Presentation: "Andrey Rublev" presentation for a history lesson (grade 6) on the topic. History presentation on the topic: "Andrei Rublev" Images and style

slide 2

Rublev's conditional year of birth is considered to be 1360 (in 1960, UNESCO celebrated his 600th birthday). The first mention of him is in 1405: according to the chronicle, he paints the Annunciation Cathedral of the Moscow Kremlin together with Theophan the Greek and Elder Prokhor from Gorodets. Andrey Rublev is called a "chernets", that is, a monk, and is listed last in the list of names, that is, he was the youngest.

slide 3

The worldview of the artist was influenced by: Victory on the Kulikovo field; The economic rise of Muscovite Rus; The growth of self-consciousness of the Russian people, the atmosphere of the national upsurge of the 2nd half of the 14th - early 15th centuries, which is characterized by a deep interest in moral and spiritual problems. Spas from the Zvenigorod rank, turn of the XIV-XV centuries

slide 4

Images and style

Andrei Rublev adopted the traditions of classicism of Byzantine art of the 14th century, which he knew from the works of Greek masters who were in Moscow, and especially from the creations of Theophan the Greek of the Moscow period (the Don icon of the Mother of God, the icon of the Deesis in the Annunciation Cathedral). Another important source of the formation of the art of Andrei Rublev is the painting of the Moscow school of the XIV century. with its penetrating soulfulness and special softness of style, based on the traditions of Vladimir-Suzdal painting of the XII - early. 13th century

slide 5

The images of Andrei Rublev are generally adequate to the images of Byzantine art c. XIV and the first third of the XV centuries, but differ from them in greater enlightenment, meekness and humility; they have nothing of the aristocratic nobility and intellectual dignity sung by Byzantine art, but preference is given to modesty and simplicity. Apostle Paul. End XIV. Egg tempera.

slide 6

A harmonious, soft combination of delicate, pure colors creates the impression of integrity and completeness of his images. Panov I.G. Andrey Rublev 1996

Slide 7

Daniil Cherny was Andrei Rublev's closest friend; together with him he painted the Assumption Cathedral in Vladimir (1408) and the Trinity Cathedral of the Trinity-Sergius Monastery (1425-1427). Brusilov Stanislav. Andrey Rublev and Daniil Cherny

Slide 8

When it comes to multi-figure and multi-part ensembles, like the Vladimir frescoes, it is not easy to figure out where Rublev painted, and where the artists close to him, such as his friend and "companion" Daniil Cherny. Cherny V. Andrey Rublev

Slide 9

In science, disputes about the ownership of the brush by the master of certain works do not stop. The collective nature of the murals, as well as their poor state of preservation, make the task of identifying the master's individual style difficult to solve. icon "Trinity"; fragments of an ornament in the cathedral of the Andronikov Monastery.

Slide 10

At the time of Andrei Rublev, the theme of the Trinity, which embodied the idea of ​​a triune deity (Father, Son and Holy Spirit), was perceived as a kind of symbol of time, a symbol of spiritual unity, peace, harmony, mutual love and humility, readiness to sacrifice oneself for the common good. Trinity, an icon from the iconostasis of the Trinity Cathedral of the Sergius Monastery, now located in the State Tretyakov Gallery.

slide 11

Moscow city. Monument to the icon painter Andrei Rublev at the entrance to the Spaso-Andronikov Monastery. The monument was erected in 1985, sculptor O. Komov. In 1947, a reserve was established in the Spaso-Andronikov Monastery, since 1985 - the Andrei Rublev Central Museum of Ancient Russian Culture and Art.

slide 12

The images of this greatest icon painter of the Moscow school, fanned by unearthly peace and harmony, had a huge impact on all Russian icon painting. Udaltsova Yu.A. Andrey Rublev

slide 13

In 1988, on the millennial anniversary of the Baptism of Russia, the Council of the Russian Orthodox Church canonized Andrei Rublev as a saint.

Slide 14

Andrei Rublev died on the night of January 28, 1430, “in memory of Ignatius the God-bearer” and was buried under the cathedral bell tower of the Spassky Cathedral of the Andronikov Monastery in Moscow, where he had been a monk for many years and was one of the cathedral elders. The highest rise in the history of ancient Russian fine arts is associated with the name of Rublev. Rublev was that brilliant master who created his own original style, infinitely perfect, deeply Russian in its essence and artistic expression, but also absorbing many achievements of world, primarily Byzantine, Christian culture.

