Methods of drawing portrait genre in fine arts

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Ganja State University

Methods of drawing portrait genre in fine arts

Mammadova A.

Ganja, Azerbaijan

Abstract

Art is one of the forms of social expression, and it was created as a result of visualizing the images created in human thinking, emotions and abstract thought by means of images. The images created as a result of the impact of the external world surrounding a person, the processes and events occurring in it on feelings and thinking are the basis of image creation. Portrait painting, which reflects a person's inner world, feelings and emotions through facial expressions, lines, likeness and mimicry, eyes and gaze, which are considered as a mirror of mood, is considered a very complex genre of fine art and painting. The portrait genre, which is one of the main genres of painting and graphics, has taken a very wide place in fine arts. As in other genres, portrait works take their content from public life and reflect public existence through specific artistic images and influence public life. Therefore, the portrait artist is not satisfied with giving only external signs of a person in his works, such as external resemblance, pose, movement and facial expressions. At the same time, the tries to show the spiritual world, psychological characteristics and what kind of character the person he paints.

Keywords: portrait, human, painting, line, color.

Аннотация

Методы изображения портрета в изобразительном искусстве

Мамедова А.Э., Гянджинский государственный университет, г. Гянджа, Азербайджан

Искусство является одной из форм социального самовыражения, и оно создано в результате визуализации образов, созданных в человеческом мышлении, эмоциях и абстрактном мышлении посредством образов. Образы, созданные в результате воздействия окружающего человека внешнего мира, процессов и событий, происходящих в нем, на чувства и мышление, составляют основу имиджеобразования. Портретная живопись, отражающая внутренний мир человека, чувства и эмоции через мимику, линии, сходство и мимику, глаза и взгляд, которые рассматриваются как зеркало настроения, считается очень сложным жанром изобразительного искусства и живописи.

Жанр портрета, являющийся одним из основных жанров живописи и графики, занял очень широкое место в изобразительном искусстве. Как и в других жанрах, портретные произведения черпают свое содержание из общественной жизни, отражают общественное бытие через конкретные художественные образы и влияют на общественную жизнь. Поэтому художник-портретист не довольствуется передачей в своих работах только внешних признаков человека, таких как внешнее сходство, поза, движения и мимика. При этом пытается показать духовный мир, психологические особенности и то, какой характер рисует человек.

Ключевые слова: портрет, человек, картина, линия, цвет.

Portrait images require special observation from the artist, the ability to penetrate into the individual world and existence of the personality. A real portrait work is created not by simply copying nature, but by revealing the most characteristic and important psychological features, mental nuances, subtleties of a person's personal world, biography, and profession. These qualities usually dominate the cognition, emotion and perception of talented artists [1].

Thus, the person looking at the work should feel that feeling and excitement and experience it personally. If the feelings reflected by the artist through colors and norms are not familiar to the viewer, then those feelings are not awakened in the viewer. This means that either these feelings are not familiar to him, or the artist could not create sensitivity in the viewer while expressing his feelings. Portrait works are monumental, ceremonial, official, satirical and etc. Although all these types take their source and theme from life, each of them developed in different forms in different historical periods [3].

The portrait genre is widespread in Azerbaijan as well as in the world. The first depictions of people in Azerbaijani art were found in manuscripts written in Maragha and Tabriz at the end of the 13 th and the beginning of the 14th century. In the 16th century, the Tabriz school of miniatures occupies an important place not only in the development of the art of medieval Azerbaijan, but also in the art of neighboring Eastern nations. In the copies created by Tabriz artists, two main characteristics of the portrait genre are noticeable: idealization and typification.

In the works created by idealization, mainly the external signs of a person - clothing, jewelry, etc. described, it was given almost more elegant and beautiful. Therefore, the inner world of a person and individual psychological characteristics could not be reflected in such portraits. In this way, images of kings, princesses, nobles and women belonging to the upper class were created. Portraits of peasants, warriors, servants and people belonging to the lower class were created by typification according to their content.

