keypads; use the mouse; work with commands, open and close the file menu;be able to draw using the Paint graphic editor. (be able to select a tool in a graphic editor, know which tool is selected, know the purpose of the tool settings panel, be able to select a color using a palette, be able to copy and move an element, be able to use the “Undo” command, be able to open drawings saved on the hard drive.)

Lesson plan.

Contents of lesson stages	Duration	Types of work
Organizing time.	1 min.	Greeting, checking the presence of students in the lesson, the readiness of the workplace. Safety precautions.
Motivational stage.	1 min.	Setting the lesson goal.
Explanation of new material.	10 min.	Conversation with demonstration of the presentation “Rhythm as a means of compositional structure.”
Physical education minute.	3 min.	A game
	25 min.	Performing a task on a computer.
Summarizing.	5 minutes.
Homework.

During the classes.

1. Organizational moment. Definition of absentees; checking students' readiness for the lesson; safety rules when working on a computer.

2. Motivational stage . Today in the lesson we will get acquainted with an important concept in composition - “rhythm” and learn how to create a rhythmic pattern in the composition. You will perform practical work on the new topic on your computer using the Paint graphic editor. Guys, what do you think is the advantage of working with computer graphics over working with regular drawing? (Students’ answers)…

3. Explanation of new material

(slide 2) Here are two drawings. What do these drawings have in common? What is the difference? Which drawing do you like best? Why?

That's right, in the second picture the elements are arranged in a certain order, evenly.

Rhythm - uniform alternation of any elements

(Slide 3) Rhythm accompanies us all our lives.Rhythm is, first of all, one of the main compositional principles in nature; it is present in many spheres of reality: in cosmic phenomena, in organic and inorganic nature (crystal edges, sea surf), in the repeatability of the cycles of the seasons, in the plant world, in the human body (rhythms of metabolism, breathing, heartbeat, etc.).

Give more examples of rhythm that are found in nature.

(Slide 4) Rhythm - meter (a special case of rhythm), regular rhythm, free rhythm.Rhythmically constructed compositions can be very expressive. Rhythm is present in almost any easel composition more or less clearly. Rhythmic patterns are characteristic not only of fine art. Music and architecture are built on them, and they are also important in other forms of art.

(Slide 5) Meter- The order in the composition in which its elements are strictly repeated.The meter organizes the alternation of elements of equal size at regular intervals

(Slide 6, 7) The expressiveness and, accordingly, the complexity of the rhythm increase if the intervals between elements are constantly changing.
In this case, the following options are possible:regular rhythm- alternation, repetition of elements naturally accelerates or slows down;
Free rhythm- the distances between elements are not of a naturally regular nature, but stretch or narrow without an explicit metric.

( Slide 8 ) Sunflower flower. Are these petals around the edge of a sunflower?(metric series)

What are sunflower seeds?(regular rhythmic series)

Physical education minute. Game "Rhythm", where the students themselves become the “elements of the composition”. The game is led by the “Master of Composition”; he must compose his own version of performing the exercises from these “elements”. The simplest thing is that the guys stand in a line according to height, squat after one, every fourth raises their hands, etc. This is a simple metric series. Then a more complex rhythm? Every second person takes a step forward or backward, the guys can clasp their hands in different ways, then chairs are used - someone will sit on them, etc.

5. Consolidation of the studied material.

Tasks:

1 group. Using the graphic editor Paint, create a composition of geometric shapes based on the metric series

Open

Using the “rectangle” or “ellipse”, “polygon”, “line” tool, we create 1-2 different elements of the composition.

Using the fill tool or brush we paint the elements.

INselect the shape, select the “copy” command from the context menu, and then “paste”(as many times as you need for the intended composition)

We arrange the elements of the composition, placing them at equal intervals

2nd group. Using the graphic editor Paint, create a composition of geometric shapes based on a natural rhythm

Opengraphic editor Paint (start - all programs - standard - Paint)

Using the “rectangle” or “ellipse”, “polygon”, “line” tool we create a composition element.

Select the shape, select the “copy” command from the context menu, and then “paste” (To copy fragment and its subsequent inserts necessary: ​​select a fragment; execute the commands Edit - Copy, Edit - Paste; or perform such actions through the context menu, calling it by clicking the right mouse button)

Copy the second shape, paste it and again reduce or enlarge

It is possible to additionally use drawings that are located in the “My drawings” folder (start - my drawings - select the desired drawing - select “copy” in the context menu - return to the graphic editor - select “paste” in the context menu)

We compose a rhythmic series with a gradual increase or decrease in figures or the distance between figures.