View all slides

Russian masters created in the 14-15 centuries. many famous architectural monuments. Many temples were built, which were decorated with frescoes and icons. Andrey Rublev's creations became a model in icon painting.

Andrei Rublev is numbered among the Saints.

Biography.

Very little is known about the life of the brilliant Rublev. It is assumed that he was born in the Moscow principality in 1460 (70).

He came from a family of a craftsman (a rubel is a tool for knurling leather). As a boy, he was tonsured, i.e. became a monk in the Trinity-Sergius Monastery.

What do you remember about this monastery?

Modern view of the Trinity-Sergius Lavra.

The first mention of Andrei Rublev in the annals dates back to 1405. Where is it said that he painted the walls of the Annunciation Cathedral in the Moscow Kremlin together with Theophan the Greek.

Unfortunately, the cathedral that they painted burned down, but a new stone cathedral was built in its place, where there are icons of Rublev and Theophan the Greek.

Theophanes the Greek, a Byzantine artist, ran an icon-painting workshop in Moscow. Once he noticed the work of Rublev and realized what talent the young icon painter had and took him as his student.

For several years they worked together, first painting the walls, and then set to icons. On each icon, some saint was depicted and the icons were placed in a row. First row 1, but there was not enough space, then the 2nd and so on up to 5 rows. A whole wall was formed, it was called the iconostasis.

When Rublev finished work in the Annunciation Cathedral, he returned to his monastery, and in memory of the monk Sergei Radonezh began to paint the walls of the Trinity Cathedral. At the same time he painted his famous icon "Trinity". The frescoes of the monastery have not been preserved, and the icon has survived to this day.

Look at the icon, what is depicted on it?

What does this icon tell about, you will now read in the textbook? (p.64)

What is the Christian legend about?

How did the angels help the family?

How can you determine that there are angels on the icon?

What colors does the artist use?

In his work, Andrei Rublev used delicate, light and golden colors, so his icons are easy to distinguish from the works of other masters.

Compare the icons of A. Rublev and F. Grek. (Colors, four faces)

Rublev's icons served as a model for all subsequent generations.

The most interesting thing is that the icon did not always remain the same as it is now. She was painted several times, painted over by other artists. Since drying oil, the topmost layer, blackens over time, its service life is from 30 to 90 years.

Look at the icon, how much it has changed. It was not only painted over in several layers, but also covered with a salary. In 1904, layers of applied paints were gradually removed from her, and only in 1919 did she begin to look the way we see her.

How icons were painted, you will read on your own and try to remember the stages of making icons (p. 65-66)

Biography and work Andrei Rublev (+ ca. 1430), icon painter, student of Theophan the Greek, reverend. At first he was a novice at the Monk Nikon of Radonezh, and then a monk at the Spaso-Andronikov Monastery in Moscow, where he died and was buried. The Annunciation The Baptism of the Lord Savior the Almighty The Transfiguration of the Lord Trinity The Old Testament Savior in the Powers Archangel Gabriel Demetrius of Thessalonica Nativity of Christ the Meeting of the Lord Entry of the Lord into Jerusalem Ascension of the Lord Saint John the Forerunner Archangel Michael Saint Gregory the Theologian Saint John Chrysostom The Annunciation Descent into Hell Apostle Andrew the First-Called Archangel Gabriel In the ancient life of the saint Sergius of Radonezh, compiled by his disciple Epiphanius, decorated with numerous miniatures (list of the 16th century), Andrei Rublev is depicted in three forms: sitting on the stage and writing on the wall of the temple the image of the Savior Not Made by Hands; coming to the newly built stone church in the Lavra and being buried by the Lavra brethren. The largest works of Andrei Rublev are icons, as well as frescoes in the Cathedral of the Assumption in Vladimir (1408). The deisis of the work of Theophanes the Greek and Andrei Rublev, as well as the entire golden-domed Church of the Annunciation in the royal court, near the royal treasury, burned down during a great fire in Moscow. The monk died in the Andronikov Monastery on January 29, 1430.

