The image of a mother woman through the ages of birth. Presentation - the sacred face of the Mother of God Presentation - The sacred face of the Mother of God

Before anyone else, he discovered the beauty of the faces of rural women and created the poetic ideal of the beauty of a Russian mother, the famous Russian artist A.G. Venetsianov. He was close and understandable to humanity, morality and the calm beauty of a person, especially a Russian working woman. And he creates canvases depicting images of peasant women who

Get used to work from an early age
Weaving and spinning, knitting and sewing,
They sowed, reaped and kneaded the dough...

The painting “In the harvest. Summer "contained the bottomless sky, and the expanse of the Russian land, and deep human feelings. This canvas is written on an age-old theme that has gone through the entire history of art. Hundreds of artists of different centuries, countries, artistic trends have addressed to her for centuries. This scene - a mother breastfeeding a child - has always expressed the life-giving power of motherhood. The young mother left her sickle for a minute to feed the baby brought by the older children. Well, how can one not recall Nekrasov's poem.

Village suffering is in full swing...
Share you! - Russian woman's share!
Hardly harder to find.
No wonder you wither before the time
All-enduring Russian tribe
Long-suffering mother!

A young, slender beautiful peasant woman in a long sundress, a white shirt and a Russian national headdress steps lightly and smoothly across a plowed field, leading two horses harnessed to a harrow. Venetsianov draws "a type of Russian Slav", later sung by Nekrasov.

There are women in Russian villages
With calm gravity of faces,
With beautiful strength in movements,
With a gait, with the eyes of queens ...

The theme of femininity and motherhood occupies a significant place in the work of one of the major and original artists of the early 20th century, K. Petrov-Vodkin. The painting "Mother" is a complete, perfectly arranged work, in which the artist has achieved a complete, fresh and poetic disclosure of the theme. The painting is distinguished by a special clarity and transparency of colors, among which flaming red and various shades of ultramarine blue dominate. This is a hymn to family happiness, joy and holiness of maternal love. In this pictorial canvas, Petrov-Vodkin pursues one of the main goals - to reveal the essence and beauty of life in all its manifestations by means of painting. This is an exalted image of a mother, enduring in her spiritual purity and moral strength. A young mother, clutching a sleeping baby, with her general appearance, resembles the Madonna in silhouette.

The theme of motherhood was sung by the artist B.M. Kustodiev in his lyrical paintings "Morning", "Lilac", "On the Terrace". The paintings are permeated with light and air and are perceived as a hymn to motherhood and simple human joys. He drew material for his works from childhood memories and lovingly recreated the characteristic maternal images.

Female portraits of the artist O. Kiprensky occupy a worthy place in his work, reflecting his understanding of the ideal of maternal beauty. The painting “Mother with a Child” shows an attractively kind, sympathetic face of the mother and the look of her warm eyes.

The most powerful embodiment in the development of art of the outstanding Soviet artist Alexander Deineka was the painting "Mother". A calm, self-confident young woman with a proud bearing - this is the image of the mother. The great tenderness, the all-consuming love of a woman for her baby gave the artist the opportunity to create a generalized image of a noble and beautiful maternal soul. The child, who has fallen asleep in her arms, gently tilts his heavy head to his mother's shoulder. The whole appearance of a woman is filled with happiness and faith in the future. The canvas, made in restrained, warm colors, resembles wall fresco painting. Already only this "Madonna of the twentieth century" could give Deineka the right to one of the first places in Soviet art.

In the image created by A. Deineka, kindness and firmness of character, lyricism and courage inextricably merged. The artist managed to embody not only the enduring charm of motherhood, but also the spiritual beauty of the Soviet woman, conscious of her human dignity.

In his works, he creates a full-blooded image of a woman-mother, worker, creator and coaster Yuri Petrovich Kugay - a representative of a dynastic family of talented artists. The painting “On Saturday” (1964) is especially famous. In many Russian families, Saturday is traditionally considered the day of cleaning the house, washing and bathing. Scraped floors and benches, freshly laundered rugs and a curtain on the stove shine with cleanliness in the picture. And the women themselves had just returned from the bath. A young mother, who is the compositional and ideological center, combs her hair. Her younger sister is carrying a samovar. A little girl drinks milk from a mug, and an elderly woman braids her granddaughter's pigtail. In another work by Yu. Kugach “In the Family”, the composition is composed, as it were, in the form of a triangle, the vertices of which are three women of different ages: a young, young and the highest point of the composition is a wise, dignified elderly woman. In the center of the picture, a little girl takes her first steps, afraid to lose her balance, stretches out her arms to her mother (the second name of the painting is “First Steps”). She is ready to pick up the child at any moment. The work shows four generations, visibly embodying four important stages in a woman's life: childhood, youth, maturity and old age. The connecting link is precisely the family, which allows you to enjoy every manifestation of life, the first steps of a little man, and which will lead this baby through life, teach him kindness, a culture of behavior, understanding and hard work. The female images of the paintings of this author include the eternal ideas of mankind about the vitality of the maternal principle, the source of all things, a symbol of life, warmth and love.

1. To develop aesthetic, emotional responsiveness to works of fine art, to understand their artistic image.

2. Use expressive means in your work (lighting effects, composition, coloring).

3. Cultivate a caring, kind attitude towards people.

Equipment

1. visual range: Icon "Vladimir Mother of God"

Madonna Lipta by Leonardo da Vinci

A. G. Venetsianov “On arable land. Spring". “In the harvest. Summer".

"Sistine Madonna" Raphael.

K.S. Petrov-Vodkin “Petrograd Madonna”

A. A. Deineka "Mother"

Toidze "Motherland Calls".

B. Yemensky "Silence".

2. musical series: songs about women, mother.

During the classes

I organizational moment.

Checking the preparation for the lesson.

Organization of student attention.

II. Setting goals and objectives of the lesson.

1. The message of the topic of the lesson.

2. Setting goals and objectives of the lesson.

Acquaintance with the work of painters who depicted, sang in their works the image of a woman. Perform the composition "Mother and Child".

III. Work on the topic of the lesson.

Here are reproductions of paintings by very famous artists who captured the image of a woman on their canvases.

The secrets of female beauty have disturbed mankind throughout the history of its existence. There is hardly an artist who would not try to comprehend this secret, but each one discovered it in his own way.

The main and unchanged in this comprehension was the ideal of motherhood, the sacred bond between mother and child. From the madonnas of the titans of the Renaissance, the icon-painting faces of the Virgin to the works of contemporary artists - this is the way to comprehend the ideal of female beauty and charm.