Saving the drawing. (submenu “File”. - “Save as” - assign a name)

3rd group.Create a narrative or abstract composition based on a free rhythm.

For the third group, it is possible to use the “pencil” and “brush” tools.

6. Summarizing. Viewing completed works, discussing common mistakes, giving grades.

7. Homework . Find photographs of wildlife and architecture on the Internet, as examples of rhythm and meter.

FINE ARTS PRESENTATION

bring children to the conclusion that rhythm is the basis of art

U. For several lessons now we have been studying works of oral folk art. We remembered several versions of the fairy tale “Teremok”, counting rhymes, proverbs, and sayings.

Let's now remember why folk art is called “oral”?

(slide number 2)

D. Because the work is passed on orally, from mouth to mouth.

U. Oral folk art developed in those distant times when people did not yet know how to write and passed on what they composed from one to another orally.

(slide No. 3)

U. (slide number 4) Why are these oral works called “folk”?

D. Because someone composed them, invented them.

U. What else can you call these works? (slide number 5)

D. Folk art. Folk art.

U. What is art? Skillful? How do you understand these words?

Poems, fairy tales - what exists, lives in the word

Architecture

Handicrafts

U. Let's summarize our answers. What is art? (slide number 6)

Look at these items. What can you tell us about them, what feelings and emotions they evoke in you.

(slide number 7)

D……………

U. But from what is this beauty born? What unites all this beauty?

D……………

U. It is necessary to bring the children’s answers to the fact that beauty is created by the repetition of a drawing, ornament, pattern. The guys test their discoveries on various handicraft items.

D. The drawing must be alternated in a certain order to make it beautiful.

U. So we have discovered the “secret” of beauty. To make it beautiful, you need to alternate the elements of the drawing in a certain order. This alternation of individual parts of something in a certain order is called “rhythm.” Guys, where can we clarify our knowledge about a new word?

D. Look in the explanatory dictionary.

U. Please, dictionary keepers, find us a definition.

D. Read out the interpretation of the word from S.I.’s dictionaries. Ozhegov and V.V. Repkina. (slide no. 8)

U. What is the secret of beauty? (slide number 9)

If we depict the rhythm schematically, using dots and sticks. Which of these lines shows a rhythm pattern?

Why don't the other lines work?

Conclusion. Rhythm is the basis of art.

U. Where does rhythm live? Find rhythm in architecture. (work in pairs).

(slide number 10)

D. Repeating domes, windows, carved elements.

U. Is there rhythm in music? (slide number 11)

(A folk melody sounds). In navigation, this is the left icon: “Peddlers”

D. The sounds are repeated there.

U. Let's try to identify a repeating group of sounds. (Try to sing with the children and then “clap” the musical rhythm.)

U. So, we are convinced that the basis of the rhythm of music is also repetition. We had a very simple melody, and we were able to identify the main group of repeating sounds quite easily. What if it’s a complex melody? This will be difficult to do (an excerpt from a piece of music sounds). (slide number 12) In navigation, this is the right slide icon: Tchaikovsky “Swan Lake”

U. When we looked at the ornamentation in folk crafts and architecture, did we all see repeating figures?

U. Can you see the music?

D. No. We hear her.

U. Do we hear the whole melody at once, how do we see the entire ornament?

D. No, the sounds come one after another, sequentially.

U. Now we have discovered another “secret” of rhythm. In every art, rhythm lives differently.

In architecture, in folk crafts, we see rhythm with our eyes, which means it lives in space. (Slide No. 13)

In the art of music, rhythm is made up of sounds, and we hear them

sequentially - in time. (slide number 14) The music of Mussorgsky’s “Pictures at an Exhibition” is set automatically and is programmed in the parameters until the end of the slide.

U. And the artist’s paintings? (slide number 15)

D. We see everything that is depicted on them at once - in space.

U. And the dance? (slide number 16)

D. We see him - the dancer moves, and we hear the music.

U. But even though the dancer moves in space, and we can see him ourselves, his movements are not simultaneous, he performs them sequentially. This means they live in both space and time.

Conclusion: arts can be divided into three groups: those living in time, in space and space-time arts. (slide number 17) Give examples of types of art.

U. And literature, in your opinion, what kind of art is it, to which group can it be classified? (slide number 18)

D. (if there is time to give the children the opportunity to express their opinions)

U. You think at home, analyze and in the next lesson we will listen to your assumptions.

This will be your homework.

