Science fiction has been firmly established in our lives for quite a long time. Why have literary works written in the genre of science fiction and science fiction films found such things among us? huge number admirers? Of course, because a person cannot help but dream, not think about what lies there, beyond our reality. Fiction reflects a world that is created on the basis of real ideas about life and ideas.
Science fiction is widespread not only in fiction, theater, cinema, but also in the visual arts. Fantastic images created in artists’ paintings often violate the natural proportions and shapes of the depicted objects. However, this is not just a play of the author’s imagination, but a specific position of the artist, expressing his worldview by depicting grotesque or ideal images, symbols, and unimaginable plot structures.
Painting by K. Yuon " New planet"Written in the fantasy genre. The artist depicted the new planet as amazing, frightening and fascinating at the same time. We see the earth opening up, people dying, and the sky illuminated by orange-yellow circles of flashes. The new planet clearly brings death to people: they stretched out their hands to the sky, begging not to destroy them. It is no coincidence that people are naked - this symbolizes their defenselessness before the uncontrollable forces of nature of the new earth.
Many of the people have already died, others we see falling into the gaping abyss. Others try to hide from the blow and run. But it is clear that the artist depicted the last moments of people’s lives.
The firmament, in which other planets glow with huge flaming balls, seems to be pierced by burning rays: this, most likely, exploded near another planet cosmic body, which became the cause of the tragedy for all living things.
The color palette of the canvas is rich in bright colors: the artist used various shades of red, blue and black. This enhances the impression of the picture, which seems to say: the only place for human life is planet Earth, and the new and unknown outside the boundaries of our planet will bring destruction to humanity.
Searched on this page:
- essay on Yuon's painting new planet, grade 8
- description of the painting new planet
- description of the painting Yuona new planet
- essay on the painting yuon new planet
- yuon new planet essay
The outstanding Russian artist Konstantin Fedorovich Yuon (1875-1958) is considered a prominent representative of symbolism and modernism. Fate was favorable to Konstantin Fedorovich. He was born into the family of a bank employee and received an excellent education. In 1892, K. Yuon entered the School of Painting, Sculpture and Architecture, where he had the opportunity to study with such outstanding painters as K. A. Korovin, K. A. Savitsky,
A. E. Arkhipov. After graduation, K. Yuon was engaged in creative work under the guidance of V. A. Serov.
K. Yuon was a member of the “Union of Russian Artists”, “World of Art”, AHRR (Association of Artists revolutionary Russia). The artist created the most different paintings— among them were images of rural and urban landscapes, as well as symbolist paintings.
K. Yuon at the beginning of the 20th century. created a cycle of symbolist drawings “The Creation of the World”. In these drawings he showed how the stars and nature appear from cosmic chaos. In continuation of this theme, the painting “New Planet” was created in 1921. This painting is dedicated to the revolution. The artist showed the revolution, which was the greatest social cataclysm, like a cosmic cataclysm, majestic and terrible in its inevitability.
The composition of the picture is quite complex. We see fiery flashes, the emergence of new planets. The painting is dominated by black, red and yellow tones. All this causes alarming associations. Frightened people look small and pitiful against the backdrop of menacing cosmic cataclysms.
In essence, the allegory is clear. In fact, revolution as a social cataclysm is no less terrible and dangerous than a cosmic cataclysm can be. The revolution is ruthless towards people. “The revolution devours its children,” said Pierre Vergniaud.
In the painting “New Planet” neither cities nor houses are visible. There are only scary ones cosmic rays, flashes and people. Space Force as if aimed at the defenseless, so small and weak people. And people can only run away and hide. Although any attempts to escape are useless. Some, stretching their hands upward, try to pray. But who and what is left for these unfortunate people to pray to? In terms of its destructiveness, a cosmic cataclysm can be compared with the end of the world, which, one way or another, is predicted by various religions. However, in essence the revolution was the end of the world. The usual course of life, norms of existence and morality were forgotten. Everything suddenly changed. And it became completely different, scary, unfamiliar, frightening. Revolution is a formidable and terrible force that makes people as helpless as before a cosmic cataclysm.