Icon “Our Lady of Vladimir”

Guys, pay attention to the image of the icon “Our Lady of Vladimir”.

The medieval art of European countries cannot be imagined without the widely depicted image of the Mother of God. In Western Europe, he was associated with the cult of the Madonna, and in Russia - with the Mother of God, who was perceived as the protector and patron of her native land, the intercessor of people before God.

One of the best images of Byzantine painting was this icon painted in Constantinople in the 12th century. Then it was brought to Russia.

The eyes of the Mother of God are full of a feeling, which in the Middle Ages was defined as "the joy of holy sadness." These words accurately convey the main meaning. What is destined from above will be done.

The baby gently presses his face against the mother's cheek and wraps his arm around her neck.

Children's eyes are fixed on the Mother, as if they are looking for protection from her. Anxiety and sadness lurked on her stern face. With all the maternal tenderness in her appearance, one feels the consciousness of inevitable sacrifice.

The artist Grabar called this icon "an incomparable, wonderful, eternal song of motherhood."

In ancient Russian art, the image of the Mother of God was associated with the cult of Mother Earth, both of which had common principles of holiness and motherhood:

"The first mother is the Blessed Virgin Mary, the second mother is the damp earth" - says folk wisdom.

The stingy colorful range, which is dominated by soft, dark tones, still creates a feeling of calm, quiet and bright joy.

Years go by, centuries run, but the theme of “Woman-Mother” does not disappear in painting.

The art of the Renaissance (XV century) will bring a different understanding of female beauty than that of previous artists. Leonardo da Vinci, Michelangelo, Raphael - strive to create a generalized image of a perfect person, beautiful both physically and spiritually. The embodiment of such an ideal is the Madonna, the Virgin Mary with the baby Jesus Christ - an exalted symbol of motherhood and sacrificial love for people.

One of the best works on this subject will be “Madonna Lita”. Leonardo da Vinci.

On the desk "Madonna Litta" by Leonardo da Vinci.

Student performance

The painting depicts a young Mary, carefully holding a baby in her arms. Her bowed profile is full of exceptional beauty and nobility. Lowered eyes, a barely noticeable smile give the Madonna's appearance extraordinary expressiveness and warmth, illuminate her with a bright maternal feeling. In this wonderful picture, the artist managed to convey his idea of happiness, pure earthly joy of being and the holiness of the best human feelings.

student performance

One of the greatest creations of world art was Raphael's painting "The Sistine Madonna", which ingeniously embodies the idea of motherhood. An earthly, realistic image of a mother woman. She has just taken a barely noticeable step towards people. Her movement is calm and majestic. It seems that she does not walk, but soars in the clouds. She slightly attracts the baby, as if afraid to part with him, and at the same time stretches him to people. In this contradictory gesture of the mother, one feels the deep tragedy of what is happening. The eyes of the Madonna look trustingly and openly. The exceptional charm of this picture Raphael is a natural combination of simplicity, tender femininity and regal grandeur.In her, the human rises to the divine, and the divine becomes earthly.

Student performance

Guys, we got acquainted with the work of Renaissance artists, but after all, Russian artists in their work did not bypass the image of a woman - a mother. A recognized portrait painter, academician of painting A.G. Venetsianov, painted ordinary Russian women - peasant women, busy with hard work.

On the board “On arable land. Spring"

"On arable land. Spring" - this picture depicts a peasant woman in a long pink sundress and a scarlet kokoshnik. She leads the horses harnessed to the harrow. And a playing child sits to the side, at whom the young mother looks with love and tenderness. Behind the woman is the boundless Russian distance.

And here is another painting by Venetsianov "In the Harvest. In Summer" The sun beats mercilessly, sheaves stand in rows, the hills turn green. In the center of the picture is a female reaper with a child in her arms, she affectionately hugs him, forgetting about fatigue. You look at this picture and remember the lines of the poem by N.A. Nekrasov:

Village suffering is in full swing,
Share you! - Russian woman's share!
Hardly harder to find...
The heat is unbearable: the plain is treeless.
Fields, mowing and expanse of heaven.
The sun is beating down mercilessly...

On the desk "Petrograd Madonna"

Here comes the 20th century.

In the art of the 20th century, the eternal theme of motherhood sounded in a completely new way, glorifying the deepest and most sincere human feelings.

She found the most striking artistic embodiment in the work of the artist K.S. Petrov-Vodkin (1878-1939). After the October Revolution, Petrov-Vodkin strives to realize the new relationship between man and the world. He embodied his understanding of the ongoing historical events in the famous “Petrograd Madonna”.

A young woman with a child in her arms is depicted against the background of revolutionary Petrograd, where a new era of human history began. Passers-by hurry somewhere, someone stops at the walls of buildings. But all this is just a temporary background for the main image of a woman-mother.

It is no coincidence that she turned her back on the city. Her main concern is the care of the child, of his present and future.

On the desk"Motherland calls"

“Mother” This theme is interestingly embodied in the painting “Mother” by artist A.A. Deineka (1899-1969).

Her composition is surprisingly simple: Against a smooth background, a close-up of a woman with a sleeping child in her arms is depicted. In the guise of a mother, the majestic posture of Venetian peasant women is conveyed, tender quivering feelings for the baby clinging to her shoulder.

Contrasting the fragile body of the boy, washed out by sleep, with the strong and strong figure of the mother, the artist seeks to emphasize the inseparable spiritual connection between them, the readiness of the mother to protect the child.

This theme will sound in a new way in the works created during the Great Patriotic War.

Everyone knows Toidze's poster "The Motherland Calls". In the harsh years of military trials, a maternal call was made to defend the Motherland. It is impossible to get away from the direct open look of a woman-mother.

The gesture of the raised hand reminds many of the well-known image of Our Lady Organa, praying for the salvation of mankind.

Conclusion: At all times, the beauty of a woman was sung by artists. But it was the image of a woman-mother that was the ideal of female beauty.

IV. Generalization and consolidation of knowledge

Now let's move on to the practical part of the lesson.

V. Independent work

Task: Find your ideal mother woman, think over the composition and complete the portrait "Mother and Child"

Stages of work.

1. Selecting the position of the sheet.

2. The layout of the picture.

3. Pencil sketch.

4. Drawing details.

5. Human proportions.

6. Work in color.

VI. Summary of the lesson.

1. Today at the lesson we got acquainted with the work of artists who sang the beauty of a woman. What was and is the main ideal in the beauty of a woman in the work of these artists? Yes, the ideal, the main and unchanged, is the ideal of motherhood. The beauty of a woman is the beauty of motherhood

What embodiment does the image of a mother woman find in medieval art?

