As we all know, art appreciation is a process of feeling, experiencing, analyzing and judging works of art by using perception, memory, experience and knowledge, so as to gain aesthetic enjoyment and artistic knowledge. This semester, I chose World Art Appreciation as an elective course. The reason is actually very simple. I like art very much since I was a child. I am curious about these seemingly mysterious art forms, and I really want to get some artistic knowledge and edification from this course. Through this course, I gradually learned a lot about painting. I have gained a lot from my study, and gradually I can feel that the works of Raphael, one of the three outstanding Italian artists in the Renaissance, exude a pleasant sense of certainty and belonging; The implication of Michelangelo Buonarroti, a great Italian painter, sculptor and architect in the Renaissance and the representative figure of the highest peak of Renaissance sculpture in his works; Understanding Rubens' works can be regarded as a concrete symbol of Flemish baroque style; Of course, there are also Rembrandt's Titus and other western classic works of art, which I think are one of the most beautiful oil paintings in the world. Through continuous art appreciation activities, we can improve people's aesthetic taste and cultivate noble sentiments. It is an important method in Chinese traditional art education to improve one's artistic taste and absorb the excellent techniques of predecessors through art appreciation. Moreover, in my opinion, from the actual situation, due to the changes in economic life, the influence of various ideological trends, and the expansion of social activity space, students have produced some problems that need to be paid attention to and solved. "High marks and low energy" is a kind of performance. A student with more knowledge and professional culture does not necessarily mean that he has other qualities and accomplishments. Therefore, we should call for quality education. Quality education is a system, and art education is an effective means and an indispensable aspect of quality education. Art education is not to cultivate professional artists, nor is it simply to cultivate the skills of playing the flute, playing the piano, drawing, calligraphy and dancing. It is through this skill, knowledge and self-cultivation that we can improve the aesthetic realm, thus promoting the all-round development of morality, intelligence, physique, beauty, labor and longevity, and becoming a new generation of people with lofty ideals and goals in building socialist modernization. Therefore, we should properly cultivate our artistic accomplishment. This is one of the reasons why I chose this course. At the end of the one-semester course, I will combine the works of the great Russian realist painter Lie Bin with simple artistic appreciation according to the general appreciation procedure:
Works: Trackers on the Volga River
Author: Lie Bin
Lie Bin (1844- 1930) is the greatest Russian artist in the late 9th century. This painting depicts a tracker pulling a fiber on the Volga River. This work was created in 1873 and took three years to complete. It is now in the Russian Art Museum in Petersburg.
1, picture introduction of the work:
The Tracker on the Volga River is Lie Bin's masterpiece and his famous work. In the composition of this painting, Lie Bin made use of the topography of the beach and the bend of the river, so that 1 1 trackers were shaped into a group of statues on the yellow and towering pedestal, which made the painting have a grand and far-reaching tension. The background used in the painting is hazy and hazy, and the space is strange and empty, giving people a feeling of melancholy, loneliness and helplessness, which actually goes deep into the tracker's heart and is also a true portrayal of the painter's mood. On the screen, the painter skillfully laid out the scenery of the Volga River and showed the ranks of this group of trackers with long and narrow banners. The sunshine on the Volga River is fierce, the beach is deserted, and the close-up view is only dotted with a few broken baskets buried in the sand. The scenery is very lonely. A group of ragged trackers are pulling the cargo ship, and the pace is so heavy that it seems that you can hear the echo of the depressed "Volga River Boatman Song". So the composition, lines, strokes and other painting techniques of this painting are quite successful.
On the charred river bank, a group of disheveled and ragged trackers trudged forward exhausted in the cool sunshine. Some of them are old, some are young, all in rags and haggard faces. The leader is an old man with a gray beard. His eyes are deep, his determined face reveals weather-beaten wisdom, but his sad expression still reveals his helplessness to hard life.
Walking at the end, the tracker lowered his head and hung his hands, numbly following the team, as if he had become accustomed to such a hard life every day. Another outstanding figure in the team is the junior general. It can be seen that he has just started this kind of work, and he is not used to frowning. He straightened up and tried to loosen the rope that tied his shoulder with his hand. After all, he is young and unwilling to endure such suffering. The rest of the trackers bent down and lowered their heads, as if they had no extra strength to show anything. They were left with nothing but poverty, hardship and helplessness. In this painting reflecting the tragic life of the tracker, it is not so much that human beings are fighting against nature, but rather that they are fighting against the ruthless dark fate and society.