What was K. Yuon’s attitude towards the revolution? Judging by his painting “New Planet,” he could not help but recognize the full destructive power of the social cataclysm. Global changes V public life could not pass unnoticed. Being a man of his time, the artist recognized all the negative factors inherent in social change. But at the same time, he apparently had great hopes for the birth of a “new planet.” The painter believed that some time would pass and the storms and cataclysms would subside. And life will enter a new groove, everything will be much better than before. Yes, tragedies are inevitable. But it cannot be otherwise. Anything new necessarily requires the destruction of the old. The “new planet” will appear only after a whole series of destructive cataclysms. K. Yuon wanted to show all this with his canvas. It's hard for us to argue with this. However, we have modern people, has its own attitude towards the revolution. We are no longer as sensitive to the symbols of the era as people were at the beginning of the 20th century. We, knowing about destructive force revolution, we already allow ourselves to criticize it itself as a most dangerous social cataclysm. We also criticize the opinions of people who consider the revolution to be the greatest good. Material from the site
The painting itself by K. Yuon evokes disturbing associations in me. In my opinion, the plot of the painting could have been inspired by a difficult, nightmare dream, if there had not been a historical symbolist background to its creation. It is no coincidence that the artist chose such tones to recreate a frightening atmosphere. Without a doubt most The people depicted in the picture will perish. And this cannot but frighten and upset. Personally, this picture reminded me of another one, which depicts a terrible natural disaster, — “The Last Day of Pompeii.” In that picture, people are also dying, defenseless against terrible eruption volcano Vesuvius. No one can be saved, nothing can protect people from a natural disaster. “Revolution is a barbaric way of progress,” said Jean Jaurès (1859–1914), leader of the French Socialist Party, who opposed wars and militarism. In my opinion, such barbarity as the death of innocent people cannot be justified. If we're talking about about a natural disaster, it is clear that no one is to blame. Not everyone natural disaster people can stop. But revolution as a social cataclysm is driven by people. And it is truly scary that people can become the cause of such a destructive phenomenon. It seems to me that K. Yuon’s painting can be perceived as a stern warning. The artist was an eyewitness to the October Socialist Revolution. He knew what she was like. And therefore, the painter, using the style of the symbolists, left descendants a warning about what could happen in the event of a social cataclysm - a revolution. It awakens terrible forces to life, people lose their minds. And there is no escape from this madness. Let the supporters of the revolution hide behind beautiful words. No words can justify what happens. Bernard Shaw once said: “Revolutions have never lightened the burden of tyranny, but only shifted it onto other shoulders.” And this is actually true. Tyranny did not disappear after social cataclysms. The balance of forces simply changed, new executioners and victims appeared. K. Yuon’s painting “New Planet” makes us think about all this, in particular about the drama and tragedy of the revolution.
Didn't find what you were looking for? Use the search
Description of Yuon’s painting “New Planet”
"New Planet" is unusual picture, written in a manner unusual for Yuon.
This painting was painted in 1921 and is associated with the October Revolution.
It was she who turned the familiar world of people upside down and led to the formation of a new state.
Impressed by this event, Yuon decided to paint a picture of the birth of a new planet, associating it with a new world.
It was not without reason that the artist used shades of red and yellow as the primary colors.
These colors represent revolution.
On the one hand this warm colors, which attract, and on the other hand, the red color is aggressive and frightening.
A new planet is born suddenly and illuminates everyone with its bright light.
Yellow warm rays come from her, like from the sun.
People watching a unique phenomenon, behave differently.
Some rejoice at this event and put their hands towards the warmth.
Those who couldn’t make it try to crawl, see everything with their own eyes and rejoice with the others.
They understand that something amazing is emerging, and this event will lead to a new happy life.
There are people who are not at all happy about this phenomenon, but on the contrary, it scares them.
They fell to the ground and covered their heads with their hands, trying to escape from something terrible that foreshadowed the end of the world.