What ideal did artists of all times and peoples aspire to?

What is the peculiarity of the embodiment of the image of a woman - mother in works of art in the XX century. ?

Exhibition and analysis of the best works.

VI. Homework.

Homework instruction.

How similar and unlike the usual images of the Madonna the heroine of the picture.

The mystery of female beauty has disturbed humanity throughout the history of its existence. There is hardly an artist or writer who would not try to comprehend this secret, but each one discovered it in his own way. The main and unchanged in this comprehension was the ideal of motherhood, the sacred bonds of love between mother and child. From the sculptures of the first artists of the Earth, the madonnas of the titans of the Renaissance, the icon-painting faces of the Virgin, inspired musical and artistic hymns to the mother woman to the works of contemporary artists - this is the way to comprehend the ideal of female beauty and charm.

The work contains 1 file

Introduction

The relevance of this topic is explained by the contradiction that arose at the turn of the 20th and 21st centuries: on the one hand, the chanting of the image of a mother woman for many centuries, and on the other hand, the demographic crisis. The work is based on an attempt to systematize and generalize the available information on this topic, as well as try to raise the importance of the image of a woman-mother.

Main part

The image of a woman-mother through the ages

After analyzing a large number of reproductions, images of sculptures, we noted a certain pattern: despite differences in the understanding of female beauty, artists and sculptors of different eras use similar images. These include:

1) the image of a nursing mother;

2) the image of a woman-mother with a child in her arms;

3) family portrait.

breastfeeding mother image

In the primitive era, a woman-mother was surrounded by a special halo of hopes and ideal thoughts. In society, there was a cult of a woman who embodied the idea of motherhood and procreation. The ideas of fertility and the protection of the hearth were also associated with the woman.

During archaeological excavations in different countries of the world, more than 150 small female figurines were found - the so-called "Paleolithic Venuses" 1 . One of the most famous are images "Venus of Lossel" also called "The lady with the horn", and "Lespugskoy Venus"(No. 1, 1-2). Other figurines carved from soft stone or ivory were also found (No. 1, 3) 2 . We can also refer to them a clay statue of a figurine of an ancestor, found in Turkey and dating back to the beginning of the 6th millennium BC. 3 (№1, 4).

Thus, we see that the first artists of the Earth did not sing of the grace and stateliness of the female body, but paid special attention to depicting everything that emphasizes the feminine: exorbitantly large breasts and hips, a huge bulging belly in which new life is ripening.

In the era of primitive society, there are also sculptures depicting a woman who is breastfeeding her child (No. 2, 1). It is the image of a nursing mother that will become one of the most frequently used in sculpture and painting in the following centuries.

The herald of the image of the Madonna feeding her son, we can rightfully consider the ancient Egyptian statue depicting the goddess Isis(Isis) breastfeeding mountain(№2, 2) 4 .

The triptych belongs to the beginning of the Renaissance, to the Proto-Renaissance "Madonna del Latte" Italian artists Lorenzetti brothers(No. 2, 3). A few decades later by a Dutch painter Rogier Van der Weyden a picture was painted Luke the Evangelist painting the Madonna(No. 2, 4). Both mothers look at their babies with tenderness. These works contain the idea of motherhood, all-consuming love.

The art of the High Renaissance, which was defined in its main features by the beginning of the 16th century, brought a different understanding of female beauty than that of previous artists. High Renaissance Titans: Leonardo da Vinci, Michelangelo, Raphael and Titian- sought to create a generalized image of a perfect person, beautiful both physically and spiritually. The embodiment of such an ideal was the Madonna, the Virgin Mary, with the baby Jesus Christ - an exalted symbol of motherhood and sacrificial love for people.

One of the best works on this subject was "Madonna Litta" by Leonardo da Vinci(No. 2, 5) - the pearl of the Hermitage collection. The painting depicts a young Mary, carefully holding a baby in her arms. Her bowed profile is full of exceptional beauty and nobility. Lowered eyes and a barely perceptible smile give the Madonna an unusual expressiveness and warmth, illuminate her with a bright motherly feeling. Her eyes are half-lowered and look at the baby she is feeding. Little Jesus turned his eyes to the viewer and holds a small bird in his hand, symbolizing his future suffering. 1

At the beginning of the 19th century, a portrait painter, academician of painting A. G. Venetsianov introduced the image of a majestic Slav woman into Russian fine art. He began to paint simple Russian peasant women, busy with their usual and difficult work. Far from the noisy city life, the artist developed his own idea of the ideal of female beauty, in many respects different from generally accepted norms. He painted pictures where, in the guise of a majestic Slav, he emphasized the spiritual beginning and bright individuality. The choice of such a topic could be explained by the author's desire to emphasize that it was the woman, despite the severity of life, who was and remains the keeper of the best traditions of peasant life, the mother ( “In the harvest. Summer" (№2, 6)).

Late 19th century French sculptor Dalu Aimé Jules created a sculpture "Breton" 2 (No. 2, 7). It is based on the already familiar image of a nursing mother, but in

Unlike the titans of the Renaissance, his Madonna is a simple working woman. With a clear and energetic language of plasticity, the sculptor conveyed his idea of the ideals of female beauty and motherhood.

In the painting of the 20th century, we also meet the image of a nursing mother.

This image found the brightest artistic embodiment in the work of the painter K. S. Petrov-Vodkina. The master, not imitating the traditions of the Renaissance, ancient Russian painting and European art of the turn of the century, used them as an outstanding interpreter, expressing eternal concepts - beauty, harmony, purity. The artist reflected the ideal of motherhood in the paintings: "Mother», "1918 in Petrograd" ("Petrograd Madonna", 1920)(№2, 8-9).

The image of the nursing Madonna did not disappear in the paintings of the war and post-war period. In those years, there was no greater achievement than the achievement of motherhood. To nurture and preserve a generation barely entering life, despite the most incredible hardships and difficulties, then meant defeating fascism, which was trying to wipe entire peoples off the face of the earth. The greatness of the all-conquering maternal love, which defied death and won, the wealth of the soul of a Soviet woman, her unbending moral strength, he dedicated his picture "Partisan Madonna"(№2, 10) M.A. Savitsky.