In the 19th century, it is possible to trace the portrait genre in the works of Mirza Gadim Irevani and Mir Mohsun Navvab. It is true that although realistic features of portrait art are manifested in their work, it could not be completely based on realism. From the beginning of the 20th century, examples of realistic portraits began to appear in Azerbaijan. Azim Azimzade's satirical portraits and Bahruz Kangarli's portraits of poor people prove it better.

The images of our contemporaries form the leading theme of portrait genres. The portrait genre occupies an important place in the works of artists T. Salahov, M. Abdullayev, Buyukagha Mirzazade, Salam Salamzade, Taghi Taghiyev, Ogtay Sadigzade, Hasan Hagverdiyev, Ali Verdiyev, and Najafgulu. If we take a look at our prominent artists who applied to the portrait genre, we can show the portraits of legendary folk hero Koroglu and poet Rasul Rza, composer F. Amirov, "Aidan" and "Mother" from the works of Salahov, who fascinate people with the depth of psychological characteristics, the perfection of composition and coloring [1].

The portraits of M. Abdullayev's folk poet S. Vurgun, old network master A. Babayev, pianist F. Badalbeylin, cotton worker Sh. Hasanova, contemplative poet Nasimi, classics of our literature Vagif, M.F. Akhundzade occupy a special place in Azerbaijani art. portrait painting psychological person feeling emotion

In general, the portrait genre requires more attention than other genres while maintaining its full specificity. If all the features of the person you draw are not given with complete accuracy or if any slight mistake is made, the depicted person loses the similarity in the painting. Based on this idea, the facial structure, eye, eyebrow, nose, jaw, etc. parts of the person whose portrait is drawn for a long time should be carefully considered, compared and then drawn [2, 4].

Fine art has several main means of expression, one of which is line. It is impossible to create an image without lines. An object depicted in any genre or subject must be drawn using lines. It doesn't matter, whatever is being drawn should be drawn using short or curved lines. Even if it is a portrait, this method is much more effective. While we describe the visual appearance of a person with details, it cannot be described only with colors. Without lines we cannot express the unique characteristics of a person [5-10].

One of the means of descriptive expression is spot. However, the unrecognizable blind-natural stain based on its contours has no semantic load. Semantic capacity is formed when that stain reminds of something. This is also the case with the human face. Stain should also be used correctly where it is needed [8].

When taking a portrait, we should also pay special attention to the format. Format is the ratio of size and aspect ratio. The format feature has a great role in the emotional perception of the work.

One of the most basic and important points in the portrait genre is the use of the "golden section" ratio. The "golden section" ratio was taken from the ancient Greeks. The "golden section" ratio is determined based on the proportions of the perfect human figure. In general, any event in fine art is depicted in a "frozen" state in a certain sense. A standing human figure can be easily divided into proportions. That is, we can divide a person's face into several equal parts.

Short-term studies are the most suitable for those who are new to the portrait genre. Also, the best option for them is to draw middle-aged people. So, it can be difficult for children because their faces are small and without wrinkles, while the older generation has too many wrinkles on their faces. First the general form should be given, after this there should be a transition to details. Any beginning artist can get positive results if he conducts his work in this way, mastery, craftsmanship habits. Only after serious and thoughtful work on the study, you can move on to the portrait [9].

The eyes are the most delicate part of the work. When drawing eyes, you need to draw the eye shape of a person, which is not depicted as an ordinary eye, with lines, just the eye shape of that person. Because in the portrait, only and only the external features, psychology, and moral character belonging to him should be reflected in a concrete personality. Both eyes should be drawn at the same time [10].

A portrait is the perpetuation of a correct, schematic, undistorted face of a real person. Therefore, when you paint a portrait of a person, as a master of his work, he is looked at so carefully and for a long time that the other party is involuntarily worried. The artist should be so professional that he can even remove that feeling-excitement and anxiety from him.

