Lesson on literary reading Art gallery V. Surikov "Portrait of the artist's daughter"

Today in class we will learn:

Determine his mood

Thinking about a question.

What is the name of the painting?

What did she like to play?

What character?

How?

What were the results?

What else needs to be done?

What else needs to be worked on?

View document content
"Lesson on literary reading Art Gallery V. I. Surikov "Portrait of the Artist's Daughter""

Lesson Picture gallery IN AND. Surikov "Portrait of the Artist's Daughter"

Today in the lesson we are going to the "Picture Gallery" section.

The purpose of our lesson is to get acquainted with the reproduction of the painting by V. I. Surikov "Portrait of the Artist's Daughter". What will we remember, learn, what will we learn? The questions from the textbook on page 129 will help us answer this question.

Today in class we will learn:

Describe the appearance of the person depicted in the portrait;

Determine his mood

Make a verbal portrait of a person.

Description of the girl depicted in the portrait.

The girl is standing near the wall, perhaps this is the wall of the stove, because. there is a flap at the bottom. She is wearing a red dress with small white polka dots, with a belt and a red bow. The top of the dress is adorned with a large white lace bow. On her feet are brown stockings and black shoes. In the hands of the girl is a beautiful doll in a white fluffy dress. The girl loves her toy, so she hugs it tightly to herself, gently hugging the doll by the waist.

The girl is in a cheerful mood, because she smiles, her eyes are wide open. She looks forward calmly and a little shyly, as if embarrassed.

Thinking about a question.

What if Surikov made the wall dark? (the girl was not visible, and was sad)

What is the name of the artist who painted the picture?

What is the name of the painting?

What is the genre of this work?

Compilation of a verbal portrait of a girl.

Tell me, what do you think the girl was like?

What did she like to play?

What character?

What was the task in the lesson?

Were you able to solve the task?

How?

What were the results?

What else needs to be done?

Where can new knowledge be applied?

What went well in the lesson?

What else needs to be worked on?

Home task: find other works by Surikov. Write down their names, determine the genre, tell what they depict.

Portrait of a daughter

In the picture, I see a little girl (she is somewhere the same age as me). This own daughter artist Surikov. The girl is cute, strong. Her figure looks a little awkward, but with age it will pass. The child will turn into a charming, graceful young lady who will be taught to dance. The round face of a child is framed by dark thick short hair, up to the shoulders. Her lips are smiling. The eyes of the girl, large, look straight and a little slyly. It is felt that the girl diligently poses for her father. The left chubby palm is pressed against the white wall. I just want to hold on to her, it seems that she is warm, alive.

She is wearing a red dress with white polka dots. Pantyhose on her legs: the color of the dress. The waist is girded with a red sash. I also love clothes in this color. She looks smart and makes me good mood. The dress is decorated with a large openwork white collar. Apparently, one of the relatives made it for the girl.
She clings to her toy (doll). It is obvious that the child loves her very much. The doll even somewhat resembles its mistress. She has blond hair and blue eyes. She is dressed in a pink dress. All girls like to play with dolls and so do I.

The girl's face is content and calm. She lives well in this house, with people close to her. She is a family favorite. The father also admires his daughter, which is why this portrait turned out so well for him. He wants her to remain in his memory forever as a sweet little child. It seems to me that the girl has a slightly stubborn character, and she likes to fulfill all her desires. This is how she rests on the floor with her strong legs. Also confidently she goes through this life. They say that if a child has a happy childhood, then the same adulthood. I would like to believe that it will come true.

Grade 2

The little young lady is drawn in the picture: "as if alive." It seems to me that now she will break out of there and run to play with me.

The artist's daughter poses in front of a white stove. The black door and the same shoes emphasize the girl's outfit even brighter.

In our village, at my grandmother's, the house is also heated in this way. When I visit her for the holidays, I like to warm myself by the stove. When it is heated, it is cozy and warm nearby. It is also good in the house of the artist.

In general, the whole picture creates a good mood. I would like it to hang in my room. And I would wake up in the morning and mentally talk with the girl, make her wishes and dreams.

• Composition based on the painting by Grigoriev Goalkeeper on behalf of a fan, viewer (description)
• Rylov A.A.

  Arkady Ivanovich Rylov was born on January 29, 1870. The boy's father was a simple rural notary. AT young age he was sent to Petersburg to study the arts. He was taught famous masters art

• Levitan I.I.

  Levitan Isaac Ilyich - famous Russian artist, member of the Society of Wanderers. He became famous for painting landscapes. Born in 1860 in Lithuania. In the 1870s, the Levitan family moved to Moscow.

