Open lesson on Gogol portrait. Integrated literature lesson based on N.V. Gogol's story "Portrait"

Class: 8

Presentations for the lesson

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Lesson objectives:

• show what role N.V. Gogol assigned to art in the life of society - the writer’s contribution to the debate about the purpose of art;
• find out what the ideological and compositional role of the second part of the story “Portrait” is and how the author solves the problem of true art.

Lesson objectives:

• Educational: improving interpretation skills literary work and analysis of artistic detail, oral and written communication skills; disclosure of the social, moral, aesthetic meaning of the story.
• Developmental: development of cognitive interests and literary and creative abilities, imaginative thinking and a “sense of intelligence”.
• Educational: education by means fiction a spiritual and moral personality capable of acting in the modern world according to the laws of goodness, conscience and honor.

Lesson type: combined.

Equipment: portrait of N.V. Gogol, projector, Presentation 1 , Presentation 2 (Testing based on N.V. Gogol’s story “Portrait”)

He who has talent within himself
must be the purest of all...

N.V.Gogol

PROGRESS OF THE LESSON

I. Opening remarks teachers (Slide No. 3)

– As you know, Nikolai Vasilyevich Gogol saw his writing duty in serving great art, in an effort to show the truth of life. He wanted the reader to be able to “comprehend the high mystery of creation” through his work. The fact that Gogol was concerned about issues of creativity and the place of the artist in society is evidenced by the fact that it was in 1835 that Gogol collected articles on art (“Painting, sculpture and music”, “A few words about Pushkin”, “On the architecture of the present time” ), lectures and articles on history and reflections on historical figures and published them along with the story “Portrait”.
(Communication of the purpose of the lesson) Today in class we continue the conversation about the problem of true art in Gogol’s story “Portrait”, trying to find out at the same time the ideological and compositional role of the second part of the work.

II. Working with an epigraph (Slide No. 4)

– How do you understand the words of N.V. Gogol?
– What, judging by the author’s statement, should a real artist be?

III. Critic's assessment of the story

Teacher. Thus, critic V.G. Belinsky, assessing the talent of the great prose writer, said: “Gogol is a poet, a poet of real life.” And this was most valued in Russian literature. After the release of the story “Portrait,” Gogol hopes for understanding
readers and critics, but what was the writer’s disappointment when V. G. Belinsky disapproved of the story: (Slide No. 5)“The portrait is an unsuccessful attempt by Mr.
Gogol in a fantastic way. Here his talent declines, but even in his decline he remains a talent. The first part of this story is impossible to read without fascination; in fact, there is something terrible, fatal, fantastic in this mysterious portrait, there is some kind of invincible charm that makes you forcibly look at it, although it is scary for you. Add to this many fantastic paintings and essays in the taste of Mr. Gogol; remember the quarterly overseer talking about painting; then this mother, who brought her daughter to Chertkov to have her portrait taken, and who scolds balls and admires nature - and you will not deny the dignity of this story. But the second part of it is absolutely worthless; Mr. Gogol is not visible in it. This is an obvious addition in which it was not the mind that worked, and the imagination did not take any part.”

– What meaning does the critic give to the word “attachment” in this context?

IV. Message from a trained student about Gogol’s stay in Italy and the further fate of the story “Portrait” (Slide No. 6)

Student. Having left Russia after the scandal associated with the premiere of “The Inspector General,” Gogol finds refuge in Italy. He lives in Rome. But nothing pleases the writer’s heart: neither warm weather, nor a comfortable life, nor local beauty... Gogol thinks about Russia. Here, in Rome, he meets artists, in particular, the artist Ivanov, who is working on the painting “The Appearance of Christ to the People.”
Gogol sees how selflessly the artist works, making many sketches from life, endlessly changing the poses of the characters in his painting, and the color that illuminates them and nature. He is haunted by the criticism of V. G. Belinsky. And he decides to remake the story “Portrait”.
By 1841 this work was completed. Significant changes have appeared: the surname of the main character has changed (previously it was Chertkov, which emphasized his connection with evil spirits; Gogol excluded certain mystical scenes, quite realistic characters appeared: Nikita, a professor, the owner of the house, a policeman, ladies-customers. In the first edition, the appearance the moneylender at the end of the story disappeared from the canvas, and in the second edition the portrait disappears, which went around the world to sow misfortune.