Final (slide number 19)

The role of rhythm in art is great and varied. Rhythm is orderliness, the alternation of any elements that occurs with a certain sequence and frequency.

The word rhythm (Greek rhythmos - movement, beat), comes from rhein - to flow. In music and poetry, this concept conveys the “fluidity”, melodiousness of melody and speech. Rhythm is one of the main elements of expressiveness of a melody. Some rhythms are characteristic, for example, of marches, others - of lullabies, etc.

Rhythm is also the basis for the organization of verse. Its role in creating the mood expressed in a poetic work is significant.

Take, for example, lines from A. S. Pushkin’s poem “Demons”:

The clouds are rushing, the clouds are swirling;
Invisible moon
The flying snow illuminates;
The sky is cloudy, the night is cloudy.

This rhythm is called tetrameter trochee. It creates an energetic pace of speech. In this poem he enhances the mood of anxiety.

Now compare the rhythm of “Song of the Prophetic Oleg” by A. S. Pushkin with the trochee:

How the prophetic Oleg is getting ready now
To take revenge on the foolish Khazars:
Their villages and fields for a violent raid
He doomed himself to swords and fires...

This rhythm, amphibrachic tetrameter, is suitable for conveying solemn narrative speech and is often used by poets in ballads. “Three Palms” by M. Yu. Lermontov, “Vasily Shibanov” by A. K. Tolstoy, “Ivan Susanin” by Ryleev, etc. were written in this rhythm.

And in architecture, rhythm is a means of influencing our feelings. For example, a suite, with its rhythmic repetition of openings, symmetrically located along one axis, gives a feeling of infinity of space, the enormity of the building. And the rhythm of the size of the openings, as if contracting and expanding, low and high, helps to create either a feeling of grandeur or intimacy of the room behind the opening, giving dynamics to the enfilade. Long stairs going up, the rhythm of the steps, help create a feeling of infinity, grandeur, harmony, remind of overcoming obstacles, steps on the way to achieving a great goal. Therefore, this rhythm is often used when creating memorials. An example of this is the huge staircase of the memorial to the Russian-Turkish liberation war, built in Bulgaria on Shipka. The rhythm of Gothic churches is the rhythm of many elongated architectural forms directed upward towards the sky: spiers, Gothic vaults, etc. Here the rhythm serves to express the desire for the heavenly, the highest, and creates a prayerful mood.

In painting, rhythm also plays a huge role. It is not always immediately noticeable to the viewer, but it quickly and strongly affects him, setting him in the right mood. Rhythm can be conveyed by any of the basic elements of painting: the geometry of forms, the technique of applying a paint layer, color, light, space. It can carry a semantic load in a picture, serve to create the general mood of the picture, and be one of the means of characterizing a person.

In Velazquez's painting "The Surrender of Breda" rhythm is one of the main means of expressing the author's ideological intent. The film uses the principle of antithesis: two armies are opposed to each other - Dutch and Spanish. The moment of the transfer of the key to the city of Breda by the Dutch commander Justino Nassau to the Spanish commander Ambrosio Spinola on June 2, 1625 is depicted. Velazquez respectfully portrays the Dutch warriors who showed steadfastness and courage during the long defense of their fortress. The Dutch won the right to leave the city with arms in hand and banners unfurled. Out of respect for the courage and valor of the enemy, Spinola dismounted, took off his hat and, stretching out his hand, prevented Nassau from kneeling.

Velazquez sees the main reason for the victory of the Spanish troops in the organization and discipline of the professional Spanish army. The idea of ​​the superiority of the organized Spanish army over the Dutch militia is clearly expressed by the rhythm of the picture, manifested in the repetition of clothes, poses, faces, weapons, etc. Spanish commanders in armor, warriors in similar clothes, almost in uniform. The Spaniards have similar hairstyles, mustaches, and facial expressions. They form an organized formation, standing closely together as a single cohesive mass.

The disorganization and spontaneity of the Dutch militia is conveyed by the variety of clothes and poses of the Dutch. Every Dutchman is individual. Despite the significance of the moment, the regulated procedure for handing over the keys, the Dutch do not observe military formation: one stands with his back to the viewer, the other sideways, a young man in white talks to a comrade in arms, putting a hat on his musket. And other Dutch people hold weapons arbitrarily.

