Educational and methodological material on fine arts (FINE) on the topic: Silhouette graphics. Using the silhouette in design and drawing

The word silhouette comes from the French "silhouette", named after the 18th century French minister E. de Silhouette, an advocate of economic austerity, who was caricatured in the form of a shadow profile. He himself was also engaged in cutting out silhouettes from black paper.

Silhouette (fr. Silhouette) -- planar image, reception of work, means artistic expressiveness, as well as the type of graphics. The silhouette phenomenon can also occur in the process of perception of three-dimensional forms, depending on the lighting.

The silhouette is like the shadow of an object. The quality of silhouette is used by artists in all forms of art. Profile portraits and simple compositions are usually performed in this technique. In the silhouette, figures or objects are usually drawn with a solid black spot on a light background or white on a dark background. In such a drawing, the external outlines of the object should be very expressive, without unnecessary details.

The outline must be very clear. Portraits in the silhouette technique are usually made in profile. Silhouettes can not only be drawn, but also cut with scissors. The silhouettes were known in Ancient China, Japan and other Asian countries. In Europe as independent view graphics, the art of the silhouette was formed in the first half of the 18th century. in France. In Russia, the art of the silhouette was especially fond of famous artists F. Tolstoy, Dobuzhinsky, E. Kruglikova, A. Benois.

There are 4 means of artistic expression: line, stroke, spot, point.

The line is a conditional means of representation, invented by man in remote prehistoric times, at the very beginning of the birth of fine art. It is still used to this day as the main means of drawing. Lines are different. The trace on paper left by the tip of a pencil or drawing pen with ink, the movement of which is directed by some drawing tool (ruler, pattern or compass, etc.), is called "drawing" line. Throughout its length, it is the same in width. This is considered her merit. But in a sketch, such a line is unsuitable - it is dry, lifeless and therefore inexpressive.

A dashed line, or stroke - appears on the surface of the paper as a result of the movement of the hand holding a pencil or pen with a pen, brush or other device with which the coloring matter is applied to the paper. Depending on the various touches of the surface of the paper with the whole or the pressure of the pen with ink of various strengths, carried out by the movement of the hand, the remaining trace changes its qualities, becomes dark or light, soft or hard.

Spot - is created inside the contour by parallel or crossing lines.

In this case, the strength of the spot is affected by the width of the lines or strokes and the light gaps remaining between them, which must correspond to the size of the executed drawing. A tonal spot on paper can also be created by other means, and its strength and sound largely depend on the features and properties graphic material with which the sketch is performed, as well as the technique of applying this material to paper. When using so-called “dry” materials for sketching, a spot of the desired strength can be created with a hard brush, shading, or even just a finger. Materials such as ink and ink, ready-made or diluted with water, are applied to paper with a soft or hard brush.

In some cases, the stain can be applied at the beginning of the work, immediately, and then the contour of the depicted form is refined by nature. Often, when working on sketches, all graphic means are used at once: a line, a stroke, a spot, a dot.

Dot is another means of expression charts. Dot is a structural element of dot technique. Multiplying over the surface, it forms a graphic spot. The shape of the dot depends on the tool with which it is applied to the plane. The point to an even greater extent provides the possibility of expressing space, but with directly environmental properties.

Just like a stroke, a dot allows you to convey the tonal variety of graphics, but it has specific qualities of texture.

However, unlike the line, it is completely devoid of any signs of emotional expression in its expression. This is rather an impersonal and very technological graphic tool.

Thus, the use of a silhouette with various means of artistic expression makes the sign original and memorable. It also influences consumer choice.

The silhouette of a person walking or standing is seen by everyone every day. This green man at the traffic light shows when you can cross the road. Where did this word come from?

Origin of the word

Silhouette - translated from French "outline, contour" (silhouette). This word has interesting story. The concept of contour has existed since long time ago, but it was the “silhouette” that the painted outline began to be called in France under Louis XV.

Count Étienne de Silhouette, who was then Minister of Finance, became known for his economy and extreme frugality. The fashion for costumes reacted immediately: pockets, snuffbox decorations disappeared, the style as a whole became much simpler. They called it the silhouette. Then one of the Seychelles also gets the name Silhouette.

At this time, the art of the Chinese shadow comes to France. Fashion quirks elevate him to the pinnacle of popularity. The portrait was executed within a few minutes, since there was no need to draw facial features. A contour was drawn, usually in profile, then filled with ink. Sometimes thin lines two or three lines were drawn in white paint.