There are 1 1 people in the picture, which are roughly divided into three groups. Every image was carefully examined by Lie Bin, who also drew sketches of the characters. Their age, experience, personality, physical strength and their spiritual temperament are all different. The painter highly typifies these characters and unifies them in the theme. Now, according to the painter's own narrative, I would like to introduce the situation of each character in detail here:
The first group of * * * four people, headed by the name of Gunning, are gentle in expression, but tough in character and have innate willpower. This man is about forty or fifty years old. His sunken eyes made his forehead stand out, showing his wisdom. Lie Bin drew a rag on his head as if to make him look like an ancient Greek philosopher. He used to be a priest, but later he was dismissed by the church and once served as the conductor of the church choir. He is strong and his hands are drooping. The belt on my chest is tight, but my linen shirt is covered with patches. This is a typical Russian peasant elder or wise man, suffering physically and mentally, and is the tragic protagonist in these trackers' images. On his right is a burly, simple-minded farmer, barefoot, with unkempt hair and a thick beard, who seems to be whispering something to Gunning. This image played a role in setting off Gunning's leaning forward. Behind him is a slender thin man, nearly 40 years old, and most of his body is blocked. He is wearing a straw hat and smoking an earthen pipe. His head looks smaller. He straightened up, which made the cable slack, as if to save some strength. On the thin man's left, there is a bow tracker. He used to be a sailor named Chical. His hands were clenched, his expression was serious, and his eyes were fixed on the front. Obviously, his temper must be stubborn and he is a tough guy in the countryside. Sweat has corroded his coat into a hundred holes and chapped sores, and his strong shoulders are exposed from the holes.
There are also four people in the middle group: the teenager in a pink shirt and trousers is named Larikka. It seems that this teenager is joining this team for the first time. His unwashed skin and frowning brows tell the audience that this kind of work is too heavy for him. He used it to adjust the rope that hurt his shoulder skin. The painter seems to find hope in this new oppressed, that is, he doesn't want to be exploited and wants to resist. Remarkably, the boy still has a cross hanging around his neck, which is a token given to his child by his parents, praying that God can bless him on the way. In order to draw this young stalker, Lie Bin once chose a familiar child image as a model. The phenomenon of young people pulling fibers is as cruel as that of capitalists squeezing labor by child labor. It is the evil of Russian serfdom under the czar, and it is also the main target for painters to attack. Larikka was followed by a bald old man who suffered from wind and frost. His skin is black and his face is gloomy. He leaned against the string and opened his pipe, trying to smoke a cigarette to relieve his depression. He is in sharp contrast with the teenager in front of him in color. Two generations, different fates, tied to a rope. On the right side of the teenager is a weak and morbid tracker. He walked with difficulty, was weak and sweaty at the cuffs. Hair is exposed outside the hat, cheekbones are raised and lacrimal sac is swollen. His future journey means more bad luck, and we seem to hear his rapid breathing. Between Larikka and the old man, another tracker's head was exposed. This man has a dark face, nostrils outward and thick lips. It seems that he is a Tatar.
The last group of three people, walking in front is a retired soldier, wearing a vest and a low hat outside his white shirt; Stasov, a dark-skinned critic of the roving exhibition school, said that he was a wandering Greek. The last man only saw his drooping head. He seems to be walking harder. He is climbing a small slope. The whole painting depicts the blank in the upper part with light green, light purple and dark brown tones, which makes the Volga River more bleak. This is to enhance the tragic color of the characters and set off the dry and hot weather (Lie Bin made some changes to Gunning and Hicar, especially Hicar's head was wrapped in white cloth).
2. What does the work give the reader?
When I first faced the Russian painter Lie Bin's "The Tracker on the Volga River", the first thing I felt was the blue sky, the vast Volga River, a dozen trackers with different postures, and the ships they were struggling to pull. However, it seems that the labors' strength produced by the detailed experience of the picture has been violently impacted visually, resulting in an indescribable and intuitive aesthetic pleasure. Generally speaking, feelings are complex and subtle, and the best way to accept them is to experience them, while language is often difficult to convey some feelings. Therefore, even if people have a certain feeling, it is often difficult to express it in appropriate language, especially for adults with mature intelligence and rich language. However, no matter how subtle the feeling is, there is always a big tendency. Therefore, when it comes to the tracker on the Volga River, it gives people a depressed, sad and profound feeling.