"Colors affect the soul. They can make us feel calm or excited." If the portrait is ready for transition to color, then we first apply two colors: natural amber and white paint. Additional colors are not needed yet [9].

Visual images formed according to the spectral composition of light reflected or radiated by objects are defined as color. So, light and shadow are expressed only by shades of color. When painting the face, it should be painted through light and shadow. For example: Depending on the direction of the light, different shades of color can appear in the hair itself. Also, many parts of the hair can be either too light or too dark in tone. In the forehead area, the outer parts of the forehead should be painted in a darker tone than the middle and the part near the eyebrow, according to the direction of the hair. Looking at other small details, the outer parts of the nose should be dark, and the middle and tip parts should be lighter. On the chin, the lower part of the lip should be dark, and the part of the chin protruding forward should be light. Cheeks should be slightly pink. You should continue to paint the portrait with special attention to some details like this [4].

Most of the artists who applied to the portrait genre in fine arts applied to self-portrait images. The personal portrait of the artist is called self- portrait, it is created in painting, sculpture and graphics types of fine art. Many artists have created self-portraits. For example: Rembrandt is very famous as one of the artists who created many portraits of himself. Other artists include Leonardo da Vinci, Albrecht Durer, Raphael Santi and others. As a result, in order to achieve any goal, that is, to transfer the exact image of the person being photographed onto canvas, paper or any other material, it depends on the quality consistency of the work. The more accurately, correctly and patiently the portrait is drawn, the more valuable work is obtained.

References

1. Bahruz Kangarli (2005). Baku. (in Azerbaijani).

2. Bazaz'yants, S.B. (1983). Khudozhnik, prostranstvo, sreda: Monum. iskusstvo i ego rol' v formirovanii dukhovno-material'nogo okruzheniya cheloveka. Khudozhnik i gorod. Moscow. (in Russian).

3. Beda, G.V. (1969). Osnovy izobrazitel'noi gramoty: Risunok. Zhivopis'. Kompozitsiya. Moscow (in Russian).

4. Beda, G.V. (1977). Zhivopis' i ee izobrazitel'nye sredstva. Moscow. (in Russian).

5. Danashev, M.Kh. (2000). Tsvetovoi krug mezhdu naukoi i zhivopis'yu. Vestnik Karachaevo-Cherkeskogo pedagogicheskogo universiteta, (3), 153. (in Russian).

6. El'shevskaya, G.V. (1984). Model' i obraz. Moscow. (in Russian).

7. Kantor, A.M. (1981). Predmet i sreda v zhivopisi. Moscow. (in Russian).

8. Mironova, L.N. (2005). Tsvet v izobrazitel'nom iskusstve. Minsk. (in Russian).

9. Sevast'yanov, D.A. (2007). Tsvet v iskusstve. Novosibirsk. (in Russian).

10. Straub, F. (2011). Teoriya tsveta v zhivopisi. Moscow. (in Russian).

Список литературы

1. Bahruz Kangarli. Baku Chasioglu, 2005.

2. Базазьянц С.Б. Художник, пространство, среда: Монум. искусство и его роль в формировании духовно-материального окружения человека. Художник и город. М.: Сов. художник, 1983. 239 с.

3. Беда Г.В. Основы изобразительной грамоты: Рисунок. Живопись. Композиция. М.: Просвещение, 1969. 239 с.

4. Беда Г.В. Живопись и ее изобразительные средства. М.: Просвещение, 1977. 188 с.

5. Данашев М.Х. Цветовой круг между наукой и живописью // Вестник Карачаево-Черкесского педагогического университета. 2000. №3. С. 153.

6. Ельшевская Г.В. Модель и образ. М., 1984.

7. Кантор А.М. Предмет и среда в живописи. М., 1981.

8. Миронова Л.Н. Цвет в изобразительном искусстве. Минск: Беларусь, 2005.

9. Севастьянов Д.А. Цвет в искусстве. Новосибирск: Институт искусств, 2007.

10. Страуб Ф. Теория цвета в живописи. М., 2011.

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