Created by Etienne de Silhouette joint-stock company Panic quickly set in over the delay in paying dividends. General discontent spread throughout all sections of society, and the minister resigned from his post.

Apparently, it so coincided that the caricature that appeared on the minister was made in the genre of the new Chinese technology. A minimum of funds for its creation and determined its name. She was dubbed the "silhouette", just like new style clothes.

clothing

Maybe this will make you smile, but the clothes also have their own silhouette - these are its contours that the fashion designer sketches on a piece of paper. Conventionally, it is customary to divide four types of modern silhouettes: straight (rectangular), oval, adjacent (fitted) and trapezoidal (or A-silhouette).

In the cut of clothes there is the concept of "silhouette lines". These are the parts of the pattern that form the outline. Skillfully using modeling and design, you can favorably emphasize the dignity of the figure and carefully hide the flaws.

The silhouette in clothes has to be taken into account when depicting a person. The drawings of fashion designers are called "fashion sketch", there are other proportions of the body.

Drawings by Christian Dior from the magazine "Figaro" - a vivid confirmation of this. If in the academic drawing the head relates to the body as 1:8, then in the sketches of fashion designers it is 1:12. This provides an advantageous representation of the model.

Man silhouette

Meanwhile, the art of the silhouette spread beyond France and into late XVIII century in St. Petersburg it became fashionable to order a portrait from famous master from Paris Sido (Sideau). He created the silhouettes of members of the royal house and many courtiers.

Sido worked with pen and Chinese ink, engraved on copper, cut out black paper. His competitor was Fr. Anting. But soon the nobility got tired of the fun, and carving portraits became the craft of itinerant artists. They were constantly met at fairs and the works of home-grown "artists" did not differ in quality and good taste.

It seemed that with the departure french school art is dead. But Paul Konewka, the German maestro of this style, appears. In his performance, the silhouette is no longer a profile portrait. Entire compositions united by one theme, complex and cute, delight the audience.

The Russian artist Elizaveta Merkuryevna Bem was also famous for her silhouette work. Her illustrations for children's magazines were highly appreciated by I. Repin.

Paintings with hidden silhouettes

There are paintings where the silhouette of a human figure is hidden - a tree branch in the foreground passes into bushes and mountains in the distance. It turns out a girl. For the first time, paintings with "disguised silhouettes" depicted flowers, usually lilies, and the profiles of royal persons were recognizable in the interweaving of lines.

Now there is such a direction in painting, surrealism, in which some kind of subtext is hidden in an ordinary, it would seem, landscape. The master of such an embodiment is the Mexican artist Octavio Ocampo. His painting "Kiss of the Sea" depicts seascape, which hides 6 portraits.

A silhouette is an outline, and anything outside of it can be anything. This is the principle of O. Ocampo. A seagull that soars above the water, as it were, unites lovers.

Shadow play

Perhaps the most striking embodiment of the contour is used in shadow theater. Actors play behind the scenes, a screen is stretched in front of them. There is a strong searchlight in the depths, casting shadows. The advantage is that the shadows can portray something that no makeup can achieve.

A homemade mini-theater of homemade figurines can be arranged using a table lamp. Any fabric will act as a screen, the main thing is to pull it tighter on the stretcher. Wires are attached to the black figures to move them. This can not be done with your hands, as they will create extra shadows.

Try to make such a theater with the guys and get unforgettable moments of magic when a ray of light brings the characters of fairy tales to life. Or maybe it will become your hobby.

The art of the silhouette has been known since antiquity ( cave drawings African hunters, Chinese shadows, black and red figure silhouettes on vases Ancient Greece), but, probably, the brave and successful Evenki hunter and reindeer herder S. Nadein (1929 - 1981) did not know about this. And only when he was chained to a hospital bed, he discovered it for himself. Creating his silhouettes, he most likely recalled the ornaments that his mother and other women of the camp deftly carved to decorate clothes and household items, it’s not for nothing that he has a lot of ornaments, the patterns of which include images of birds and animals (“Patterns of the North”).

In the visual arts, a silhouette is special kind graphic technique, planar monochrome image of figures and objects. Silhouettes are drawn or cut out of paper. There is no depth in the silhouette, it is two-dimensional. But now, above the usual contour image of Sakhalin Island in the form of a fish, the silhouette of a deer shot up. And for some reason, looking at it, we see its graceful form, volume, grace of movements, the purposeful beauty of a rapid movement forward. How much impulse, expression is in it! The silhouette in this image is brought to the sound of a symbol, which is subject only to a great master, such as Semyon Nadein, an Evenk artist who was born in one of the camps in the north of Sakhalin and was widely known on his native island and beyond in the 1960s-1970s. “Deer on the Island” is one of the first and best silhouette compositions of a young reindeer breeder who was hospitalized with serious illness(leg amputation).