The guns fired, the war ended. The military life was replaced by a peaceful life, happiness ... Simple maternal happiness. As if enchanted, the collective farmers are looking at their friend - a young mother feeding a child. The heroine of the painting V. Erofeeva "Happiness"(No. 2, 11) is truly happy and this makes everyone around her feel good. 1

From the foregoing, we can conclude that the image of a nursing mother originates in primitive society and passes through all subsequent eras.

The image of a mother woman with a child in her arms

Another common image of a woman-mother is the image of a woman with a child in her arms.

Medieval art of European countries today cannot be imagined without the widely depicted image of the Mother of God associated with the cult of the Madonna.

In Russia during the Middle Ages, the image of the Virgin, who was perceived as the patroness and protector of her native land, the intercessor of people before God, became widespread.

Old Russian iconography includes many images of the Mother of God, which can be conditionally divided into four types: 1) The Omen(signifying the birth of the Savior, the embodiment of new life); 2) Our Lady of Oranta(“praying” with hands raised to the sky) (No. 3, 1); 3) Hodegetria(“guidebook”, pointing to the baby Jesus, sitting in her arms); four) Yelesua(“tenderness”, caressing and hugging her son) 1

Let us consider in more detail the third and fourth types of the image of the Mother of God with her son in her arms.

The most popular among the people was "Hodegetria". The Mother of God is depicted frontally, in a solemn pose. The right hand of the Virgin Mary is raised low in a gesture of prayer addressed to her son. Sometimes "Our Lady Hodegetria" is called "Our Lady of Smolensk", since, according to chronicle legend, the oldest of the Hodegetria lists brought to Russia was in Smolensk.

The fourth type includes the following icons: "Vladimir Mother of God" (№3, 2), "Our Lady of the Don", "Tolgskaya Mother of God"(No. 3, 3) and "Our Lady of Eleus-Kykkskaya" Simon Ushakov(No. 3, 4). "Vladimir Mother of God" is one of the best works of medieval art, which the artist I.E. Grabar rightly called "the incomparable, wonderful, eternal song of motherhood." 2

The eyes of the Mother of God are full of a feeling that in the Middle Ages was defined as "the joy of holy sorrow." These words very accurately convey its main meaning. What will come to pass

ordained from above. The future is inevitable. The baby gently presses his face against the mother's cheek and wraps his arm around her neck. Children's eyes are fixed on Mary, as if they are looking for protection from her. With her left hand, Maria holds the child, trying to timidly protect him from the fate prepared for her. On her stern face, full of spiritual nobility and mute reproach, anxiety and sadness lurked. With all the maternal tenderness in her appearance, one feels the consciousness of inevitable sacrifice.

The Madonna with the Child in her arms is an integral image in the painting and sculpture of the Renaissance. Dutch painter Robert one of the first to embody in his canvases the artistic principles of the Early Renaissance. His "Madonna and Child" (№3, 5) stands out for the democratic simplicity of images, a penchant for everyday interpretation of plots. A young mother with a child is placed in a cozy urban interior with reproduced details of the situation.

Dutch artists influenced the work of the Italian artist of the Early Renaissance, master of the Umbrian school Perugino Pietro. His painting "Madonna and Child"(No. 3, 6) is distinguished by smooth compositional rhythms and lyricism. A clear balance of spatial constructions, harmony, soft grace, poetic-contemplative tone are characteristic of this canvas. The lyrically penetrating peculiar type of Madonna he created had a significant impact on his student Raphael.

The Florentine Madonnas of Raphael are beautiful, pretty, touching and grieving young mothers. 1 .

Madonnas, created in Rome, are no longer just mothers, but mistresses, goddesses of goodness and beauty, powerful in their femininity, ennobling the world, softening human hearts. "Madonna in the Chair" (№3, 7), "Madonna dell'Impannata", "Madonna of Divine Love", "Madonna del Foligno" and other world-famous Madonnas mark Raphael's new searches, his path to perfection in the embodiment of the ideal image of the Mother of God.

An important place in the art of this great artist is "Sistine Madonna"(No. 3, 8). Mary is walking on the clouds carrying her child. Her glory is not underlined by anything. Bare feet. But as a sovereign, she is met by saints and angels.

She goes to people, young and majestic, holding something anxious in her soul; the wind blows the child's hair, and his eyes look at us, at the world with such great power and with such illumination, as if he sees his own fate and the fate of the entire human race 2 .

Depicting the Madonna and Child, artists rarely denied themselves the pleasure of adding a bird, or a vase of flowers, or some sparkling glass ball on the arm of the chair. For example, "Madonna and Child" Memling Hans, "Madonna with

baby "G. Bellini (№3, 9), "Madonna and Child under an Apple Tree" by Cranach Lucas (№3, 10), "Madonna with the Cat" by Giulio Romano, "Madonna with the White Rabbit" by Titian, "Madonna Conestabile" and "Madonna with a Goldfinch" Rafael Santi.

Paintings can also be attributed to such canvases. Leonardo da Vinci "Madonna with a Flower", or "Madonna Benois"(No. 3, 11). This is chronologically the first Madonna whose image is internally devoid of any kind of holiness. Before us is a young mother playing with her child. Young playful mother, almost a child,

Option number I

1. The first small female figurines of "Paleolithic Venus" were:

a) graceful and slender;

b) primitive and rude.

______________________________________________________________________________________

3. Match:

1 In Western Europe

a Madonnas

2 in Russia

b Mother of God

4. Name the icon.

___________________________________________________________

_______________________________________________________

6. About what picture A.G. Are you talking about Venetsianov?

A barefoot peasant woman in a long pink sundress and a scarlet kokoshnik leads two horses harnessed to a harrow by the bridle ...

______________________________________________________________________

8. Match:

1 Our Lady of Orante

2 Our Lady Hodegetria

______________________________________________

__________________________________________________________

Answers.

b) primitive and rude.

1 In Western Europe

a Madonnas

2 in Russia

b Mother of God

Our Lady of Vladimir

Madonna Litta, Leonardo da Vinci

On the arable land. Spring

1 Our Lady of Orante

a "praying" with hands raised to the sky

2 Our Lady Hodegetria

b "guide book" pointing to the baby Jesus sitting in her arms

A.A. Deineka, Mother

Test work on the topic "The image of a woman-mother through the centuries"

Option number II

1. The image of what was given special attention in the figurines of the "Paleolithic Venus"?

a) large breasts and hips;

b) expressive eyes;

c) women's hairstyle;

d) big nose

2. Explain the meaning of the words "cult of a woman":

3. Match:

1 Our Lady of Orante

a "praying" with hands raised to the sky

2 Our Lady Hodegetria

b "guide book" pointing to the baby Jesus sitting in her arms

4. Name the icon.

______________________________________________________

__________________________________________________________

6. About what picture A.G. Are you talking about Venetsianov?

In the center of the picture is a female reaper with a child in her arms. Having settled down to rest on a high platform, she affectionately hugs the baby, forgetting about fatigue ...