V. Reading by the teacher of paragraph 1 of the 2nd part of the story up to the words “The Long Hall...”

VII. Working with text (Slide No. 7)

– Why does Gogol compare auction with a funeral procession? (There is a hyperlink – a dictionary entry about the word “auction”)

VIII. A student (individual study) talks about the etymological relationship of two words: “art” and “temptation” (Slide No. 8)

Art akin to the words “tempt”, “temptation”. “Test” (old school) meant “to put to the test.” A “sophisticated person” is one who is highly experienced and has experienced a lot.

– Who do you think plays the role of “tempter” in the story and why?

IX. Work with the text continues

– Why are moneylenders necessary for the “sediment of humanity” that settled in Kolomna, and why is their main property moneylender turns out to be insensibility? (Slide No. 9)(There is a hyperlink – a dictionary entry about the word “auction”)
– What details in the description of the moneylender’s appearance alarm the reader? (Slide No. 10)

“He wore a wide Asian outfit; his dark complexion indicated his southern origin, but exactly what nation he was... no one could say about that.»
“..Looks, looks through human eyes!,
"..swarthy, skinny, a hot face and some incomprehensibly its terrible color big, extraordinary fire of the eye, overhanging thick eyebrows distinguished him from... the inhabitants of the capital"
".. Something demonic in the eyes..»
– What artistic detail is repeated in the description of appearance? (“Extraordinary fire eyes”, “demonic in the eyes” - these are the eyes of Satan, evil spirits, the bearer of EVIL)

– Why do people always turn to a moneylender for money? (Slide No. 11)
“This moneylender differed from other moneylenders in that he could provide anyone with any amount of money, from a poor old woman to a wasteful court nobleman.” “He gave money willingly...”
– Why did the moneylender willingly give money to both the rich and the poor? (For profit)
– What is personified by the moneylender himself and his portrait in the story ? (Slide No. 12)
– What changes occur in people who associate themselves with a moneylender?

X. Message from microgroups (homework on the topic “What temptations and tests did each of the artists go through when choosing their path to true art?) (Slide No. 13)

• Artist Andrey Petrovich Chartkov (group 1) (Quotes to help those answering – hyperlink: slide number 19)

“..Too much has already been attributed to previous artists,” and “a genius creates boldly and quickly.” “He had already begun to tire of the same portraits and faces...”
“...his brush grew cold and dull, and he... was enclosed in monotonous, definite, long-worn forms...”
“He was overcome by terrible envy, envy to the point of rage... Having bought the painting,... he tore it up,... trampled it with his feet, accompanied by laughter of pleasure.”

• Comrade Chertkova (2nd group) (Quotes to help those answering – hyperlink: slide number 20)

WITH " early years carried within himself a passion for art, with the fiery soul of a worker, plunged into it with all his soul, broke away from friends, from relatives, from sweet habits...”, “..like a hermit, plunged into work”, “..kept him as a teacher one divine Raphael."
“Pure, immaculate, beautiful as a bride stood before him the artist’s work. Modestly, divinely, innocently and simply, like a genius, it rose above everyone... One could see how the artist first enclosed everything extracted from the outside world into his soul and from there, from the spiritual spring, directed it with one consonant, solemn song..."

• The artist who painted the portrait of a moneylender (group 3) (Quotes to help those answering – hyperlink: slide number 21)

“With the blessing of the abbot, he retired to the desert... There for a long time, for several years, he exhausted his body, strengthening it at the same time with the life-giving power of prayer.”
“The holy higher power guided your brush and the blessing of heaven rested on your work,” this is what the abbot said to the artist, who managed to cleanse his soul of evil.

Teacher. So, Gogol is convinced that talent is God’s gift and a man of art should under no circumstances touch EVIL in his work, since it involuntarily begins to penetrate his soul, consciousness, and then creativity.

Message from microgroup 3 (homework on the topic “Advice and instructions from the father of artist B. to his son”) (Slide No. 14)

– Which of the father’s advice to his son do you consider the most important? Why?

Teacher. In his discussions about true art and the purity of the artist’s soul, telling the story of the struggle between good and evil, N.V. Gogol traditionally relies on biblical legends.

– What is the connection between the advice of the artist’s father B. and the Sermon on the Mount of Christ? Prove it with text. One example: (Slide No. 15)

In the text:

“A man who has left his house in light festive clothes has only to be sprinkled with one spot of dirt from under the wheels, and all the people have already surrounded him, pointing their fingers at him, and talking about his slovenliness, while the same people do not notice many spots on others passing by, dressed in everyday clothes. For stains are not noticeable on everyday clothes.”

In the Bible:

“And why do you look at the mote in your brother’s eye, but do not feel the beam in your own eye?... Do not give what is holy to dogs, and do not throw your pearls before swine, lest they trample them under their feet and turn and tear you to pieces.” (Matthew Bible: 7:1-14)

Conclusion.