This famous oil painting by painter Lie Bin was completed after more than ten years of conception, painting and revision. This oil painting is very representative of Lie Bin's thoughts and feelings. Through careful observation of the picture, I can see that the painter's thoughts and feelings permeate every character, as well as the color of the picture and the layout of the scenery. Therefore, as long as we carefully observe and understand this painting as a whole, we will realize the thoughts and feelings that the painter wants to express, that is, dissatisfaction with Russian reactionary rule and deep sympathy for the working people. It's a group of characters. From the different clothes, appearances, movements and demeanor of the characters in the painting, we can deeply understand the inner feelings of the characters. Lie Bin carefully observed the life of the tracker during his trip to the Volga River, and finished it after repeated thinking and revision. When describing this oil painting, the author observed it from front to back in turn. When describing, he grasped the characters' clothes, appearance, manners and other characteristics, and launched an appropriate imagination, combining the characters' appearance characteristics with their identity, status and personality, so that each character had a distinct personality. There are 1 1 trackers, and the author focuses on four of them. In terms of age, there are old people, middle-aged people, young people and teenagers. Professionally, there are bankrupt farmers, wiredrawing workers and retired soldiers. They represented all aspects of society, were ruled and oppressed by reactionary rulers in the Russian era, and all lived a miserable life. The author's description strongly exposed the darkness and evil of the society at that time.
3. How did the author make the audience feel this way?
This process mainly explores the reasons why the works have a certain atmosphere and sense of strength. Its way is from the social angle and the formal angle. Exploring from a social perspective means linking the image in the picture with our existing knowledge and experience in social life, thus explaining why the image in the picture will give us a certain feeling. From the formal point of view, it is to pay attention to the study of how the author creates the atmosphere and emotions we feel through the treatment of shaping elements such as point, line, surface, body, space, light, color and material, as well as the application of organizational methods such as standardization, proportion, balance, symmetry, repetition, rhythm, contrast, coordination and truth.
The first time I saw it, I couldn't forget it because of the vibration. I have also transported fibers on different rivers. Learn to move the fiberboard to a position slightly higher than the shoulder when the river is not too urgent, so that the fiber rope is not too heavy, and at the same time lean forward as far as possible to cling to the fiberboard, so that the fiber rope will not buckle into the meat of the shoulder. However, the water is urgent and the boat is full, so we have to drag the rope deep into the meat, and we can't even lean forward when we bleed. We almost touched the ground and pulled the rope forward by our shoulder blades. Whether the shoulder bones are excellent or not is the primary criterion for a tracker to be qualified or not. I have a deep understanding of this. But I can't be a real tracker, because I don't specialize in carrying fibers for a living, only occasionally. It is also the occasional fiber back that makes me know what kind of physique the real tracker has and what kind of hardships he is suffering, so I have a complicated reverence for the real tracker. This is also an important reason why the tracker on the Volga River touched me at once.
But I thought I would never forget that painting again, but unconsciously I have forgotten it for many years! Until the rain tonight and the roar of the rising river in my illusion sent it back. While blaming myself, I recalled that it was not only me or several people who loved this painting and were moved by the image of the tracker. I'm the only one who forgot this painting or even the tracker today. Where is it? Of course, it's nothing to forget a painting, but what about forgetting the tracker? It seems that the tracker's withdrawal from real life is not only due to the progress of the times. Actually, it doesn't matter whether you retire from real life or not. Isn't there a song "A Tracker's Love" popular all over the country, which made two singers sing red? What people appreciate today is the leisurely and touching picture of the tracker's love in karaoke, and it is the "tracker" who "swings on the string". The problem is not that the image of the tracker in this song is false, but that people appreciate falsehood and appreciate the "beauty" of calcium deficiency. Therefore, forgetting the tracker on the Volga River is essentially forgetting the tracker's masculinity and the spirit of being able to withstand all difficulties and obstacles.