7. Insert the missing words.

Called portrait painter, academician of painting A.G. ____________ at the age of 44, felt dissatisfaction and the need to work differently, suddenly leaves _____________ and settles in Tver _____________.

8. Match: The image of the Mother of God is associated with the cult

1 In Western Europe

a Madonnas

2 in Russia

b Mother of God

_______________________________________________

__________________________________________________________

Answers.

a) large breasts and hips; c) women's hairstyle

Embodied the idea of motherhood and procreation.

1 Our Lady of Orante

a "praying" with hands raised to the sky

2 Our Lady Hodegetria

b "guide book" pointing to the baby Jesus sitting in her arms

Our Lady of the Don

Raphael, Sistine Madonna

At the harvest. Summer.

Venetsianov, Petersburg, wilderness

1 In Western Europe

a Madonnas

2 in Russia

b Mother of God

Petrograd Madonna, Petrov-Vodkin

Motherland - mother calls, I.M. Toidze

Kazakova Yana

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Municipal educational institution

"Obshiyarskaya basic comprehensive school"

Volzhsky municipal district

Republic of Mari El

Interdistrict scientific and practical conference

"My clan is my people"

Section Art History

The image of a woman-mother in the art of different eras

Research work

Kazakova Yana Vladimirovna

8th grade student

MOU "Obshiyarskaya OOSh"

Supervisor:

Pavlova Tatyana Arkadievna

teacher of Russian language and literature

Field, 2016

1. Introduction……………………………………………………………………… 1-4

2. Main part…………………………………………………………….5-17

2.1 "Venuses" of the first artists of the Earth……………………………………5-6

2.2 The sacred face of the Mother of God…………………………………………………6-7

2.3. The majestic Slav in the work of A.G. Venetsianova…………………...7-10

2.4. Mother Woman in the Art of the 20th Century…………………………………….10-12

2.5. Toidze “The Motherland Calls”……………………………………………...12

2.6. Mother in the work of Russian poets N.A. Nekrasov and S. Yesenin…….13-15

2.7. The image of a woman-mother in the art of the Republic of Mari El…………15-16

2.8. The study of knowledge about the image of a woman in art………………..17

3. Conclusion……………………………………………………………………18-19

4. References………………………………………………………...20

Introduction

Relevance my work is that it deals with an inexhaustible theme carried through the ages. And in our time, a woman remains the standard of beauty, tenderness, a symbol of motherhood, a muse for poets, musicians, painters, sculptors and other artists.

Research Form- theoretical.

Research hypothesis- the image of a woman-mother is the ideal of female beauty and charm throughout the existence of mankind.

object research is the comprehension and reflection of the ideal of motherhood in various historical formations.

Subject of study- the image of a woman-mother in various types of art

Target: Revealing the features of comprehending the secret of female beauty, reflected in the image of a woman-mother, in different periods of history;

Tasks:

To study the image of a woman-mother in different types of art
Assist in the formation of personality through research activities;
To form the skills of public speaking, conducting scientific controversy;

The main methods of this research are:

analysis and synthesis;

observation;

comparison;

data visualization.

Expected results:possession of information about the embodiment of the image of a woman-mother in various types of art and the skills of elementary research activities.

2. Main body

The image of a woman-mother through the ages

1. "Venus" of the first artists

2. The sacred face of the Mother of God

3. Madonnas of the Titans of the Renaissance

4. The majestic Slav in the work of A.G. Venetsianova

5. Mother woman in 20th century art

6. The image of the mother in literature (on the example of N. Nekrasov and S. Yesenin)

7. The image of a woman-mother in the art of the Republic of Mari El.

2.1 "Venus" of the first artists of the Earth

During archaeological excavations in different countries of the world, more than one hundred and fifty small female figurines were found, which scientists gave a code name"Paleolithic Venuses". It was not the grace and harmony of the female body that these stone statues 5-10 centimeters high embodied, on the contrary, they looked extremely primitive and even rude. Their faces were replaced by a smooth bulge without drawing individual features, their hands and feet were barely outlined or absent at all, their bodies were unnecessarily elongated. Particular attention is paid to the image of everything that emphasizes the feminine principle: exorbitantly large breasts and hips, a huge bulging belly, in which a new life is ripening. The complex patterns of women's hairstyles are carefully drawn. What's the matter here? Why did these figurines still have such a poetic name? Let's not rush to conclusions and assessments. Let's try to understand our own kind, mentally accepting their point of view. The fact is that in the primitive era, a woman-mother was surrounded by a special Halo of hopes and ideal thoughts. In society, there was a cult of the Woman, who embodied the idea of motherhood and procreation. The ideas of fertility and the protection of the hearth were also associated with the woman. So, the Paleolithic Venuses contained not only magical and cult meanings, but also the aesthetic ideal of our distant ancestors. Each of these images is a real hymn to a woman-mother, the successor of the human race.

