Издается при поддержке Научного совета РАН по изучению и охране культурного и природного наследия, Проблемной комиссии РАН "Хронобиология и хрономедицина" и Российского философского общества

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Электронное научное издание 
Альманах Пространство и Время
ISSN 2227-9490
Электронное научное издание
Альманах Пространство и Время
[Elektronnoe nauchnoe izdanie Al'manakh Prostranstvo i Vremya]

Electronic Scientific Edition
Almanac Space and Time
[e-Almanac Space and Time]
Часть издательского проекта “Пространство и Время” | The part of the "Space and Time" Рublishing Рroject


ПРЕСС-РЕЛИЗ совместного проектаФилософского факультета МГУ имени М.В. Ломоносова,Московского общества испытателей природы при МГУ имени М.В. Ломоносова,Федерального государственного бюджетного научного учреждения«Институт стратегии развития образования Российской академии образования»и «Электронного научного издания Альманах Пространство и Время»в рамках подготовки и проведенияXIX Всемирного фестиваля молодежи и студентов в РоссииФедерального государственного бюджетного научного учреждения  «Институт стратегии развития образования Российской академии образования», Российского университета дружбы народов, Московского общества испытателей природы при МГУ имени М.В. Ломоносова и «Электронного научного издания Альманах Пространство и Время»  в рамках подготовки и проведения  XIX Всемирного фестиваля молодежи и студентов в России

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Каспийский Диалог 2016

Парижские вокзалы в изображении Клода Моне

Демидов А.С.

Парижские вокзалы в изображении Клода Моне

Демидов Александр Сергеевич, ученик 8 класса школы № 1199 (Москва).

Задача, стоящая перед автором, заключалась в поисках ответов на следующие вопросы: прочему Моне пишет только один вокзал Сен-Лазар? почему он обращается к этой теме? что он пишет на вокзале? почему достаточно одного вокзала? каков смысл этой серии? В статье анализируется серия картин Клода Моне «Вокзал Сен-Лазар» по разным параметрам, таким как структура дыма, взаимодействие дыма с пространством и свет, используемый в данных картинах.

Ключевые слова: импрессионизм, Клод Моне, вокзал Сен-Лазар, структурность дыма, свет, хаос, материальность, нематериальность, статичность, пространство.

Demidov A.S. Paris Train Stations in the Paintings of Claude Monet

Alexander S. Demidov, pupil of 8th class, School No 1199 (Moscow)

When Monet was working on a series of paintings “Railway station Sent-Lazar” there were four railway stations in Paris. But why did Monet choose the Sent-Lazar station? There are some different answers: first of all, it was the favorite station and artists used to go from there to their favorite places; secondly, in his paintings Monet studied movement of non-material things, that we can’t touch, but it influences us not less than material things and even more. Just one railway station was enough to provide him with impressions, because he was interested in non-material things. Monet pictured not only smoke, haze and fog, but their interaction and contact.  Monet painted this series of paintings not to show smoke but to show the world through smoke.

Firstly, Monet painted smoke on his paintings very carefully. The whole smoke was divided in clouds of different sizes and round shapes. Gradually Monet changed round shaped smoke to chaotic and absolutely incomprehensible shapes. He showed that non-material smoke could be both structured and chaotic.

Interaction of smoke and space. In the beginning the smoke converted real environment into unreal. Than more and more the smoke continued to modify everything around. In the latest painting of this year Monet pictured solid smoke and filled up with it nearly the whole painting. The most of it was concentrated up and it pressed on all space down involving the whole space inside. On the next painting Monet achieved the highest result: the smoke was very thin but it filled up the whole painting and it started doing everything what it wanted. Through its movement our view disfigured and it seems to us that everything was real (for example rails).

Light. In his first series of paintings Monet just started to experiment with light. His main object for study was smoke. But on next series of paintings (Haystack) light became this object. Monet was so little interested in light. He was more concentrated on smoke, but then he started to experiment and after all he came (in his works) to evening light (sometimes to morning light). At sunset there turned red and therefore all colors began to change in our world.

Conclusions. 1. Monet thought that he observed the smoke but after all he understood that through the smoke he watched the light change. As the smoke contained drops so he could see different light. And then Monet could refuse to paint the smoke and paint just light. So he came to a series of paintings about light.

2. The railway station was the place where trains moved. But on Monet paintings the smoke just moved. It was moving with high speed and to different directions. Through the smoke he discovered the movement of space (light, air). Monet took the railway station not to reflect on moving trains but to reflect on movement as more many-sided thing and movement of non-material things. On a road he opened this chaotic movement to different directions. For that he needed the railway station but not a boiler-room because there the smoke didn’t spread in air. In the smoke-room there was a little space. At the railway station the smoke was without heavy elements, it was clean and white.  At last Monet began to work with light on a static object, but he opened it on moving and non-material things.

Keywords: impressionism, Claude Monet, Gare Saint-Lazare, structural of smoke, light, chaos, materialness, incorporeity, static, space.

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