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Appreciation of Leben's oil painting "Slender Man on the Volga"

As we all know, the appreciation of art is the process of using perception, memory, experience, knowledge, feeling, experiencing, analyzing, and judging works of art to obtain aesthetic enjoyment and knowledge of art. This semester, I chose "World Art Appreciation" as my elective subject. The reason is very simple: I like art very much since I was a child, and I am very curious about these seemingly mysterious art forms, so I want to get some knowledge and cultivation of art from this course. Through taking this course, I gradually learned a lot about painting. Learning down the harvest is very big, I can gradually feel the Raphael, one of the three masters of Renaissance Italian art world, that works emit a pleasant certainty, that sense of belonging; Italian Renaissance great painter, sculptor and architect, Renaissance sculpture, the highest peak of the representative of the art of Michelangelo Bonarotti in his works, the work of Renaissance sculpture is the most important. The symbolism of Michelangelo Bonarotti in his works; the works of Rubens, which can be regarded as a concrete symbol of the baroque style in Flanders; and, of course, Rembrandt's "Titus", which is now regarded by me as one of the most beautiful oil paintings in the world, and so on, are all the classic Western art. Through continuous art appreciation activities, we can improve people's aesthetic interest and cultivate noble sentiments. Improving my artistic taste and absorbing the excellent techniques of my predecessors through art appreciation is an important method in traditional Chinese art education. And in my opinion from the actual situation as a starting point, due to the changes in economic life, the influence of various trends of thought, the expansion of the space of social activities, students have produced a number of problems that need to be emphasized and solved. "High grades and low skills" is a manifestation of this. The fact that a student has more knowledge and professional culture does not necessarily mean that he has other qualities and training. That is why we have to call for quality education. Quality education is a system, and art education is precisely an effective means and an indispensable aspect of quality education. Art education is not to cultivate professional artists, not simply to train the skills of flute playing, piano playing, painting, calligraphy and dancing, it is to improve the aesthetic realm through such skills, knowledge and cultivation, so as to promote the all-round development of morality, intellectuality, physique, aesthetics, labor and life, and to become a generation of newcomers to the construction of socialist modernization who have lofty ideals and goals in their hearts. Therefore, it is necessary to cultivate one's artistic cultivation appropriately. This is also one of the reasons why I chose this course. At the end of the semester course, I will combine the works of the great Russian realist painter Leben's "Slender Man on the Volga" with a simple art appreciation according to the general appreciation procedure:

Works: "Slender Man on the Volga"

Author: Leben

Lebin (1844--1930) was the greatest Russian artist of the late nineteenth century. greatest Russian artist of the late nineteenth century. This painting depicts a slender man pulling a fiber on the Volga River. It was created in 1873 and took three years to complete. It is now in the Russian Museum of Fine Arts in Petersburg.

1, the work of picture introduction:

"Slender Man on the Volga" is the masterpiece of Levin and his famous work. In the composition of this painting, Leben used the topography of the beach and the bend of the river bay, so that eleven slender men as if a group of statues, was shaped in a yellow, high up on the base, so that the painting has a grand and far-reaching tension, the background of the painting using the color of the dim and misty, empty space peculiar, give a person a sense of despondency, loneliness, helpless, and effectively in-depth into the depths of the slender man's mind, but also a true reflection of the painter's state of mind, which embodies the purpose of the painting. It is also a true reflection of the artist's state of mind, which plays a great role in the embodiment of the purpose of the painting and the accentuation of the emotion. In the picture, the artist has skillfully arranged the scenery of the Volga River, showing the ranks of the slender men in a long and narrow banner. Volga River sunshine, the beach is deserted, near the scene only buried in the sand a few broken baskets for decoration. The landscape is very bleak. A team of dressed in rags of the fiberglass pulling the cargo boat, step so heavy, seems to be able to hear the repressed low "Volga boatman song" echo. Therefore, the composition, line, brushwork and other painting skills are quite successful.

On the bank of the river, scorched by the scorching sun, a group of unkempt and ragged fiberglass men dragged their heavy feet and pulled the cargo boat, struggling forward in the scorching sun with exhaustion. They were both young and old, all dressed in rags and with haggard faces. The leader was an old man with a white beard, his eyes were deep-set and his resolute face showed his weathered wisdom, but his sad expression still showed his helplessness to the hard life.

Walking in the last fiberglass man with his head down and his hands hanging down, numbly moving forward with the team, seems to have been accustomed to such a day-to-day drudgery like life. There is also a more prominent image of the team, is in the middle of the team of a teenager, you can see that he just started this work soon, frowning is not quite used to, he straightened up his waist to use his hands to loosen the shoulder tight rope, after all, young, not willing to put up with such suffering. The rest of the fiberglass workers are bent over and lowered their heads, seems to have no extra strength to show something, in their bodies, the only thing left is poverty, hardship and helplessness. In this painting reflecting the hard life of the slender man, rather than man and nature in the fight, rather than man in the cruel and merciless dark fate and social struggle.