The greatest masters of ancient Russian painting, including Dionysius, were deeply influenced by his work. At the Stoglavy Cathedral (1551), Rublev's icon painting was proclaimed a role model: it was directly instructed "to paint icons from ancient images by the painter, as Greek painters wrote, and as Andrei Rublev and other notorious painters wrote." A great deal of work on the restoration of his works and the clarification of his artistic biography, done in the 20th century, led to the formation of the romantic “Rublev legend”, extracting the heroized figure of the artist from the anonymous, ascetic, supra-individual environment of medieval creativity. Locally revered as a saint since the 16th century, Andrei Rublev has now become one of the all-Russian saints: he was canonized by the Russian Orthodox Church in 1988; the church commemorates him on July 4 (July 17 NS).

The works of Andrei Rublev belong to the highest achievements of Russian and world spiritual art, which embodied the sublime understanding of the spiritual beauty and moral strength of the man of Holy Russia. These qualities are inherent in the icons of the Zvenigorod rank (the Savior, the Apostle Paul (located in the Russian Museum), the Archangel Michael, all at the turn of the 14th-15th centuries), where laconic smooth contours, a wide manner of painting are close to the techniques of monumental painting.

In the XIV century. 15th century Rublev created his masterpiece, the icon of the Trinity (located in the State Tretyakov Gallery, on the plot "hospitality of Abraham". He filled the traditional biblical plot with deep poetic and philosophical content. Moving away from traditional canons, he placed a single cup (symbolizing sacrificial death) in the center of the composition, and its I repeated the outlines in the contours of the side angels. The central (symbolizing Christ) angel took the place of the victim and is highlighted by an expressive contrast of spots of dark cherry and blue colors, orchestrated by an exquisite combination of golden ocher with delicate cabbage rolls and greenery. The composition inscribed in a circle is permeated with deep circular rhythms that subjugate all lines of contours, the consistency of which produces an almost musical effect.

The Trinity is designed for far and near points of view, each of which reveals the richness of shades, the virtuoso work of the brush in a different way. The harmony of all elements of the form is an artistic expression of the main idea of ​​the Trinity of self-sacrifice as the highest state of the spirit that creates the harmony of the world and life. In 1405, together with Theophan the Greek and Prokhor from Gorodets, he painted the Annunciation Cathedral of the Moscow Kremlin (the frescoes were not preserved), and in 1408, together with Daniil Cherny and other masters, the Assumption Cathedral in Vladimir (the painting was partially preserved) and created icons for its monumental three-tiered iconostasis, which became an important stage in the formation of a system of high Russian iconostasis. Of Rublev's frescoes in the Assumption Cathedral, the most significant composition is The Last Judgment, where the traditionally formidable scene turned into a bright celebration of the triumph of Divine justice. The works of Andrei Rublev in Vladimir testify that by that time he was a mature master who was at the head of the school of painting he created.

In Rublev, together with Daniil Cherny and other masters, he painted the Trinity Cathedral of the Trinity-Sergius Monastery and created the icons of its iconostasis. The time when new internecine wars were brewing in Russia and the harmonious ideal of man, which had developed in the previous period, did not find support in reality, and affected the work of Rublev. The color of later icons is more gloomy; in some icons, the decorative principle is enhanced, in others archaic tendencies are manifested. Some sources call the painting of the Spassky Cathedral of the Andronikov Monastery (c. 1427) the last work of Rublev. A number of works are also attributed to him, the belonging of which to Rublev’s brush has not been definitely proven: the frescoes of the Assumption Cathedral on Gorodok in Zvenigorod (late XIV - XV centuries), the icons of Our Lady of Vladimir (c. 1409, Assumption Cathedral, Vladimir), the Savior in Strength ( 1408), part of the icons of the festive rite (Annunciation, Nativity of Christ, Meeting, Baptism, Resurrection of Lazarus, Transfiguration, Entry into Jerusalem all c. 1399) of the Annunciation Cathedral of the Moscow Kremlin, part of the miniatures of the Khitrovo Gospel. Since 1959, the Andrei Rublev Museum has been operating in the Andronikov Monastery, demonstrating the art of his era.

