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Composing and Setting up a Still Life

Abstract

At the heart of the article lies the exploration of proper component selection and object arrangement of a still life composition. The theme is of particularly high relevance to modern art education as its every level has been marked by lack of clear understanding on the part of teaching artists, as well as art school students, of the approach, in accordance with which one construes still life composition as a oherent item ensemble. A well-organized still life is contingent upon students being given engaging and complex tasks to fulfil, involving the application of chiaroscuro, portrayal of space, texture, distinct color schemes, etc., yet, above all, the design of an artistic image. Consequently, not only creative, but also educational still lifes should be set up in such a way that makes them fascinating to perform; their execution should enhance art sense and teach students to see the beauty of the world. Still life compositions that develop students’ ability to master landscape painting over the course of en plein air practice are of great significance and utility. The article is illustrated with photographs showcasing step-by-step arrangement of several still lifes (ranging from simple to complex) and accompanied with comments on the stages of work and the rationale for choosing one or another element of the composition. Likewise, the paper presents an overview of principles underlying color and tone choices and constellations, as well as contrasts, rhythms, silhouettes, dynamics, ensembles of textures, etc. Separate sections of the article are dedicated to essential ideas behind the formation of a still life fund (collection) and usage of still life shadow boxes allowing to provide imaginative spatial, chiaroscuro composition solutions. Similarly, it delves into the details of optimal lighting and reflection placement in a still life, which are directly dependent upon the location of windows and wall color in a training workshop. Finally, the article substantiates the necessity of сomposing a still life painting while working on its execution with a view to creating a full-fledged artistic image.

About the Author

Sergey Nikolayevich Andriaka
Sergey Andriaka Academy of Waterсolor and Fine Arts
Russian Federation


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Review

For citations:


Andriaka S.N. Composing and Setting up a Still Life. Secreta Artis. 2019;(4):2-27. (In Russ.)

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ISSN 2618-7140 (Print)