Longing for his native camp, dreams-mirages about his former life, which he tried to stop, resulted in his poems:

I see blue smoke over green foliage,
Chum, whitening in the wild forest,
I'm from the thicket of a distant familiar path
I bring dry rotten things into the house.
("Forest Song")

Trying to stop the visions, he took miniature scissors and cut silhouette compositions from hospital X-ray film. They contain many concrete life observations and accurately conveyed details. And therefore, skillfully carved, they acquire not only artistic, but also historical and cultural significance. Only in life itself could he notice characteristic movement a man making a boat, or a fisherman in a boat pushing off with a pole. In the silhouettes of contemporaries ("Silhouettes of countrymen"), small flat black figures cut out of paper come to life. The hunched figure of a man with an ax frozen in motion, the slow, smooth movements of a boatman with a hook - like eternity itself, captured in lines and shapes. Hunting is depicted in a number of silhouettes, and the skill with which these scenes are rendered is truly amazing. Little black figurines are always dynamic, full of life. Only an observant artist and an experienced hunter, such as S. Nadein, could subtly notice many small hunting details. The artist himself, who also has a literary gift, compared them with "living shadows":

They will come to life, dance, as if alive, shadows,
My paper birds, animals and deer.

Passion for literature prompted him to create not only illustrations for Evenki legends (“The Winged Deer” and illustrations for the Evenki epic “Engespal”), but also the legends themselves, legends, legends and even the story “Maxim Kaniga”. Close and highly successful relationship literary art and silhouette illustration is known in the history of art: the World of Art loved this very difficult technique, which requires virtuosity in drawing, the utmost sharpness of the eye and a sophisticated compositional gift. They appreciated both the sophistication of the material and the poetry of the image. It was their silhouette compositions-illustrations that allowed the researcher of the work of one of them - E. F. Gollerbach - to say: "A silhouette is a formula and at the same time a hint, a barely perceptible story about something, a phrase begun and unfinished." Semyon Nadein could say a lot in his silhouettes. Of particular interest is the portrait gallery of outstanding Russian poets and writers - A. S. Pushkin, A. Blok, M. Gorky, N. V. Gogol and illustrations for their works.

The history of the art of the silhouette has periods of ups and downs of interest in it. And it's always associated with the name great artist Count F. Tolstoy, World of Art G. Narbut, E. Bem,
E. Kruglikova and others. The same thing happened in our time in the art of the peoples of Sakhalin.

And if the art of S. Nadein was widely known to the public, he would certainly become one of these artists, adequately representing his people, making an original page in this special kind of art. Silhouettes of S. Nadein are a rare phenomenon in the art of indigenous peoples. small peoples Far East. In this area of ​​creativity, he achieved virtuoso skill, achieving clarity of contours with expressive lines. And it is not surprising that he had followers. At the last exhibition of art of the peoples of Sakhalin, held as part of the Commonwealth festival in the Sakhalin Regional art museum in October 2003, in addition to the silhouette compositions of Semyon Nadein, compositions were also presented by other Sakhalin artists - Albina Osipova (b. 1965) and Nivkhka Natalya Pulyus (b. 1963), repeated diploma winners of regional, regional and regional exhibitions. Both live in the village of Nogliki in the north of Sakhalin.

The silhouette art of Albina Osipova has a completely different character. With her, it is brought into an independent genre, the author gives it full equality with other types of art. Its range of topics is not wide: the nature of Sakhalin, the life of the peoples of the North and folklore motifs. She cuts out silhouettes from black or colored paper, introduces plans into the image, striving for a strict flatness of the image. Her silhouettes are characterized by the firmness of the drawing, the observance of perspective and proportionality, which are necessary here no less than in the picture. A large number of works created by her are acquired by museums and willingly bought up by foreign representatives of oil companies operating in the north of Sakhalin. She makes silhouettes wonderfully, easily, with amazing speed, she does not like “lace”, smallness and fragmentation.

Dimension, rhythm and some stiffness are inherent in many of her compositions. Twisted trees, withered tree trunks broken by a storm, hills - pictorial signs-symbols of northern Sakhalin nature - are present in all the artist's paintings, animated by figures of people and animals. All compositions are framed with triangles, complemented by carved ornamental stripes of twigs with leaves or spirals.