In the picture, I see a little girl (she is somewhere the same age as me). This is the native daughter of the artist Surikov. The girl is cute, strong.

• Composition based on the painting by Tsyplakov Frost and the sun Grade 9 (description)

  Tsyplakov V. G. Most of his paintings were painted from beautiful Russian landscapes, creating wonderful canvases depicting the seasons, weather and wonderful nature.

Portrait of the artist's daughter, as a child. Painting, portrait of a little girl, photo - Painting, drawings,

Magic dreams of Vasily Surikov

“Of course, Surikov is a Russian artist. He does not feel and does not like the absolute beauty of forms, and in pursuit of a general poetic impression, he subordinates the purely formal side to the content. Undoubtedly, this is a weak point in his work. managed to neglect the false, academically understood beauty of forms, and most importantly, for the fact that he was able, surrendering completely to his inspiration, to find something completely original, new, both in drawing, and in painting and in colors. ", But all his paintings are downright even beautiful. Next to Vasnetsov, he heeded the precepts of ancient Russian artists, unraveled their charm, managed to find again their amazing, strange and enchanting range, which has nothing similar in Western painting. " (A.N. Benois) He was valued for a long time for the ideological-wandering truth. Now we know that what is valuable in it is the profound truth of mystical poetry. Despite the roughness of the form, Surikov's paintings - magical dreams. I don't know such a dreamer's gift in any of our artists. Perhaps this explains his shortcomings - the limited taste and conscious skill in comparison with supraconscious insight. Wilde said about Browning - he stutters with a thousand mouths. I would like to say about Surikov: he is inspired and tongue-tied. In his work there is an imperative conviction of hallucination. He really sees the past, the barbaric, bloody, terrible past of Russia and tells his visions so brightly, as if he does not know the difference between dream and reality. These visions are pictures fantastic realism details and the integrity of the generalizing mood evoke a feeling similar to fright. We look at them, obeying the suggestions of the artist, and his delirium seems prophetic. The truth of the historical panorama becomes a revelation. In the tragedy of the resurrected era, the mysterious, tragic depth of the people's soul is revealed...

Surikov in the good and the great, as well as in the absurd, was himself. Was free. Vasily Ivanovich did not like to share his ideas, topics with anyone. It was his right, and "he used it until the moment when creative forces were outlived when his spirit moved into the picture and she already lived by him, and Vasily Ivanovich remained only a witness to what he had done - no more.

All rights reserved. Write letters: mail (dog) site
Copying or use of materials - only with the written permission of Vasily Surikov

Surikov V.I. Portrait of O.V. Surikova, the artist's daughter, in childhood. 1888. State Tretyakov Gallery, Moscow city

Touching “Portrait of O.V. Surikova, the artist's daughter, as a child" Surikov wrote in 1888, at the same time successfully showing it at the 16th traveling exhibition.

“A pretty round face, framed by dark lush hair, seriously. But this is not a character, this is an attitude to her father's work - she poses in a businesslike and calm manner. Softness and good nature lurk in the corners of a firmly defined mouth: it is about to smile cheerfully and slyly! Eyes, smart, inquisitive, look out from under the thick bangs, and under it one can guess a clean high forehead. In this portrait, her whole happy, ardent and cheerful disposition, instantly responding to everything, is so clearly seen and captured.
Her legs in red stockings against the background of white tiles are businesslikely stable, and in the way they are arranged, one can feel her confidence and some waywardness. Their contours, soft, not outlined by a hard line, at the same time give a feeling of strong and dense muscles under the stockings. A figure of a child, without a waist, is in a low-tied sash, and a girl is standing, leaning slightly forward. A round white collar sets off the pink haze of the face. And there is not the slightest girlish coquetry in this girl, although she is all plastic and graceful - a guarantee of future femininity. The palm of the left hand is pressed against the white tile, and the fingers are written in such a way that they seem warm. Right hand Olya pressed the unchanging doll Verochka to her, staring her blue eyes somewhere into space. A blond cap of doll hair plays with gold against a red background, and a puffy pink dress and velvet around her neck give her a Parisian.
Amazing portrait! In it, all the charm and liveliness of the girl, all the purity and harmony of her mind and soul, and all the love and admiration of her father and artist will live forever. (Source: Konchalovskaya N. Priceless gift: Romantic story. / Natalya Konchalovskaya. - Krasnoyarsk: Krasnoyarsk book publishing house, 1978. - 300s.)

From the book by Natalia Konchalovskaya "The Priceless Gift" about the history of the portrait http://www.gennadij.pavlenko.name/ex-book?text=185

In the nearby dining room, a young student teacher studied grammar with Olya, preparing her for the first grade of the gymnasium.

Well, what kind of collar are you wearing - red? she asked Olya.