For them, the appearance of a new planet is a punishment for their deeds; they are afraid of merciless punishment.
One thing is certain: the appearance of the planet did not leave anyone indifferent.
Each person has his own attitude to this event, as well as to the October Revolution.
Through such an unusual comparison, the artist conveyed his main idea regarding the revolution.
It was she who changed people’s lives and thanks to her a new state emerged.
Bright colors represent new life and change.
The October Revolution left an indelible mark on people's lives.
Konstantin Fedorovich Yuon is a Russian artist who received great fame and recognition during his lifetime. Born in Russian Empire, he managed to adapt to life in the Soviet Union and continued to draw and worked successfully for several years in the workshop of V.A. Serova.
He was a continuer of the traditions of symbolism and modernity, successfully implementing them in Soviet era, for which he was awarded many awards.
His painting “New Planet” was painted in 1921 and has deep philosophical overtones. She amazes her viewer with her unusualness. The canvas depicts not just the appearance of a new planet in the universe, but, with the help of allegory, the artist depicts one of major events countries at that time, namely the Great October Revolution. Therefore, this picture immediately became one of the most significant and discussed works of Yuon, as it personified the various moods of society
The artist does not skimp on his work bright colors and shades. Great value given to yellow, orange and red colors, which symbolize the beginning of a new life and a new stage. These colors attract the viewer's attention, forcing him to take a closer look at the canvas and try to understand it. hidden meaning. We see that the picture depicts the birth of a new planet, its energy is powerful and strong, which is why bright yellow rays appear around it, as if after a few moments the entire space around it will be illuminated with light.
The people depicted at the bottom of the painting, depicted in dark colors, react to the birth of a new planet in different ways. If one part reaches out to her, tries to reach her and find herself in the light of the rays, then the other part, on the contrary, tries to hide from her. For some, the red planet is a symbol of a new beginning, a new life and that everything will change. But others see in it destruction, death and apocalypse. In this one can see the confrontation that existed in society at the beginning of the twentieth century, when everyone was divided into two camps, just like in this picture.
Yuon shows us one of turning points in the history of Russia in his painting. The revolution that took place in the country affected the author’s work and inspired him to create a new canvas, in which he showed people’s reaction to the new way of life. Despite the different reactions, this event did not leave anyone indifferent, as can be seen in this picture.
Currently reading:
- Oblomov and the extra man based on Goncharov's novel essay
We can probably start with the fact that the novel “Oblomov” was created back in the 19th century, and it is also worth noting that this novel touches on some social and psychological problems. In this novel, the main task was to show how a person
- Natasha Rostova and Marya Bolkonskaya, Tolstoy's favorite heroines, essay
Each author has his own favorite characters to whom the writer gives special preference in the novel. Likewise, L.N. Tolstoy has his favorite images, which he introduced into his wonderful and fascinating novel “War and Peace.” Natasha Rostova is the most
- Russia - My Motherland essay (3, 4, 5, 8 grades)
Every person at least once in his life thought about what the Motherland is. There is no place in the world more dear than where he was born, where he spent his childhood. Some were born in France, some in Spain, and I was born in Russia
- The image of Margarita in the novel The Master and Margarita essay
“The Master and Margarita” is a novel that evokes joyful excitement for the characters, admiration for the events taking place in it, and simply a smile on the face after reading it. The novel contains very mysterious and mystical characters,
Victory is a very pleasant state. Everyone can win, no one likes to lose. But not many people think that defeat can become victory. After all, a series of defeats can lead a person to victory.
A book, unlike printing, has much more long story. Thus, we can contemplate the primitive book in the form of rock paintings. Next - cuneiform, papyrus scrolls, parchment.
