Spot as an expressive element of decorative painting Automatic translate

This article focuses on a narrower, but very significant issue: the specificity and role of the spot in painting, its general and various functions in academic and decorative painting.

Photo from gzhellux.ru

A conversation in the language of artistic expressiveness in decorative painting, as a rule, begins with the main element in the color composition - a multisound spot, a brush mark, transmitting various possibilities of color combinations, about the possibilities of decorative planar (spot) painting. The task of decorative painting provides for the creation of a harmonious conventionally flat composition on a given topic (still life, landscape, portrait, figure).

The color system of spots (planes) is associated with the disclosure of the figurative structure of the composition. Such harmony should evoke certain feelings in the viewer. “The first virtue of a painting is to be a celebration for the eyes,” wrote Eugene Delacroix.

G. I. Panksenov says: “A spot is a visual trace on the surface of a plane or volume, containing a point, line, tone, color.” The spots of a different module in the so-called mosaic painting can be attributed to a pictorial spot. The works of the impressionists, pointillists clearly demonstrate this technique.

Spot painting is built in three ranges - dark, medium, light. Decorative painting strives for maximum flatness of the image. In some cases, it has a slight depth or is absolutely flat, conventional, silhouette. Also, a decorative composition can undergo strong stylistic changes, approaching essentially a pointless or abstract one. Expressiveness in such compositions is achieved based on creative intuition, combined with good knowledge of the basics of composition and color science.

The combination of spots (planes) of various configurations determines the pictorial forms. Decorative as a special way of working consists in the search for compositional and coloristic solutions, for which it is necessary to have knowledge of the basic laws and categories of composition and types of color harmonies. In realistic painting, relationships are built on the basis of the fine nuances of local spots of light, halftone, shadow, reflex, and the transmission of light and air around the depicted objects. The planar appearance of images creates conditionally realistic images in a conditionally artistic space.

An expressive composition can be built solely on a combination of color planes that differ from each other in lightness, saturation and color tone. This technique is widely distributed in folk paintings, for example in gzhel products . Conditionally flat compositions depicting the landscape of the contemporary artist Ton Schulten are built on harmonious combinations of planes, they are expressive in color and distinguished by the originality of the solution. The configuration of the spot, its color plays a huge role in perception. Despite the possible abstractness, formality, pointlessness, the image affects the viewer indirectly through color, shape, composition, etc.

The spots, touching each other with rounded or broken edges, on contrasting or close relations create a new laconic image that carries a certain mood. Despite the kinship of many types of art (painting and music; painting and architecture; painting and literature), the language of painting is very peculiar, it has its own laws of image and perception. Often, the artist is accused of "literary" paintings, i.e. It contains a literary story in an extremely inexpressive form, a plastic expression. In painting, first of all, an image, a condition and mood are created with the help of compositional and pictorial means: rhythm, plastic, contrast, nuance, color, color, character of writing, etc. In realistic art, the plastic principle obeys the semantic. Abstract art is pointless, it is either a manifesto (a series of “squares” by Malevich), or carries a certain hidden meaning, mood, aesthetics, for example, compositions by V. Kandinsky, P. Mondrian, P. Klee, P. Miro. Such concepts as dominant, subdominant, tonic in color spots are important and are developed in realistic painting and in decorative planar.

Using the basic laws and principles of visual perception in the process of creating a decorative pictorial composition makes it possible to consciously and effectively use the main expressive means. Renaissance painting is built on the relationship of large local spots. The later works of Titian, an artist of the High Renaissance, are written in a reverently smear-like manner, a peculiar smear technique of the English artist Turner.

The spots in the painting are, perhaps, a trace from the brush, the unique character of the artist’s brushstroke, the brushstroke element, on the basis of which, along with other elements, we unmistakably recognize the artist.

The stain as a technique is used in various decorative compositions: imprimatur (selection of a colored background), stained glass (contour, stroke), collage, applique, overlapping, dividing the plane into parts, monotype, mosaic. Thus, we can conclude that in decorative painting, a color spot is one of the main elements that determines the decorative image of the composition and creates color harmony.