No ... Not red, but white.

Vasily Ivanovich suddenly imagined his daughter in a white collar over a red dress with white polka dots. How it flickered, this dress, in the thickets of willows on the Yenisei, went out in the dense shade, and then fluttered out in the sun and flew along the sandbank ...

And how do you write - "not" or "neither"?

Not red.

Right. What kind of collar do I have? Red or white?

And you have ... And you have none - neither red nor white!

How do you write it?..

Olya thinks and then firmly decides:

Well done, right!

Vasily Ivanovich listens, smiling: “Look, you think something little head!”

Now get up and go over there,” the teacher says. You can hear Olya pushing her chair back and walking hurriedly.

So! Where did you go?

To the oven.

What letter will you put at the end?

Pause. Olga thinks.

I'll put the letter "e". Dative here - to whom, to what.

Good! the teacher rejoices. - Where are you standing?

Another pause.

Near the stove. “And” will be here, - Olya is in a hurry to explain, - because here is the genitive - whom, what! ..

Vasily Ivanovich suddenly clearly imagined Olya near the stove. He quietly got up, opened the door a crack and peered through the crack. Olya stood in a red dress with polka dots against the background of bright white tiles, pressing her two plump palms to him, warm. Her round face was lit up with a friendly and cheerful confidence.

“This is how you should write it,” thought Vasily Ivanovich and closed the door ...

A month has passed. An easel with a canvas appeared in the dining room, on which Olya stood tall near the stove. And like each new picture, she took first place in the life of the family. At first the portrait was in a corner, then it began to be painted over. Olya was patient - she knew how to pose. And often the whole family spent the morning together in the dining room, so that Olya would not be bored standing.

Elizaveta Avgustovna, who had become very emaciated, sat in a large easy chair and occupied Olya with reading or talking. After a trip to Siberia, her health deteriorated so quickly that she needed constant medical supervision. She was treated by Professor Cherinov. He visited the Surikovs almost every day. And Vasily Ivanovich trusted him so much and so constantly needed his advice that he even decided to paint a portrait of him so that he would stay longer in their house. This portrait hung in the living room of the Surikovs, as if guarding the hostess when Cherinov was not there.

Elizaveta Avgustovna could no longer run the household, she was also unable to walk with her daughters, and Vasily Ivanovich did everything himself, feeling guilty that he had dragged his wife to Siberia. Only now did he realize that this trip "ate" Lilya. It was impossible for her to swim on the water in the autumn fogs for weeks, it was impossible for her to shake over potholes with a sick heart, it was impossible to test him in the fight against her mother's abrupt hostility. Oh, mother, mother!.. Torgoshinsky's habit - either he will give you his soul, or he will exhaust your soul!.. All this was impossible for Lilya. Now you don’t recognize the former, beautiful, cheerful, managerial hostess of the house. It was not for nothing that Lily was so distrustful of Siberia, as if she sensed that she would bring her death, like that same Princess Maria Menshikova, for whom she posed.

And on that cold December morning, with her legs wrapped in a blanket, Elizaveta Avgustovna sat in an armchair. Under a pink flannel blouse, her thin, narrow shoulders were outlined, and from under a white cap, her face, exhausted by illness, looked out. She tried her best to maintain her cheerfulness, she, like never before, wanted to take part in their common life, she wanted to help her daughter pose, to entertain her with conversation. Having laid out a box of paints on a stool, sitting on a Viennese chair, Vasily Ivanovich painted a portrait of Olin. For work, he wore an old black jacket, all stained with paint, old gray trousers, also all stained. In these clothes, he felt free - he did not tolerate special "blouses" and dressing gowns, in which artists usually work. Seven-year-old Lena immediately ran with her doll. They called in the front. Olya was worried:

This is a teacher ... Anna Mikhailovna. Where will we practice?

Take her to the nursery, I'll pee here, - said the father.

Olya, stamping her feet, rushed to open the door, placing the doll right on the floor near the stove...

And here they are, the three of them. No, not all three. Olya looks at them from the canvas, as if she never ran out of the room.

Big family. Top row from left to right: Ekaterina Semyonova (daughter of Natalia Petrovna Konchalovsky from her first marriage), Natalya Petrovna Konchalovsky (daughter of the artist), son of Mikhail Petrovich Konchalovsky from his first marriage Alexei, Esperanza (wife of Mikhail Petrovich Konchalovsky), Mikhail Petrovich Konchalovsky (son of the artist), Andron Konchalovsky. Bottom row from left to right: Margot (Mikhail Petrovich's daughter from his second marriage), Olga Vasilievna Konchalovskaya (the artist's wife), Pyotr Petrovich Konchalovsky, Lavrenty (Mikhail Petrovich's son from his second marriage), Nikita Mikhalkov, Sergei Vladimirovich Mikhalkov.