– What is the role in society of a person endowed with the “precious gift of God”? (Slide No. 16)
– How do you understand the statements of the classics about this?

XI. Homework:(the student chooses the task at will)

• Write an essay on the topic “Does the second part of the “Portrait” refutes or confirms the idea of ​​the omnipotence of evil?
• Or create syncwines telling about artists (Chartkov, his friend, father of the artist B.)

XII. Reflection.(testing – Presentation 2 , Appendix 1 )

Used literature:

1. Literature. 8th grade: Lesson plans (according to the program of A.G. Kutuzov) / Comp. L.M. Seregina - Volgograd: Teacher, 2003.
2. B. Arapovich and V. Mattelmäki. Children's Bible. Bible stories in pictures. Publisher: Russian Bible Society, Moscow, 1994
3. http://www.eelmaa.narod.ru/urlit/materials/g1.html – Marantsman V.G. Material for studying N.V. Gogol's story Portrait

Topic: “The Death of the Human Soul”

(Based on the story “Portrait” by N.V. Gogol)

Literature lesson in 8th grade.

Teacher of Russian language and literature

Municipal Educational Institution Nomzhenskaya Secondary School Tsvetkova N.A.

Lesson objectives:

Identify the main idea of ​​the story;

Learn to see the artist’s creative method, understand and feel it worldview;

Instill interest in Gogol the writer, Gogol the personality in Russian history culture.

Methodological goal: demonstration of the method of text analysis as a means of developing and improving the ability to perceive, interpret and evaluate a work.

Equipment: portrait of N.V. Gogol, multimedia support, work by N.V. Gogol.

Lesson progress:

Teacher: "Portrait" is a fantastic story. We have already read "The Picture of Dorian Gray" (O. Wilde) and " Shagreen skin"(O. De Balzac). These works are similar in many ways. But our task today is to comprehend the influence of art on man. The writer believed that art is called upon to serve man, turning his heart to God. But art must at the same time fight against Evil, against hostile God's strength. The question that tormented Gogol sounds something like this: “Is an artist capable of doing everything for the victory of Good over Evil in the human soul?”

“Portrait” is not just one of the “Petersburg Stories”, which talks about the purpose of the writer and his creation, - it is a work where Gogol’s view of the meaning and tasks of art and the Artist himself is most fully expressed. What seems fantastic, supernatural to Gogol himself?

Teacher: In "Portrait" the power of money is embodied in the image of the moneylender Petromichali, his money, his terrible portrait. The fantastic becomes ordinary.

When we read the second part of the story, we see Chartkov and his way of life more clearly; he seems to rise above the space where the events take place.

(Students easily navigate Chartkov’s environment, identifying more and more new sides of his personality.)

Student Assistant: The young artist Chartkov finds a mysterious portrait in which part of the life of the devil himself is retained, and the image of this devil-usurer appears against the backdrop of real St. Petersburg.

Teacher: The devil and "diabolism" in Gogol's works. This topic is already familiar to us. It happened in “Evenings...”, in “May Night...”, in “Vie”. We are now concerned about something else: the devil - devil - devilry - Chartkov's character traits (Chartkov - Chertkov - facial features - devil - devilish trait). Please comment on this thread. What associations do you have as you comprehend it?

Student Assistant: We see Chartkov, who found a bundle of money and began to change before our eyes. Let's look at the text:

“Now he had in his power everything that he had hitherto looked at with envious eyes, which he had admired from afar, swallowing his saliva. Oh, how zealous began to beat within him when he just thought about it! Dress in a fashionable tailcoat, break his fast after a long fast, hire get yourself a nice apartment, go straight away to the theatre, to the pastry shop, to... and so on..."

After all, “he went out into the street alive, lively, in Russian expression: line not brother. He walked around with a gogol, pointing his lorgnette at everyone."

Then he's the same damn slipped past his professor, “to which the stunned professor stood motionless on the bridge for a long time, depicting a question mark on his face.”

Teacher: Why did Chartkov “sneak” past the teacher?

Student Assistant: Chartkov remembered the professor’s instructions: “Look, brother, you have talent; it would be a sin if you ruin it... Be careful that you don’t become a fashionable painter...”

Teacher: How else does he use the money?(He succumbs to their evil charm, betrays art, beginsplease rich customers, loses moral purity.)

Teacher : How do you understand the expression “moral purity”? (Chartkov becomes a “practical” person.)