Art critic M.V. Alpatov wrote: "The art of Rublev is, first of all, the art of great thoughts, deep feelings, compressed within the framework of laconic images-symbols, the art of great spiritual content", "Andrey Rublev revived the ancient principles of composition, rhythm, proportions, harmony, relying mainly on his artistic intuition."

Savior Almighty Andrei Rublev 158 x 106 cm lime board, canvas, gesso, tempera (the icon "Savior" has a pine board on the right, the icon was added during a later restoration. The central part of the icon-painting face of Jesus from Zvenigorod Moscow, State Tretyakov Gallery. The Baptism of the Lord Andrey Rublev (?) first half of the 15th century 81 x 62 cm linden board, ark, shallow husk Pavoloka, gesso, tempera icon Feast rite Annunciation Cathedral of the Moscow Kremlin

Life and art

Russian icon painter

Andrey Rublev

teacher of World Artistic Culture GBOU secondary school No. 84 of the Petrogradsky district

St. Petersburg

Andrei Rublev is a name that has become a symbol of Holy Russia, a symbol of the incomprehensible ancient Russian art, a symbol of the great Russian man, as he can and should be.

Andrei Rublev is a Russian icon painter, canonized by the Orthodox Church as a saint, the most famous and revered master of the Moscow school of icon painting, book and monumental painting of the 15th century.

"The art of Andrei Rublev is, first of all, the art of great thoughts, deep feelings, compressed by the framework of laconic images-symbols, the art of great spiritual content"

According to art historians who carefully study the life and work of the Russian icon painter, “Andrey Rublev revives the ancient principles of composition, rhythm, proportions, harmony, relying mainly on his artistic intuition.”

In all likelihood, the icon painter was born in the Principality of Moscow (according to other sources in Novgorod) around 1360. The sources are silent about the real name of the icon painter, because ANDREY RUBLEV is a name adopted in monasticism, a fictional pseudonym.

Andrei Rublev came from educated circles, he was distinguished by an extraordinary depth and subtlety of perception, as evidenced by all his work.

The earliest information about the artist comes from the Moscow Trinity Chronicle. Among the events of 1405, it is reported that “the same spring, more often than not, the stone church signed the holy annunciation to the prince of the great courtyard, and the masters byahu Theophanes the iconic Greek, and Prokhor the old man from Gorodets, and the monk Andrey Rublev.”

Mentioning the name of Andrei Rublev last, according to

the then tradition meant that he was the junior in the artel. But at the same time, he was already quite a recognized and respected master to take part in an honorary order to decorate the house church of Vasily Dmitrievich, the eldest son of Dmitry Donskoy.

Second time in history

Andrei Rublev is mentioned

in 1408, when he was painting with Daniil Cherny

in the Cathedral of the Assumption

Vladimir. It's only been

3 years, and Andrei already had assistants and students, by that time the icon painter had already fully formed his own individual, real Russian style.

The work of Andrei Rublev is one of the pinnacles of Russian and world culture. The perfection of his creations is seen as the result of a special Orthodox tradition in icon painting.

In the 1420s, as chronicles testify, Andrei, together with his “companion” Daniil Cherny, supervised work in the Trinity Cathedral of the Trinity-Sergius Monastery. These murals, like many others, unfortunately, have not been preserved.

In 1411 or 1425-27, Rublev creates his masterpiece - "Trinity". Traditional

Rublev filled the biblical story with deep theological content. Moving away from traditional iconography,

he placed in the center of the composition a single bowl,

and repeated its outlines in the contours of the side angels. The clothes of the middle angel clearly refer us to the iconography of Jesus Christ. Two of those sitting at the table with their head and movement of the camp are turned to the angel, written on the left, in the guise of which paternal authority is read.

His head is not bowed, his camp is not bowed, and his gaze is turned to

other angels. The light purple color of the clothes testifies to royal dignity. All this is an indication of the first person of the Holy Trinity. Finally, the angel on the right side is depicted in a smoky green outer garment. This is the hypostasis of the Holy Spirit, behind which the mountain rises.

There are several more symbols on the icon: a tree and a house.

The tree - the Mamvrian oak - turned at Rublev into the tree of life and became an indication of the life-giving power of the Trinity.

The house embodies God's dispensation.