Konstantin Fedorovich Yuon (1875-1958) is considered a prominent representative of symbolism and modernism. Fate was favorable to Konstantin Fedorovich. He was born into the family of a bank employee and received an excellent education. In 1892, K. Yuon entered the School of Painting, Sculpture and Architecture, where he had the opportunity to study with such outstanding painters as K. A. Korovin, K. A. Savitsky,
A. E. Arkhipov. After graduation, K. Yuon was engaged in creative work under the guidance of V. A. Serov.
K. Yuon was a member of the "Union of Russian Artists", "World of Art", AHRR (Association of Artists of Revolutionary Russia). The artist created a wide variety of paintings - among them were images of rural and urban landscapes, as well as symbolist paintings.
K. Yuon at the beginning of the 20th century. created a cycle of symbolist drawings “The Creation of the World”. In these drawings he showed how luminaries and nature emerge from cosmic chaos. In continuation of this theme, the painting “New Planet” was created in 1921. This painting is dedicated to the revolution. The artist showed the revolution, which was the greatest social cataclysm, as a cosmic cataclysm, majestic and terrible in its inevitability.
The composition of the picture is quite complex. We see fiery flashes, the emergence of new planets. The painting is dominated by black, red and yellow tones. All this causes alarming associations. Frightened people look small and pitiful against the backdrop of menacing cosmic cataclysms.
In essence, the allegory is clear. In fact, revolution as a social cataclysm is no less terrible and dangerous than a cosmic cataclysm can be. The revolution is ruthless towards people. “The revolution devours its children,” said Pierre Vergniaud.
In the painting "New Planet" neither cities nor houses are visible. There are only scary cosmic rays, flares and people. Cosmic forces seem to be directed at defenseless, small and weak people. And people can only run away and hide. Although any attempts to escape are useless. Some, stretching their hands upward, try to pray. But who and what is left for these unfortunate people to pray to? In terms of its destructiveness, a cosmic cataclysm can be compared with the end of the world, which, one way or another, is predicted by various religions. However, in essence the revolution was the end of the world. The usual course of life, norms of existence and morality were forgotten. Everything suddenly changed. And it became completely different, scary, unfamiliar, frightening. Revolution is a formidable and terrible force that makes people as helpless as before a cosmic cataclysm.
What was K. Yuon’s attitude towards the revolution? Judging by his painting “New Planet,” he could not help but recognize the destructive power of social cataclysm. Global changes in public life could not pass unnoticed. Being a man of his time, the artist recognized all the negative factors inherent in social change. But at the same time, he apparently placed high hopes for the birth of a “new planet”. The painter believed that some time would pass and the storms and cataclysms would subside. And life will enter a new groove, everything will be much better than before. Yes, tragedies are inevitable. But it cannot be otherwise. Anything new necessarily requires the destruction of the old. "New Planet" will appear only after a whole series destructive disasters. K. Yuon wanted to show all this with his canvas. It's hard for us to argue with this. However, we modern people have our own attitude towards revolution. We are no longer as sensitive to the symbols of the era as people were at the beginning of the 20th century. We, knowing about the destructive power of the revolution, already allow ourselves to criticize it itself as a most dangerous social cataclysm. We also criticize the opinions of people who consider the revolution to be the greatest good.
The painting itself by K. Yuon evokes disturbing associations in me. In my opinion, the plot of the painting could have been inspired by a difficult, nightmare dream, if there had not been a historical symbolist background to its creation. It is no coincidence that the artist chose such tones to recreate a frightening atmosphere. Without a doubt, most of the people depicted in the picture will die. And this cannot but frighten and upset. Personally, this picture reminded me of another one, which depicts a terrible natural disaster - “The Last Day of Pompeii.” In that picture, people are also dying, defenseless before the terrible eruption of Mount Vesuvius. No one can be saved, nothing can protect people from a natural disaster. “Revolution is a barbaric way of progress,” said Jean Jaurès (1859-1914), leader of the French Socialist Party, who opposed war and militarism. In my opinion, such barbarity as the death of innocent people cannot be justified. If we are talking about a natural disaster, it is clear that no one is to blame. Not every natural disaster can be stopped by people. But revolution as a social cataclysm is driven by people. And it is truly scary that people can cause such a destructive phenomenon. It seems to me that K. Yuon’s painting can be perceived as a stern warning. The artist was an eyewitness to the Oktyabrskaya socialist revolution. He knew what she was like. And therefore, the painter, using the style of the symbolists, left descendants a warning about what could happen in the event of a social cataclysm - a revolution. It awakens terrible forces to life, people lose their minds. And there is no escape from this madness. Let supporters of the revolution hide behind beautiful words. No words can justify what happens. Bernard Shaw once said: "Revolutions have never lightened the burden of tyranny, but only shifted it onto other shoulders." And this is actually true. Tyranny did not disappear after social cataclysms. The balance of forces simply changed, new executioners and victims appeared. K. Yuon’s painting “New Planet” makes us think about all this, in particular about the drama and tragedy of the revolution.