2.2 Sacred face of Our Lady

Medieval art of European countries today cannot be imagined without the widely depicted image of the Mother of God. In Western Europe, he was associated with the cult of the Madonna, and in Russia - with the Mother of God, who was perceived as the patroness and protector of her native land, the intercessor of people before God. One of the best early examples of Byzantine painting wasIcon of Our Lady of Vladimir, created in Constantinople in the XII century. Then she was brought to Russia and since then has not left the borders of the Russian land. Many legends are associated with this icon. According to an old custom, she was carried on a sleigh in the summer. A few versts from Vladimir, horses suddenly stood up, and no force could move them. Replaced the horses - they stood rooted to the spot. Since then, they have decided: the icon will remain on this earth. A huge Assumption Cathedral was built in Vladimir and this amazing icon was placed in it. Many times she rescued and protected the Russian people on the battlefields and in labor deeds. The eyes of the Mother of God are full of a feeling that in the Middle Ages was defined as "the joy of holy sorrow." These words very accurately convey its main meaning. What is destined from above will be accomplished. The future is inevitable. The baby gently presses his face against the mother's cheek and wraps his arm around her neck. Children's eyes are fixed on Mary, as if they are looking for protection from her. With her left hand, Maria holds the child, trying to timidly protect him from the fate prepared for her. On her stern face, full of spiritual nobility and mute reproach, anxiety and sadness lurked. With all the maternal tenderness in her appearance, one feels the consciousness of inevitable sacrifice. "Vladimir Mother of God" is one of the best works of medieval art, which the artist I.E. Grabar rightly called "the incomparable, wonderful, eternal song of motherhood." In ancient Russian art, the image of the Mother of God was associated with the cult of Mother Earth; both had common principles of holiness and motherhood. “The first mother is the Most Holy Theotokos; the second mother is the damp earth, ”says folk wisdom. In the mind of a Russian person, the image of the Mother of God has always been surrounded by an aura of purity, holiness and sacrificial love. Old Russian iconography includes many images of the Mother of God, but they all date back to four main types: The Omen (signifying the birth of the Savior, the incarnation of a new life), the Mother of God Orante (“praying” with hands raised to the sky), Hodegetria (“guidebook” pointing to the baby Jesus sitting in her arms) and Eleusa (“tenderness”, caressing and embracing her Son). The true masterpieces of ancient Russian icon painting include"Our Lady of the Don"created in the 14th centuryTheophanes the Greek.It received this name in connection with the victory of the troops of Prince Dmitry Donskoy on the Kulikovo field. Warmed by a deep human feeling, the Don Mother of God, like the Vladimir Mother of God, is an expression of boundless maternal love for the Son, who in the future awaits martyrdom in the name of the salvation of mankind. In the meantime, she carefully and affectionately holds him in her arms. The stingy colorful range, which is dominated by soft, dark tones, still creates a feeling of calm, quiet and bright joy.

2.3. The majestic Slav in the work of A.G. Venetsianova

Recognized portrait painter, academician of painting A.G. Venetsianov (1780-1847) at the age of 44, feeling dissatisfaction and the need to work differently, unexpectedly leaves St. Petersburg and settles in the wilderness of Tver. In his autobiographical notes, he later explains his step: “In order to devote himself more fully to painting from originals of nature ... he left for his village, there he took up the unconditional attention of nature ...” He really felt like a free artist, independent of the requirements and desires of customers. He began to paint simple Russian peasant women, busy with their usual and difficult work. Far from the noisy city life, the artist developed his own idea of the ideal of female beauty, in many respects different from generally accepted norms. He painted "Reaper", "Nurse with a Child", "Girl with Cornflowers", "Pelageya (Girl with a Scythe and a Rake)", "Girl in a Headscarf" - many paintings where, in the guise of a majestic Slav, he emphasized the spiritual beginning and bright personality . The choice of such topics could be explained by the author's desire to emphasize that it was the woman, despite all the hardships of life, who was and remained the keeper of the best traditions of peasant life. And here is another painting by A.G. Venetsianov, created in the same years -“In the harvest. Summer", on which he captured the peasants during the summer field work. The sun beats mercilessly, sheaves of golden rye stand in rows, the hills turn green on the horizon... In the center of the picture is a female reaper with a child in her arms. Having settled down to rest on a high platform, she affectionately hugs the baby, forgetting about fatigue. A.G. Venetsianov came out of the people and always remained inside them. And when he received academic titles; and when he ridiculed nobles in his satirical sheets; and when, until the last day of his life, he arranged the life of the peasants, treated and taught them in his Safonkovo; when he dressed and fed indigent serfs capable of arts in his school ... And when, unlike the “divine” Karl Bryullov, who stunned the landowner Engelhardt with lofty phrases, he quickly and simply agreed on how much he would give T. Shevchenko ... Picture “In the harvest. Summer" belongs to those masterpieces that have enduring value and to this day give the audience a genuine aesthetic pleasure. This is a truly Russian landscape, it is in this picture that nature appears "to the artist, in the words of the poet, as" a haven of tranquility, work and inspiration. "The plot of the painting" At the harvest "is drawn from everyday folk life. However, A.G. to depict this life in its everyday aspect, and this conclusion is confirmed by the complete absence of everyday accessories on the canvas. The painting has the subtitle "Summer", which perfectly expresses the general mood of the whole work. air, thick dark golden rye does not stir. The viewer seems to hear this ringing silence reigning over the fields. The sky has risen high above the flattened earth, and "some kind of quiet play of clouds" takes place on it. At the first glance at the picture, we see only a figure peasant women and only then we notice in the background the figures of other reapers wrapped in a haze of hot air, they seem to dissolve in the endless space. The impression of aerial immensity, of the length of the fields is created by the alternation of planes that ascend to the hilly horizon lines, rising one after the other. No wonder many art historians note that the paintings of A. G. Venetsianov are permeated with a single rhythm, like musical works. In the canvas “In the harvest. Summer ”(as in the painting“ On arable land. Spring ”), the main motive unfolds in the foreground, and then repeats rhythmically several times, like a refrain in a song. Calmly and naturally, straightening her overworked back, a woman sits, placing a sickle beside her. Her stately, majestic figure, shrouded in dense sultry air, is illuminated by the hot rays of the midday sun. A peasant woman, feeding a child clinging to her, sits in profile to the viewer, on a hill, from where a view of the boundless fields opens - either generously flooded with the sun, then slightly shaded by silver-white clouds slowly floating across the high sky.

above everything around, however, it is organically connected with the landscape and the ongoing action by the bonds of inseparable unity. But nature in the paintings of A. G. Venetsianov is not just an arena of human labor, it does not act as violence against nature, distorting its natural appearance. From the point of view of the artist, human labor is a continuation of the vital activity of nature, with the only difference being that it turns from spontaneous into rational. And man, thus, appears as a nature that understands itself, it is in this sense that he is the “crown of creation”. The background is excellently painted - a field with sheaves and figures of reapers, and above them - a high sky with melting clouds. The sun is behind the peasant woman, and thanks to this, her face and most of the figure are shaded, and this makes it possible to generalize the forms and reveal clean and smooth lines in her silhouette A. G. Venetsianov had a rare poetic gift, he knew how to find poetry in everyday worries and troubles man in his work and life. The words spoken by Gogol about A.S. are fully applicable to him. Pushkin. Like the works of Pushkin, “where Russian nature breathes in him”, so the paintings of A.G. Venetsianov "can be completely understood only by one whose soul carries within itself purely Russian elements, to whom Russia is the homeland, whose soul ... is tenderly organized and developed in feelings."