AT
silhouette composition No. 2, made in August 2003, despite the limited expressive possibilities silhouette, she managed to convey not only the shape and volume, but also the finest nuances of movement, psychological mood and even the colorfulness of the image. The composition is cut out of pink-red paper, the color of which brings an emotional sound to the image of the state of nature, man and animal. Their expressive poses also play a significant role here, complementing and expanding the figurativeness of the composition. A half-bent leg set aside, a long stick in an outstretched hand, a relaxed, frozen posture of a person, a frozen deer, stretching its muzzle forward in a single impulse, as if listening to something, were numb before this strange beauty. The rhythm of the hills is calm and melodious. And only twisted trees and the restless rhythm of frozen tussocks running from one edge of the leaf to the other remind us of the harsh northern nature.

By the strength of the characteristics, the sharpness of the solution, the fidelity of the interpretation, this silhouette is of great artistic importance.

At one time, the boy Sasha Yakovlev lived with A. Osipova, who adopted the art of carving silhouettes from her. In his compositions, nature lives on its own.

The art of the silhouette may seem primitive and monotonous only at first glance. Mastering the art of silhouette is not as easy as it seems. And, as mentioned earlier, both the firmness of the drawing and the special mastery of composition, the selection of the main thing, the rejection of secondary details, the ability to convey space, the movement of figures are necessary here. And how difficult it is can be seen in the example of the development of the work of the Nivkh artist Natalya Pulyus. To perform silhouette compositions (she also cuts out ornaments perfectly), she chose the Nivkhs’ favorite old material - fish skin, which she sticks on black suede. From composition to composition, her skill in carving silhouettes grows. And if a complex composition on fairy story“The Bear and the Chipmunk” is assembled from separately carved parts, the animal figures are not very expressive, while the “Deer” composition is very compact, as if in one breath: bushes, deer legs and a twisted tree grow out of the whitish shade of grass. Deer antlers sprout in a strip of land and hills in the background, which in turn are inseparable from the top of the tree.

Each object (a tree, a hill and a deer) is a symbol of the unpretentious nature of the north of Sakhalin. The childish direct image of a large deer gives a special charm to the depicted.

The popularity of the art of the silhouette and the work of Semen Nadein among the peoples of Sakhalin is also evidenced by various embroideries made according to drawings from his silhouettes (“Motherhood”, “Deer on the Island”). In children's art schools not only the arts and crafts of the peoples of the north of Sakhalin are studied, but also the carving of ornaments and silhouettes.

Such a number of lovers of the art of silhouette compositions allows us to think about the propensity for this type of art of the peoples of the north of Sakhalin. The carving of silhouettes is consonant with the long-standing ability of these peoples to carve magnificent ornaments to decorate clothes and household items, which has ancient roots. The art of the Sakhalin silhouette painters is closest to the ancient origins, which is probably why the next surge of interest in it was born on Sakhalin.

Alexandra MARAMZINA,
Head of the sector of arts and crafts
Sakhalin Regional Art Museum

Any graphic drawing can be attributed either to line chart, or to spot. In the first case, it will be a drawing with lines, in the second, a drawing with a spot. It is also possible to combine lines and spots in one composition. Each of these cases has its own peculiarity for perception, its own meaning and beauty.

SILHOUETTE IN GRAPHICS
The simplest version of black and white compositions is the SILHOUETTE, a black image on a white background or white on black. You have probably seen such black and white drawings in books.
These drawings are two-dimensional, very conditional and concise.

Silhouette art has ancient history and goes back to the figurative painting on the vessels of Ancient Greece. Remember those beautiful images on amphoras: mythological scenes, Olympic Games, figures of Greek beauties and athletes?..

The real boom in silhouette art came in the 18th and 19th centuries. We can say that then the manufacture of silhouettes was a craze.

Many artists have paid tribute to this type of graphics and created beautiful examples of silhouette work.

Wherever they found application: illustrations, portraits, drawings on screens, dishes and in the interior ... The ability to create silhouette compositions was taught even at the Institute of Noble Maidens!

Traditionally, silhouette portraits were cut out of black paper and pasted onto White background. The contrast of black and white made it possible to accurately and quickly convey the features of the appearance, because the profile of a person in silhouette is very easily recognizable.

Ease of execution and, accordingly, low cost made this type of graphics very popular. However, in order for the picture to be expressive, it is important to very accurately notice the features of the outlines of the shape of a particular character, to give its characteristic details.