I wanted to know how the fate of Surikov's daughter Olga, whom we saw in the portrait, developed.

Among the many works of the artist Pyotr Konchalovsky is the famous "Self-portrait with his wife." Two laughing people on the canvas are holding glasses of wine in their hands. A toast to a happy family life stays behind the scenes.

But every detail in the picture suggests that two loving hearts beat in unison and the word "I" for them is not. And there is the word "we".

For the first time they saw each other when Petya was 16 years old, and Olya - 14. He came to the studio of Olya's father - the artist Vasily Surikov - to take lessons. But then the serious young lady was more interested in her own classes at the gymnasium. So in that fleeting meeting, the teenagers were not even introduced to each other. The real acquaintance happened ten years later. And now it was love, albeit at a second sight. Three weeks later, Peter and Olya realized that they could not live without each other.

Vasily Surikov wrote to his brother about this: “You need to tell a very joyful and unexpected message: Olya is getting married to a young artist from a good noble family, Pyotr Petrovich Konchalovsky. He is an Orthodox and a believer.” Soon the couple had a daughter, Natasha.
And three years later, the son of Misha. Familiar artists were surprised: the children did not interfere with the work of Konchalovsky. He created endlessly, and endlessly fiddled with the heirs: he sang lullabies to them, shared paints, taught them to draw, nursed them during illnesses

The Konchalovsky souls doted on children, and yet everything in the house was subordinated to the profession of the father, and iron discipline was established. Whims on the topic “I don’t want, I won’t” the son and daughter did not know. But they perfectly mastered the concept of "must". Studies, music lessons and French - this was the daily schedule of the Konchalovsky Jr.

Peter always went abroad for sketches only with his family. Trips arose spontaneously. Over morning coffee, Pyotr asked his wife: “Lyolechka, why not go and learn from the masters in Paris?” “Of course, Dadochka! I'll get together now!" - Olga answered, confident that all her husband's decisions were correct. By evening, the family was already boarding the train.

In Paris, through the efforts of Olga, everything was arranged instantly: housing was rented, Peter worked, Natasha went to school, Olga did housework, walked with Misha, always looked great and posed for her husband. She often criticized his work, but Peter trusted Lelechka's taste endlessly. She had only to say, looking at the picture: “Oh, not that, Dadochka!”, As the canvas was destroyed. Konchalovsky did not regret the time spent and inspiration at such moments.

When did the first World War Peter went to the front. After seeing off her husband, Olga returned from the station and sobbed throughout the house, and then for three years she wrote her husband detailed letters about the life of the family. The children supplemented them with their news, and Natasha also with poems composed especially for daddy. Artilleryman Konchalovsky wore these letters on his chest during all three years of the war.

During the revolutionary hard times, the family rallied even more. The Konchalovskys refused to emigrate, lost their apartment, froze and starved, but Olga continued to work with children foreign languages, and Peter was still standing at the easel, knowing full well that no one needed his landscapes now. Children, looking at their parents, believed: nothing in the world is scary if there is such love as their dad and mom have.

In the early thirties, the Konchalovskys, who dreamed of a family nest, bought a house with a mezzanine in Bugry, not far from Moscow. Noble family tradition- to spend the summer in nature - should not be interrupted under any authority. The Konchalovskys put the house in order with their own hands. Pyotr Petrovich turned out to be a wonderful gardener - lilacs, roses, peonies and apple trees grew beautifully with him. Lyolechka was busy at the stove, Dadochka was painting, the aroma of pies mixed with the smell of paints and everyone was happy. When grandchildren appeared, they were brought up, just like children: in love and discipline. On Sundays the whole family went to church. And they were not afraid of anything, as if they were sure of an invisible, but powerful protection.

Konchalovsky, who did not know how to dissemble, refused to paint a portrait of Stalin, did not sign a libel on his friend Meyerhold, and stubbornly continued to work only on what was interesting to him. When the persecution began, Pyotr Petrovich and Olga Vasilyevna maintained Olympic calm. At one of the receptions, when they were afraid to even come up to say hello to the disgraced artist and his wife, someone advised Olga Vasilyevna to spit on ill-wishers. She, standing in a cherry velvet dress with an ermine on her shoulders, regally replied: “I don’t give a damn about anyone - there won’t be enough saliva!”

From the outside, their lives looked remarkably successful. The Konchalovskys did not defy fate, they did not conflict with anyone. They simply managed to preserve their world, their habits and traditions. And even in their declining years, they still affectionately called each other Dadochka and