2.4. The mother woman in the art of the 20th century

In the art of the 20th century, the eternal theme of motherhood sounded in a completely new way, glorifying the deepest and most sincere human feelings. She found the brightest artistic embodiment in the work of the artistK.S. Petrova-Vodkina(1878-1939). The creation of the best works on this topic was preceded by acquaintance with the canvases of the Italian masters of the Renaissance, and in particular with the masterpieces of ancient Russian icon painting. Truly Russian, national traditions are reflected in such paintings as "Mother" (1913; 1915), "Our Lady Tenderness of Evil Hearts" (1914-1915). After the October Revolution, Petrov-Vodkin strives to realize the new relationship between man and the world, to feel the harmony of "planetary existence". In the stormy, impetuous stream of life, the words sounded with hope for the artist:

There will be a wonderful life!.. There will be a wonderful life.Convinced that “a Russian person, despite all the torment, will arrange a free, honest life,” the artist tries to find its main support. He will embody his understanding of ongoing historical events in the famous"Petrograd Madonna"(1920). How similar and unlike the usual images of the Madonnas the heroine of the artist's painting! Who is she? A worker of revolutionary Petrograd, the Mother of God from ancient Russian icons, or the Madonna of the Renaissance? Probably, both that, and another, and the third. She really absorbs past, present and future times, embodies many of the faces of famous Madonnas. A young woman with a child in her arms is depicted against the backdrop of revolutionary Petrograd, where a new era of human history began. Passers-by hurry somewhere, someone stops at the walls of buildings to discuss pasted decrees of the new government. But all this is just a temporary background for the main image of a woman-mother. It is no coincidence that she has her back turned to the city. Her main concern is for the child, for his present and future. A full-blooded female image with complete completeness was determined in the painting "Mother" in 1915. Peasant women from the canvases "Mother" of 1913 or "Mother" of 1915 personified the beginning of life's fullness. Associated with the idea of chaste austerity and purity was a feeling of deep blue. The mother in the picture of Petrov-Vodkin is a young woman with steep shoulders and a stately neck. Her calico skirt, which occupies the entire bottom of the picture, is flaming and sonorous and hot. The sloping lines of the wall, the windows, and the shrines only enhance the almost statuary density of her figure, the charm of her vulgar and, at the same time, almost "royal" posture. And most importantly, the very expression of the mother’s “face” has decisively changed. The slightly “lean-humble” expression of the peasant “Mother” of 1913, with her “drowsy-drowsy” look from under semicircular eyebrows, has been replaced by a more open and bold expression. one turn of the head is worth it - so beautiful and free, as if freeing from something burdensome or fettering!Initially, this painting was solved in everyday terms, but after visiting the first large exhibition of cleared icons provided by private collectors in 1913, the artist resolutely rebuilt and composition, and the color of the picture. A mother in a pink sweater and a red skirt sits with a child in her arms against the backdrop of the Volga steppes going into the depths. The beautiful image of a woman, a simple Russian peasant woman, is presented as a generalized image of maternal love and human happiness. This theme is interestingly embodied in picture"Mother" of the artist AL. Deineka (1899-1969). Her composition is surprisingly simple: on a smooth dark background, a close-up of a woman with a sleeping child in her arms is depicted. In the guise of a mother, the majestic posture of Venetian peasant women, tender, quivering feelings for the baby clinging to her shoulder are conveyed. Contrasting the boy's fragile body, washed out by sleep, with the strong and strong figure of the mother, the artist seeks to emphasize the inextricable spiritual connection between them, the mother's readiness to protect the child from any life's adversities.

2.5. I.M.Toidze “The motherland calls”.

In the harsh years of military trials, a maternal call was made to defend the Motherland. It is impossible to get away from the direct open look of a woman-mother. The gesture of the raised hand reminds many of the well-known image of Our Lady Organa, praying for the salvation of mankind.

Conclusion: At all times, artists sang the beauty of a woman. But it was the image of a woman-mother that was the ideal of female beauty.

In printed literature, which for obvious reasons was at first reserved for the upper classes, the image of the mother remained in the shadows for a long time. Perhaps the named subject was not considered worthy of a high style, or perhaps the reason for this phenomenon is more simple and natural: after all, then noble children, as a rule, were taken to educate not only tutors, but also nurses, and children of the nobility, in contrast to peasant children were artificially separated from their mother and fed on the milk of other women; therefore, there was a - albeit not quite conscious - dulling of filial feelings, which ultimately could not but affect the work of future poets and prose writers.

It is no coincidence that Pushkin did not write a single poem about his mother and so many lovely poetic dedications to his nanny Arina Rodionovna, whom, by the way, the poet often called tenderly and carefully - “mummy”.

2.6. Mother in the work of the Russian poet N.A. Nekrasov and S. Yesenin.

Mother ... The dearest and closest person. She gave us life, gave us a happy childhood. The mother's heart, like the sun, shines always and everywhere, warming us with its warmth. She is our best friend, a wise adviser. Mother is our guardian angel.

That is why the image of the mother becomes one of the main ones in Russian literature already in the 19th century.

Truly, deeply, the theme of the mother sounded in the poetry of Nikolai Alekseevich Nekrasov. Closed and reserved by nature, Nekrasov literally could not find enough bright words and strong expressions to appreciate the role of his mother in his life. Both the young man and the old man, Nekrasov always spoke of his mother with love and admiration. Such an attitude towards her, apart from the usual sons of affection, undoubtedly followed from the consciousness of what he owed her:

And if I shake it off easily over the years
From the soul of my pernicious traces
Correcting everything reasonable with your feet,
Proud of the ignorance of the environment,
And if I filled my life with struggle
For the ideal of goodness and beauty,
And wears the song composed by me,
Living love deep features -
Oh, my mother, I am inspired by you!
You saved a living soul in me!

First of all, being a highly educated woman, she introduced her children to intellectual, in particular literary, interests. In the poem "Mother" Nekrasov recalls that as a child, thanks to his mother, he became acquainted with the images of Dante and Shakespeare. She also taught him love and compassion for those “whose ideal is reduced grief,” that is, for serfs.

The image of a woman - a mother is vividly represented by Nekrasov in many of his works "In full swing the village suffering", "Orina, the soldier's mother"

Poem "Listening to the horrors of war"

Nekrasov traditions in the image of the bright image of the mother - a peasant woman in the lyrics of S.A. Yesenin.