Teacher: Is "practical man" a bad thing? (Yes, for Chartkov this is death, because the artist must be free, he must be a dreamer, a visionary, perhaps, in the opinion of those uninitiated in art, somewhat frivolous. He begins to worship mammon (the Syriac word is “wealth.” Gospel of Luke, Chapter 24).)

Teacher:

- How was the portrait of the moneylender painted?

By whom?

How does the downfall of an artist who painted a portrait of a moneylender occur? (He is overcome by envy of his student.)

Why is there no holiness in his paintings? (All the figures have devilish eyes.)

How does he relate to his family?

Why didn't he burn the portrait?

(Students retell in detail how the artist survived the death of his wife, daughter, and young son. The episode of the artist’s “resurrection” after many years of suffering is especially interesting. The images of the baby and the Most Pure Mother created by the artist lead students to understand Gogol’s thoughts: “Whoever has talent within himself must have a purer soul than anyone else.Much will be forgiven to another, but it will not be forgiven to him.")

Conclusions:

A true artist, talent is from God.

The power of money that corrupts the soul, the doom of art where the cult of profit triumphs - this is main topic stories.

The moneylender is a product of the banker century, the 19th century; he knows no other subject than money. He lends money on interest, he sells money, receiving money for money.

People go to him in the hope that gold will bring happiness (“you cannot believe in God and mammon”).

The old master realized the terrible cost of losses: "Who has talent within himself.he must have the purest soul of all."

Teacher: What does Gogol teach? (A spiritually pure person can create beautiful and good art, kind person. Gogol seems to be reading a sermon about purification, about devotion to the great.)

Yes, that's right. Nikolai Vasilyevich always spoke about the role of asceticism. An ascetic is a person who has taken on hard work, often thankless, and hardships in the name of a great goal, or in the name of loyalty to his dream, a noble idea.

The artist - the author of the portrait of a moneylender - dreamed of a portrait as a model of the “spirit of darkness”, in which he reflected “all the most difficult things that oppress a person”... Did he have the right to depict similar phenomena in the world around us? We know what came of it.

Student Assistant: Every true artist should have freedom of choice. Gogol, apparentlyhe himself believes that the artist has the right to depict everything as he sees, understands, feels. But at the same time the writer says:"Who has concluded within himself talent, he must have the purest soul of all."

Teacher: What about Chartkov? (He is pitiful. Gogol says about him: “all his feelings and impulses turned toevil." The "trader" century, the banker century generously pays Chartkov for his services, favors him andgold and uniform. He is rich, famous, corrupt scribblers write about him in the newspapers,he is in office... But particle by particle, Chartkov is losing his talent and soul.)

Quote:

“Glory cannot give pleasure to those who stole it and did not deserve it; it produces constant awe only in those worthy of it. And therefore his [Chartkov’s] feelings and impulses turned to gold. Gold became his passion, ideal, fear, pleasure, goal ... He began to become boring, inaccessible to everything except gold, a causeless miser, a dissolute collector..."

Teacher: But something had to wake him up if there was anything human left in him? (Yes, there was one event. He came to the Academy of Arts to give hisjudgment about a painting by a Russian artist sent from Italy.)

Teacher: Let's look at the text.

Quote:

“Pure, immaculate, beautiful as a bride, the artist’s work stood before him... Involuntary tears were ready to roll down the faces of the visitors surrounding the painting... Chartkov stood motionless with his mouth open in front of the painting... The whole composition, his whole life was awakened in one moment, as if youth had returned to him, as if the extinguished sparks of talent had flared up again. God, to destroy the best years of his youth so mercilessly...

Teacher: So, what feelings does Chartkov experience? (Gogol speaks at the beginning about emotional excitement, about the terrible torment thatthe hero experiences. But he is already spoiled by money, “freedom” and, as he noteswriter, “he was seized by terrible envy, envy to the point of rage, bile appeared in his on his face...")

Teacher: But why does Chartkov need a “fallen angel”? (Probably, Chartkov compares himself with a humiliated angel cast down from heaven, without admitting to himself that there is more demonic in him than angelic. Perhaps Chartkov is given his last attempt to remain a human in this world... “The fallen angel” is a symbol of the fall of not only the hero, but also the death of his soul.)

Teacher: What associations do you have with the image of an angel? (Of course, with the demon portrayed by A. Pushkin, and Gogol himself speaks about this.)

The assistant student reads A. Pushkin’s poem “The Demon”:

In those days when I was new

All the impressions of life -

And the glances of the maidens, and the noise of the oak trees,

And at night the nightingale sings, -

When sublime feelings,

Freedom, glory and love

And inspired arts

The blood was so excited, -

Hours of hope and pleasure

With melancholy suddenly autumn,

Then some evil genius

He began to visit me secretly.