The slimmers in the painting*** are 11 people, roughly divided into three groups. Each image has been carefully scrutinized by Leben, drawing character sketches. They vary in age, experience, character, physical strength and their mental temperament. The artist highly typified these personalities and united them in the theme. Now according to the painter's own account, respectively, to detail the situation of each character here:

The first group of *** four people, the leader's name is Gunning, his expression of meekness, however, tough character, with an inner willpower, this person is about forty or fifty years old. His deep-set eyes accentuated his forehead and revealed his intelligence. Levin had added a rag to his head, as if to mold him into the likeness of an ancient Greek philosopher. Originally a priest, he had been dismissed from the Church, and for a time had been the conductor of the church choir. His body was sturdy, his arms hanging down. The one slender cord on his chest was taut, while his linen shirt was full of patches. This is a typical example of a Russian peasant elder or wise man, who endures physical and mental suffering, and is the tragic protagonist in these images of the slender man. On his right is a stout simple peasant man, he is barefoot, hair disheveled, full of thick beard, seems to be in low to Gunning rambling about something. This figure served to set off Gunning's forward leaning body. Behind him is a slender, thin man, nearly 40 years old, with most of his body blocked. He wears a straw hat and holds a clay pipe, and his head appears smaller and pointier. He stood up straight so that he could loosen the slender cords, as if trying to save his strength. On the left side of this thin man, there is a bowed back bending fiber man, he was a sailor, called Ikar. His hands were clasped together downwards, and he looked stern, with his eyes fixed and directed straight ahead. Obviously, he must have been very stubborn, a hard man in the countryside. Sweat had corroded his shirt to a hundred dry holes, and his sturdy shoulders were showing through the ragged holes.

The middle group is also four strong: a teenager in a pink torn shirt and pants named Larika. It seems that this teenager is new to the group, and his untanned skin and furrowed brow tell the viewer that this kind of labor is too much for him. He is using it to regulate the cords on his shoulders, which are painful to the skin. The artist seems to find in this new oppressed person a hope that he is not willing to be exploited, but to resist. It is striking that there is a cross hanging around the neck of this young man, which is a token given by the parents to their children, praying that God will bless him with a safe journey. For the painting of this teenage fiberglass man, Levin had from his familiar image of a child selected as a model. The phenomenon of the young man pulling the fiber, as cruel as the capitalists use child labor to extract labor, this is the evil of serfdom in Tsarist Russia, but also the main target of the painter to attack. Immediately behind Larika, is a weather-beaten bald old man, his skin to help black, gloomy face, while leaning on the fiber rope, while opening his own tobacco pouch, want to take a break to smoke to relieve their own misery. He and the front of the teenager, in color constitute a strong contrast. Two generations, different destinies, but tied to a rope. To the right of the teenager is a frail and sickly slender man, who has a hard gait and is weak all over, and is sweating with his cuffs brown. With his hair exposed on the outside of his brimless hat, his cheekbones shrugged, and his tear sacs oedematous, his journey ahead spells greater doom, and it seems to us that we can hear his sharp gasps for breath. Between Larika and the old man, the top of another slender man's head was revealed, a man with a blackened face, outward-facing nostrils and thick lips, a Tartar by the look of him.

The last group of three, walking in front, was an ex-soldier, with a white shirt with a kangaroo over it and a hat pressed down low; behind him was a dark-skinned man who Stasov, the critic of the traveling exhibition school of painting, said was a wandering Greek. The last man is seen only by the top of his bowed head, and the man seems to be walking with even more difficulty as he moves up a small slope. The entire painting is painted in shades of pale green, pale purple and dark brown to depict the blankness of the upper half of the painting, making this Volga stream seem even more tragic. This is to enhance the tragedy of the characters and to emphasize the dry and hot weather (Levin made some changes in the figures of Gunning and Ikar, especially in Ikar's head wrapped in white cloth).

2. How does the work make the reader feel?

When I first faced the Russian painter Levin's "Slender Man on the Volga", the first perception of the blue sky, the vast Volga River, a dozen of different postures of the slender man and their difficult to pull the ship. However, the power of the laborers produced in the picture is carefully experienced, but visually it seems to be subjected to a violent impact, resulting in an indescribable moment of intuitive aesthetic pleasure. Generally speaking, feelings are complex and subtle, and the best way to receive a feeling is to experience it, while language is often difficult to convey a certain feeling. Therefore, even if people have a certain feeling, it is often difficult for them to express it in appropriate language, which is the case for intellectually mature and linguistically rich adults. However, no matter how subtle the feeling, there is always a big tendency, then, specifically related to the "Slender Man on the Volga", it should give people the feeling of depression, pathos and deep.

This famous oil painting of the painter Leben is his conception, drawing and modification after more than ten years to complete. This oil painting is very representative in reflecting Leben's thoughts and feelings. Through careful observation of the picture, I can see that the painter's thoughts and feelings permeate every brush stroke, every character, but also in the picture of the color and the layout of the scenery. Therefore, as long as we observe carefully and appreciate the painting as a whole, we will realize the ideological feelings that the artist is trying to express, that is, dissatisfaction with the reactionary rule of Tsarist Russia and deep sympathy for the working people. The painting is a group portrait of characters, from the different clothes, appearance, movements and gestures of the characters in the painting, we can y understand the inner feelings of the characters. This oil painting was made by Leben when he traveled to the Volga River, carefully observed the life of the laborers, and completed it only after repeated thoughts and modifications. The author describes the oil painting, his observation is from front to back sequentially, the description of the character's clothing, appearance, demeanor characteristics, and to develop an appropriate imagination, the character's appearance and their identity, status, personality combined, so that each character has a distinctive personality. 11 Slender Man, the author focuses on the description of four, from the age of the old, middle-aged, young and teenagers, from the occupation, the bankruptcy, the life of a young man, and the life of a young man. The author focuses on 4 of them, in terms of age, old age, middle age, youth and teenager, and in terms of occupation, there are bankrupt peasants, laborers engaged in pulling fibers, and discharged soldiers, who represent all aspects of the society, and all of them bear the domination and oppression of the reactionary rulers of the Czarist Russia era