The formation of Rublev's worldview was greatly influenced by the atmosphere of the national upsurge of the 2nd half of the 14th - early 15th centuries, which is characterized by a deep interest in moral and spiritual problems.

In his works, within the framework of medieval iconography, Rublev embodied a new, sublime understanding of the spiritual beauty and moral strength of man.

In 1478, the abbot of the Trinity Sergius Monastery, the elder Spiridon, said about Andrey “the amazing and illustrious icon painter, the monk of the Andronikov Monastery, was distinguished by such virtues that he was awarded unusual gifts and succeeded in perfection so much that he did not find time for worldly affairs.”

Andrei Rublev died on October 17, 1428 in Moscow, in the Andronikov Monastery, where in the spring of 1428 he completed his last work on the painting of the Spassky Cathedral.

The icon painter was buried near the bell tower in the Andronikov Monastery of the Spassky Cathedral.

Painting by the icon painter Andrei Rublev of the Spassky Cathedral of the Andronikov Monastery. 1592 .

Russian State Library, Moscow, Russia

Facial Life

reverend

[f. 304, III, No. 21 / M.8663

(Troitsk. III-21)], l. 230

(L. 227 after 1853 ed.)

In 1947, a reserve was established in the Spaso-Andronikov Monastery, since 1985 - the Andrei Rublev Central Museum of Ancient Russian Culture and Art. In front of the main entrance is a monument to St. Andrei Rublev by sculptor Oleg Komov.

In Vladimir, a monument to Andrei Rublev is located in front of the entrance to Pushkin Park. This is the last work of the sculptor Oleg Komov.

To use the preview of presentations, create a Google account (account) and sign in: https://accounts.google.com

Slides captions:

The work of Andrei Rublev

Biography Biographical information about Rublev is extremely scarce: most likely, he was born in the Principality of Moscow (according to other sources - in Novgorod) around 1340/1350, was brought up in a family of hereditary icon painters, took monastic vows in the Spaso-Andronikov monastery.

Rublev's work developed on the basis of the artistic traditions of the Moscow principality; he was also well acquainted with the Byzantine and South Slavic artistic experience. The first mention of Andrei in the chronicle appeared only in 1405, indicating that Theophan the Greek, Prokhor the Elder and the monk Andrei Rublev painted the Annunciation Cathedral in the Moscow Kremlin.

In 1411 or 1425-27 he created his masterpiece Trinity.

Only 3 years have passed, and Andrey already has assistants and students. Everyone was drawn to him, because by that time Andrei had already fully formed his own individual, real Russian style.

In 1425-27, Rublev, together with Daniil Cherny and other masters, painted the Trinity Cathedral of the Trinity-Sergius Monastery and created the icons of its iconostasis. The icons have been preserved; they are executed in different manners and are unequal in artistic qualities.

The time when new internecine wars were brewing in Russia and the harmonious ideal of man, which had developed in the previous period, did not find support in reality, and affected the work of Rublev. In a number of works, Rublev managed to create impressive images, they feel dramatic notes that were not previously characteristic of him (“The Apostle Paul”).

The coloring of the icons is more gloomy compared to early works; in some icons, the decorative principle is enhanced, in others archaic tendencies are manifested.

Some sources call the painting of the Spassky Cathedral of the Andronikov Monastery (in the spring of 1428; only fragments of ornaments have been preserved) Rublev's last work.

A number of works are also attributed to him, the belonging of which to Rublev’s brush has not been definitely proven: frescoes of the Assumption Cathedral on the “Town” in Zvenigorod (end of the 14th - beginning of the 15th centuries; fragments have been preserved), icons - “Our Lady of Vladimir” (about 1409, Assumption Cathedral, Vladimir) , and others.

Rublev's work is one of the pinnacles of Russian and world culture. The perfection of his creations is seen as the result of a special hesychast tradition.

Rublev died during a pestilence on October 17, 1428 in Moscow, in the Andronikov Monastery.

In 1947, a reserve was established in the Andronikov Monastery, since 1985 - the Andrei Rublev Central Museum of Ancient Russian Culture and Art. In front of the main entrance to the TsMiAR there is a monument to St. Andrey Rublev by the sculptor Oleg Komov.

A crater on Mercury is also named after Andrey Rublev.