Although, of course, silhouette compositions can be much more complex and attractive to look at than just portraits.

BLACK AND WHITE PICTURES WITH SHADES OF GRAY
However, in addition to a locally black spot, all shades of gray can be used in the graphics. We see these gradations in charcoal, sauce, pastel, and ink drawings.

In this case, the image can already be three-dimensional, realistic, very reliably conveying reality.

But be that as it may, here, too, the plasticity and expressiveness of the spot are of no small importance. The artists of China and Japan are especially virtuoso in their use of the expressiveness of the spot.

Despite the simplicity of the motive, their graphic sheets are unusually attractive. The game of blurry and clear spots, beautiful flow gray flowers, perfection and harmony of forms.

And now, with all our guts, we feel the tender, refined, so fragile leaves of an orchid, the soft fur of a cat, the speed of a horse’s swift run, the joy of a bird’s flight ...

On the example of these works, we can understand that the stain pattern is something more than a recognizable silhouette.

This is very important point which I would like to convey to you.

The expressiveness of the image can be laid

NOT ONLY in the recognizability of the silhouette (which is depicted),

but also IN THE MOST FORM of stains (as pictured).

WHAT CAN THE SPOT TELL ABOUT?
Let's take different spots as an example.

Even if our eye does not find familiar outlines in any of these spots (and it tries very hard), we can associate the shape of the spot with certain sensations.

For example, we can say whether this spot is calm or moving, aggressive or friendly, delicately refined or monumentally massive.

What associations do certain spots evoke in you? Can you feel them?

THE SIGNIFICANCE OF THE SHAPE OF THE SPOT
From the main forms of the spot, we can distinguish four, each of which affects the viewer in a different way:

Square and rectangle.
A finished, stable form, ready to express affirming images. The square is the most static and heavy, not prone to movement.
A circle.
Closed compact form focused on itself. Having no expressed basis, the circle is always unstable. For a person, the circle is associated with the concepts of “good”, “happiness”, “life”.
Triangle.
The most mobile, dynamic form, stable only if one of the sides is horizontal. The triangle is a symbol of movement, energy, sometimes even aggression.
Amoeba form.
Its fluidity expresses unstable images in a wide range from romanticism, melancholy to pessimism.

Modern artists actively use the spot precisely as a “spot”.

E. Kruglikova. Silhouette portrait of N. Gumilyov.

"Dry and strict, at first glance monotonous and lifeless, art captivates us with its intimacy, mysterious reticence and subtle grace. The closer you look at it, the more you disbelieve in its "poverty" and "naivety." Mastering the art of silhouette is not at all so easy , as it seems. The firmness of the drawing, respect for perspective and proportionality are necessary here no less than in any picture. Despite the fact that the silhouette lies in two dimensions, and not in three, oddly enough, the laws of three dimensions apply to it: a talented silhouette artist is able to convey in monotonous black spots both movement, and relief, and even facial expression. The plane and the line that closes it acquire exceptional significance in the art of the silhouette. The outline, contour, outline of an object enslave the attention of the silhouette artist, limit him in means, but together with that they are forced to special ingenuity.There are silhouettes in which "sculpture", the finest "modeling", even "colorfulness" are positively felt. Mathematical laconicism, noble abstractness of the silhouette teach to refine observation and vigilance. Silhouette - like formula and- simultaneously - hint of the invisible, a barely perceptible story about something, a phrase started and unfinished. But even outside its completeness, this phrase sometimes becomes a revelation, an aphorism, a symbol.

The birthplace of silhouette art is China, where monochrome black images, the so-called Chinese shadows, have existed for a long time. From there they entered Western Europe, especially in France, where mid-eighteenth century, the fashion for silhouette portraits has spread widely. The very term "silhouette" comes from the name of Etienne Silhouettet (1709-1767), who in 1759 was Minister of State. Silhouettet was known for his frugality and narrow-mindedness, which made him a target for the witticisms of Parisian society. Everything cheap and trifling began to be called his name, including portraits in black paint or black paper, “portraits a la Silhouette”. Compared to real pictorial portraits, the silhouettes seemed boring and miserable to many. However, this art found its masters and admirers, and not only in France, but also in other countries.