On the contrary, the solidity, discipline of the Spanish army, its orderly formation are emphasized by the slender, majestic rhythm of the spears thrown up. No wonder the old title of the painting is “Spears”.

There is another rhythm in the picture - the rhythm of symmetrical groups. On the left is the Dutch army, on the right is the Spanish army, in the center is empty space, pause. With a symmetrical construction of the picture, the attention of all characters is usually drawn to what is happening in the center, which emphasizes its significance. Therefore, such a rhythm is often used if they want to convey the solemnity of the moment. Here this rhythm emphasizes the solemnity of the event of handing over the key from Breda, depicted right in the center of the picture. The bowed figures of the commanders in the center resemble a triumphal arch, symbolizing victory.

Artists of different eras often used the strict, harmonious rhythm characteristic of regular troops.

Let us recall, for example, Goya’s famous painting “Execution of the Rebels on the Night of May 3, 1808,” one of the greatest and most innovative paintings of the 19th century.

In this painting, Goya, with the help of rhythm, characterizes the power of power as a soulless machine of violence that suppresses any resistance to it.

The painting depicts the execution of Spanish rebels by Napoleon's occupying forces. The French soldiers of Murat's army stand densely, like a wall, they are depicted almost from the back, we do not see their faces - they are a faceless, soulless machine. The rhythm of the legs and bowed postures of French soldiers aiming at the rebels; the rhythm of high shakos, sabers, backpacks on the backs of soldiers; The rhythm of bristling rifle barrels with bayonets creates tension and emphasizes the organization, aggressiveness and mercilessness of Napoleonic army. French soldiers stand in the shadows, in the darkness of the night - these are representatives of dark, hostile forces.

The rebels are brightly illuminated by the light of a lantern placed on the ground. These are the bright forces of freedom and justice. They stand at the hill, symbolizing the height of their spirit. The rebel, who raised his hands to the sky, is wearing a white shirt, which symbolizes both the purity of his ideals and his proximity to death. The color of his bright yellow pants is also symbolic: this is the color of the sun, the divine essence. The rebel covers several other people being shot with his body. On his hands are stigmata, traces of the Savior's agony on the cross for all people, the directions of the arms and legs form the shape of the St. Andrew's cross on which the Apostle Andrew was crucified. Goya thereby raised this image to biblical heights and sanctified the struggle of his people for liberation from the foreign yoke.

This uprising became the beginning of popular resistance to the French occupation; from May 1808, a liberation guerrilla war, the so-called guerrilla war, unfolded throughout Spain, ending in February 1814 with the expulsion of the French from Spain.

In many ways, Surikov’s painting “The Morning of the Streltsy Execution” is similar in thought and composition. Like Goya, the right side of the picture depicts the forces of power suppressing popular resistance. It is here that the orderly rhythm of the walls and towers of the Kremlin, the gallows, the orderly rows of soldiers of the Preobrazhensky regiment, and the royal retinue dominates. On the left are the archers preparing for execution and the people who sympathize with them. They are depicted against the background of a seemingly headless St. Basil's Cathedral. This is a hint that Peter I cast cannons from church bells, depriving the church of its language, and that the execution of the archers is similar to the beheading of the forces of old Rus' that resisted the pro-Western reforms of Peter I (foreigners, standing next to the king, are also watching execution). The patterned architecture of St. Basil's Cathedral, the colored domes, echo the motley, elegantly and variably dressed crowd. The picture is asymmetrical. People occupy most of its space. The archers, like Goya’s rebel, are wearing clean, white suicide shirts. There are burning candles in their hands. Surikov clearly sympathizes with the people, the archers. Therefore, Peter I, the gallows and the Preobrazhensky regiment are relegated to the background, to the right corner of the picture.

The role of rhythm in Caravaggio’s painting “Entombment” is significant. The poses of the characters and their hand gestures are subordinated to the rhythm of the open fan. Numerous lines of rhythm diverge like the radii of a quarter circle, the center of which is located just below the feet of Christ on the right edge of the picture. They begin with the almost vertically raised left hand of Mary of Cleopas and are continued by the lines formed by the bowed head of Mary Magdalene and the right hand of Mary of Cleopas, the foot of Christ and the head of the Mother of God, the other foot of Christ and the head of Nicodemus, the bowed head of John, and the body of Christ. As if “falling” rhythm lines create a feeling of falling, collapse. Together with the mournful facial expressions, the fan-shaped rhythm creates an acute tragic feeling of hopeless grief from the death of the Savior.