How to download a free essay? . And a link to this essay; Description based on the painting “New Planet” by K. Yuon already in your bookmarks.Additional essays on this topic
The winter landscape is the true kingdom of the artist K. F. Yuon. Here he was and remains an unsurpassed master. He was interested not only in the whiteness of snow, but also in the so-called transition state When the days get longer, the sun shines and nature transforms under its rays. The artist depicted a simple, but infinitely close plot to everyone since childhood in the painting “The End of Winter. Afternoon,” which was painted in 1929. A peasant's house, a woodpile of firewood, skiing boys, chickens walking around the yard - this
Spring - and the hum, and the shine, and the aroma... Why does frost sprinkle snowflakes? The outfit of spring is unexpectedly crushed by the cold, And the garden is still fragrant in spring. I. V. Severyanin. Konstantin Fedorovich Yuon is a brilliant Russian artist, a wonderful master of landscape. In his work, features of symbolism and modernism can be traced, but clear landscapes from nature, distinguished by realistic images, are more characteristic. His work is characterized by subjects associated with the typical features of the national landscape and antiquities. The artist loved the decorativeness and colorfulness of Russian antiquity, the beauty in
In front of me is a painting by the wonderful Russian artist K. F. Yuon “End of Winter. Noon”. I love this beautiful picture. It is clear that the artist loves nature very much, knows how to see and convey its beauty. In the center of the picture is a sad birch tree with thin bare branches at the very top. It casts a blue shadow on the snow. To the right are thick, pointed spruce trees. A wooden hut is visible on the left. It is very simple, without any decorations, snow is sliding off its roof. Near the hut,
Konstantin Yuon’s painting “Spring Sunny Day” lifts your spirits at first sight. There are so many bright colorful colors, so much light and sun, so much joyful emotions. This is a complex composition - a city landscape and a genre painting with in large groups people. The author, from some small elevation, perhaps from a steep hillock, looks at a provincial town, flooded sun rays. The main cluster of houses is located in the lowlands. But already in the foreground on the right we see part of a good wooden house
I once wrote about this..... The picture shows later spring morning, edge of the forest. The grass is very tall and there are many flowers. This is somewhere around the end of June - the beginning of me. It can be seen that the people depicted in the picture rose early, perhaps before dawn, when there was still dew. By now they have already entered into a working rhythm and are moving synchronously. We can feel that they even think alike - they are so caught up in the labor impulse. It's like
There is so much liveliness, naturalness, and childlike ease in V. A. Serov’s painting “Girl with Peaches”! It is not for nothing that this painting, after it was painted, created a lot of noise in Moscow and amazed the artist’s contemporaries with its amazing expressiveness, lightness, and sense of joy in life. The painting depicts Vera, the daughter of the Russian industrialist and philanthropist S.I. Mamontov, good friend many creative people Moscow at that time. It seems that this lively and restless girl only sat down at the table for a second, took
In Tsyplakov’s painting, the road does not look well-trodden. We guess it by the bluish shadows cast by the small slopes on the sides of the path. We see village houses on the left; to the right and in the background of the picture are vast expanses of snow-covered fields. The forest or, perhaps, small hills appear slightly darker on the horizon. The houses, darkened by time, are probably the same as those that were in Russian villages during the time of Pushkin. However, if you look closely, you can see in the picture