F. Sido. Silhouette portrait of Empress Catherine II.

F. Sido. His Serene Highness Prince Grigory Alexandrovich Potemkin-Tavrichesky

F. Sido. Emperor of Prussia Frederick the Great (1712-1786). Second floor. 18th century

In Russia, interest in the silhouette arose in the era of Catherine II, when the Parisian silhouette artist Sido appeared in St. Petersburg, whose works have been preserved to this day in some houses. Sido portrayed Catherine II, members of her family and many representatives of the St. Petersburg nobility. He drew his silhouettes in ink, sometimes engraved on copper, but most often he cut them out of black paper and pasted them into engraved frames. Approximately at the same time as Sido, the German draftsman Anting (1753-1803) worked in St. Petersburg, who released the album "Collection de cent silhouettes" in 1791.

"Academicians", silhouette by Anting, 18th century.

In the first half of the 19th century, the "silhouette" baton was picked up by a Russian master, Fyodor Petrovich Tolstoy. Sculptor, medalist, draftsman and painter. Genre Tolstoy - battle scenes and episodes from folk life.

F. Tolstoy. Alexander the First on horseback.

F. Tolstoy. Man reading a book.

F. Tolstoy. Soldier.

AT mid-nineteenth century, interest in silhouette art almost disappeared, and carving silhouettes turned into a profession of itinerant artists who, by doing this, earned a meager piece of bread at public festivities and fairs. People of the secular circle have cooled to this art.

The gradually forgotten drawing of silhouettes was revived at the end of the last century by a talented by German artist A. Konevka, who painted in the form of silhouettes not only profile portraits, but also figures in different poses, genre scenes, etc. The success of Konevka caused imitation. In Russia, the art of the silhouette was done by the painter of scenes from children's and folk life, Elizaveta Bem.

E. Bem. Scenes from village life.

But the time of the real revival of the art of the silhouette was the beginning of the 20th century. To look back to the past to understand the present - it was completely in the spirit of the ideas Silver Age. The 20th century brought new names. Nina Simonovich - Efimova, Georgy Narbut and, of course, Elizaveta Kruglikova.

N. Simonovich. Cyclamen.

N. Simonovich. Sledging.

G. Narbut. Self portrait with family.

G. Narbut. Screensaver with a thunderstorm.

G. Narbut. and Krylov. Illustration for the title spread.

E. Kruglikova. In the studio.Self-portrait. 1865-1941), Elizaveta Sergeevna Kruglikova is a Russian artist, a master of engraving and silhouette, an outstanding teacher, a representative of modernity.

"... The artist usually outlines the silhouette on the white side of a black sheet of paper and then works with scissors, achieving amazing virtuosity in complex compositions requiring careful consideration of forward-looking reductions. Kruglikova created a whole gallery of silhouettes of writers, artists, artists and musicians"

E. Kruglikova. Silhouette portrait of A. Blok

E. Kruglikova. Silhouette portrait of S. Yesenin.

E. Kruglikova. Silhouette portrait of V. Mayakovsky.

E. Kruglikova. Silhouette portrait of B. Pasternak

E. Kruglikova. Silhouette portrait of O. Mandelstam.

E. Kruglikova. Silhouette portrait of A. Bely.

E. Kruglikova. Silhouette portrait of K. Balmont.

E. Kruglikova. Silhouette portrait of M. Voloshin.

E. Kruglikova. Silhouette from the album "Paris on the eve of the war in monotypes"

E. Kruglikova. Silhouette portrait of V. Bryusov.

E. Kruglikova. Silhouette portrait of A. Akhmatova.

E. Kruglikova. Silhouette portrait of M. Tsvetaeva.

E. Kruglikova Silhouette portrait of D. Burliuk

E. Kruglikova. Silhouette portrait of M. Gorky.

E. Kruglikova. Silhouette portrait of I. Odoevtseva.

E. Kruglikova. Silhouette portrait of M. Kuzmin.

E. Kruglikova. M. Nesterov at work.

E Kruglikova. Silhouette portrait of S. Sudeikin.

E. Kruglikova. Group portrait of E.E. Lansere, I.E. Repin and K.P. Petrov-Vodkin in the halls art exhibition association "World of Art".

Having revived, the art of the silhouette did not die any more. It was widely used both as an independent genre and as an applied one. For example, "silhouette" illustrations of the classics have gained great fame.

B Kustodiev. Illustration for A.S. Pushkin's story "Dubrovsky"

W. Gelmersen. Illustration for the novel by A.S. Pushkin "Eugene Onegin"

N. Ilyin. Illustration.

And this is the present and future of the genre - the work of V. Zhukov and A. Gusev

V. Zhukov. Silhouette.

A. Gusev. Fantasy