A bright image of the poet's mother passes through Yesenin's work. Endowed with individual traits, it grows into a generalized image of a Russian woman, appears in the youthful poems of the poet, as a fabulous image of the one who not only gave the whole world, but also made happy with the gift of song. This image also takes on the specific earthly appearance of a peasant woman, busy with everyday affairs: “Mother cannot cope with grips, bends low ...”

Fidelity, constancy of feelings, cordial devotion, inexhaustible patience are generalized and poeticized by Yesenin in the image of a mother. "Oh, my patient mother!" - this exclamation escaped from him not by chance: the son brings a lot of unrest, but the mother's heart forgives everything. So there is a frequent motive for Yesenin's son's guilt. On his trips, he constantly recalls his native village: it is dear to the memory of youth, but most of all, the mother yearning for her son attracts her there.

"Sweet, kind, old, tender" mother is seen by the poet "at the parental dinner." The mother is worried - the son has not been at home for a long time. How is he in the distance? The son tries to reassure her in letters: “There will be time, dear, dear!” In the meantime, "evening unspeakable light" is streaming over the mother's hut. The son, "still as gentle", "dreams only of how soon from the rebellious longing to return to our low house." In the "Letter to the Mother" filial feelings are expressed with piercing artistic power: "You are my only help and joy, you are my only inexpressible light."

Yesenin was 19 years old when, with amazing penetration, he sang in the poem "Rus" the sadness of maternal expectation - "waiting for gray-haired mothers."

The sons became soldiers, the royal service took them to the bloody fields of the world war. Rarely-rarely come from them "doodles, deduced with such difficulty," but they are all waiting for their "frail huts", warmed by a mother's heart. Yesenin can be placed next to Nekrasov, who sang "the tears of poor mothers."

They can't forget their children
Those who died in the bloody field,
How not to raise a weeping willow
Of their drooping branches.

2.7. The image of a woman-mother in the art of the Republic of Mari El

The sculpture "Virgin Mary with the Christ Child" (November 30, 2007 in Yoshkar-Ola) is located on the Square of the Republic and the Blessed Virgin Mary.

People's Artist of Russia A. Kovalchuk.

Virgin Mary (Virgin Mary) - in Christianity, the earthly mother of Jesus Christ, one of the most revered personalities and the greatest of Christian saints. In Orthodoxy, Catholicism and a number of other churches, it is revered as the Mother of God (Mother of God), the Queen of Heaven, the Blessed Virgin, the Madonna.

The sculpture was created according to all the traditions of the Russian Orthodox school and is a two-figure composition - the Mother of God, blessing the inhabitants of Mari El, with the Christ child in her arms. The image of the Mother of God with the Child is identical to the icon of the Sovereign Mother of God, but on the sculpture the Mother of God does not have a scepter, orb and crown. Height - about 3 meters, material - bronze. A marble slab with a prayer is attached to the pedestal: “Oh, Blessed Virgin Mary, save and preserve our Mari Land”

Memorial complex "Grieving Mother" (Memorial sculpture "Grieving")It was erected in 2002 near the complex of buildings of the Ministry of Internal Affairs of the Republic of Mari El on Komsomolskaya Street, 137. The memorial is a tribute to the memory of the employees of the Ministry of Internal Affairs who died in the line of duty. The complex consists of the memorial sculpture “Grieving”, which is a half-figure of a grieving mother who bowed her head and folded her hands in a prayer gesture, as well as a brick wall with commemorative plaques on which the surnames, names, patronymics and years of life of Soviet and Russian employees of the internal organs are immortalized. cases of the Republic of Mari El, who died in the line of duty. On the last board is the inscription:

A study of the knowledge of students of our school about the image of a woman-mother in the art of different eras.

We wanted to know what the students of our school know about this topic. We conducted a sociological survey among students (grades 5-9)

They were asked the following questions:

1. What works can you name that talk about the mother?

2.Which of the artists depicted Madonnas and women with a child in their arms?

3. A woman is a mother in the art of our republic.

The results of the survey showed that only 30% of students gave an answer to 1 question.

Mostly poets were called -N. Nekrasov, S. Yesenin, A. Pushkin.

Question 2 was answered by 20% of school students. The answers were Leonardo da Vinci, Rafael Santi.

About 10% answered question 3 correctly. It was called mainly the monument to Peter and Fevronia in the city of Yoshkar-Ola.

Conclusion: Our research has shown that knowledge about the image of a woman-mother in works of art is, unfortunately, at a low level.

Conclusion

The data obtained allow us to draw the following conclusions:

The main and unchanged in comprehending the secret of female beauty has remained throughout all epochs the ideal of motherhood, the sacred bond between mother and child. The image of a woman-mother is an eternal image. This is a kind of moral tuning fork for the art of any era, any people.

Painters and sculptors of different eras used similar images: the image of a nursing mother, a woman-mother with a child in her arms, a family portrait.

Primitive artists sang not the grace and stateliness of the female body, but paid special attention to the depiction of everything that emphasizes the feminine: exorbitantly large breasts and hips, a huge bulging belly in which new life is ripening.

The image of a nursing mother originates in the primitive world and passes through all subsequent eras. In the Middle Ages, the image of a woman-mother with a child in her arms in European art was associated with the image of the Madonna, and in ancient Russian - with the image of the Virgin.

Old Russian iconography includes a large number of images of the Mother of God, which can be conditionally divided into four types:

1) Sign; 2) Oranta; 3) Hodegetria; 4) Yelesua.

The image of a woman-mother with a child in her arms has become a household word: such images are increasingly called Madonnas. When depicting the Madonna, artists often added a bird, a vase of flowers, or some other object, and also depicted her surrounded by saints or angels;

Later Madonnas are distinguished by the democratic simplicity of their images, they are more earthly. In the era of modern times, the image of a simple woman, a hard worker, a mother is poeticized.

The art of the 20th century reflected the tendency to place the heroes of portraits against the background of nature or pictures of everyday life, household sketches.

The analysis shows that in the art of the late 20th and early 21st centuries, the image of a woman-mother was given insufficient attention, which became one of the reasons for the decline in the birth rate, the decline in the status of the mother, her importance in society. The presidential program aimed at solving the demographic crisis is already yielding positive results. Increasingly, on billboards, magazine covers, photos, an image so familiar to everyone appears - the image of a woman-mother.

Of course, this list of types of image of a woman-mother is not complete. In the future, we set ourselves the task of continuing research on this topic and analyzing in more detail the reflection of the image of a woman-mother in the art of the 20th - early 21st centuries.

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