A similar fan-shaped rhythm is used by O. A. Kiprensky in “Portrait of E. S. Avdulina.” Avdulina’s forward-leaning pose is echoed by a tilted, crumbling branch of hyacinth, the line of a window sill, and a folded fan lowered down. This “falling” rhythm emphasizes the idea of ​​fading vitality.

K. P. Bryullov in the painting “The Last Day of Pompeii”, with the help of intersecting rhythmic lines, creates the impression of chaos and confusion reigning in a huge crowd. One rhythmic diagonal is made up of lines parallel to the lines of the statues falling from the roof: the outstretched arm of a father carried by his sons, a family group with a small child leaning to the left, a daughter leaning in the same direction in a group of mothers with daughters in the left corner of the picture. Each of these lines is continued by the poses of other characters. This rhythm is crossed by another, counter to it. It is created from the line of the girl's hand in the left corner of the picture and the upraised hand of the father from the family group with a small child, the pose of the father in a green toga. The intersection of these rhythms is clearly visible in the group of Pliny the Younger and his mother in the right corner of the picture. The third rhythm, intersecting with the other two, is vertical. It is formed by the walls of buildings. It is this variety of intersecting rhythms that creates the impression of chaos and gives tension and dynamism to the entire action.

Rembrandt often used a rhythm of lighting alternating dark or shadowed figures on a light background with illuminated, light figures on a dark background. This rhythm creates a feeling of tension and gives dynamism to the action. This rhythm was also used by other Caravaggists; along with geometric linear rhythm, it was also used by Karl Bryullov in “The Last Day of Pompeii”.

The rhythm of the brushstroke, the method of applying a layer of paint to the surface of the canvas, is also able to convey the feeling required by the artist and create the desired mood. This special, sophisticated type of rhythm was masterfully used by Frans Hals, Allessandro Magnasco, Francesco Guardi.

Consider, for example, the portrait of Frans Hals "The Cheerful Drunkard" from the Amsterdam Rijksmuseum. The rhythm created by the strokes serves to characterize the person. The artist deliberately creates his own rhythm with strokes for each detail of clothing. The brush strokes on the white collar create the rhythm of an open fan. Energetic, different lengths, rhythmically placed wide strokes of dark color on the sleeve make the contours of the clothing uneven and wavy. On the chest, from the collar to the waist, there are thin long strokes, creating a vertical rhythm. All the rhythms of clothing are multidirectional and create the impression of mobility and disorganization, which are characteristic of the character of this cheerful person. Hals's open, visible and free style of writing perfectly emphasizes the openness and love of freedom of his characters.

By stylizing and uniquely distorting people and nature in his paintings, Magnasco showed how distorted and far from harmony human life was in the Italy of his time. Remember, for example, his “Bacchanalia”, discussed in Chapter II. One of the most important elements of the style of Magnasco’s late work is the rhythm of relief, swirling, moving strokes. This rhythm makes his paintings agitated and restless. The Italians called this style "pittura di tocco" (literally - painting with "blows"). Magnasco's performance is "fast, bold, feverish." It is not for nothing that Magnasco is called “Paganini of the brush”, admiring the virtuosity of his manner. Magnasco's style of writing very well expresses the restless spirit of his dramatic work, full of tragic irony and grotesquery.

In the work of some masters, rhythm plays such a large and noticeable role that it is, as it were, their “trademark”; it is impossible to imagine their paintings without it. For example, it is generally impossible to imagine the work of Botticelli without the melodious rhythms of movements and folds of clothing, just as the deeply religious work of El Greco without the vertical rhythms of elongated figures directed towards the sky. The vertical rhythms of El Greco's painting, reminiscent of the architectural rhythms of Gothic churches, express thoughts about the lofty, divine, and evoke a prayerful mood.

In this book, a red thread runs through the idea of ​​the kinship of the arts, that the main artistic means with which the creator embodies his plan, such elements of composition as detail, symbol, allegory, hyperbole, antithesis, rhythm, are inherent in all types of art, not depend on the era, stylistic trends and genres.

Two of the considered elements of composition - antithesis and rhythm - have the deepest roots in nature itself. Rhythm, like antithesis, reflects the laws of the universe. Remember, for example, the rhythm of tree trunks, the rhythm of sea waves, mountain peaks, the rhythm of the sound of the sea surf, the rhythm of human speech, which is different for all peoples. Therefore, antithesis and rhythm most deeply unite various types of art.

© All rights reserved