Our meetings were sad:

His smile, wonderful look,

His sarcastic speeches

Cold poison was poured into the soul. Inexhaustible slander

He tempted Providence;

He called with a beautiful dream;

He despised inspiration;

He did not believe in love, freedom;

Looked at life mockingly-

And nothing in all of nature

He didn't want to bless. (l823)

Teacher: The word can not only destroy, but also protect. Gogol's entire philosophy is in his Words. And they are next to us, we just have to listen by opening the book. Gogol is an artist, Gogol is a personality, and life has confirmed this. Learning patience and work from Gogol is learning to live. So what, according to Gogol, is the great power of art and the purpose of the Artist?

(An evil soul cannot bring beauty into the world, because Good and Evil are incompatible. After his death, the moneylender received a material shell in the form of a portrait and continued his dirty deeds among people - this was the terrible crime of the artist who created this image. Gogol believes, that the Artist does not dare to betray his calling for the sake of money, wealth, if he wants his art to serve man. "But someone who has talent within himself is purer than allmust be a soul. Much will be forgiven to another, but it will not be forgiven to him.")

Teacher: The question of the purpose of the Artist greatly tormented Gogol. All his life this writer was looking for an opportunity to serve the Fatherland and more than once doubted the choice of his destiny. There were several reasons for this: the writer’s responsibility for his work, faith in the powerful forces of art’s influence on people and, of course, Gogol’s deep religiosity. However, we will talk about this in more detail in high school. Now let's turn our attention to homework.

Homework. The teacher offers several topics for elective essays:

- “Gogol’s word in the story “Portrait”;

- "Chartkov - hero or anti-hero?";

- “The image of a moneylender in N.V. Gogol’s story “Portrait”;

- "Antithesis as a literary device in creating the image of Chartkov."

Literature lesson in 9th grade on the topic:

“Three types of artist in N.V. Gogol’s story “Portrait.”

Learning Objectives:

organize student activities;

introduce N.V. Gogol’s story “Portrait”, teach to read the work carefully, notice important details, find out the level of reader perception, let you feel the originality of Gogol’s prose, imagine the characters, feel sympathy for them, find out Gogol’s techniques for creating images;

show what role N.V. Gogol assigned to art in the life of society, what a true artist should be - according to Gogol;

find out what types of artists exist according to Gogol and what is the highest type of artist.

Developmental goals:

develop the ability to independently analyze work of art;

develop thinking skills after reading a work of fiction.

Educational goals:

bring up attentive attitude by the way, spirituality, chastity, mercy;

promote the development of communication skills.

Lesson form : lesson-reflection.

Board design:

Portrait of N.V. Gogol, reproduction of A. Ivanov’s painting “The Appearance of Christ to the People”, icon “Nativity of Christ”, illustrations for the biography and works of the author, students for the lesson.

Progress of the lesson.

Teacher's word.

Teacher:

— Before the lesson, you received an assignment to read N.V. Gogol’s story “Portrait,” ask questions that you would like answered today in class, and attach them to the board on a sticky note. When leaving the lesson, do not forget to return to your questions and, if you received an answer to your question, remove it, and if you did not receive it, leave it. This will be a signal for me, what we will talk about in the next lesson.

Exercise: Restore the logical chain.

The children are given pieces of paper on which a broken logical chain is given, which will allow them to test the students’ knowledge of the text.

A) In this logical chain, the sequence in the content of the text is broken. Restore it by indicating the order of these phrases. Part 1.

Living human eyes - a magnificent apartment - young artist Ch.

– fashionable painter - old portrait - envy took over - 1000 ducats - advertisements in the newspaper - life interrupted - shock from the painting of a genius - hated portrait - terrible illness - the bandage fell off the eyes.

B) In this logical chain, the sequence in the content of the text is broken. Restore it by indicating the order of these phrases. Part 2.

The story of a moneylender – auction – request to draw a portrait – destroy it – portrait of an Asian – nobleman – Prince R. – instructions – competition – “stolen” – brings misfortune – monk.

In the correct version it will look like this:

Part 1. The young artist Ch. - bought a portrait - living human eyes - 1000 chervonny - a magnificent apartment - an advertisement in the newspaper - a fashionable painter - shock from the picture of a genius - the bandage flew off the eyes - a hated portrait - envy took over - the disease was terrible - life was interrupted.

Part 2. Auction - portrait of an Asian - story about a moneylender - nobleman - Prince R. - request to draw a portrait - competition - brings misfortune - monk - instructions - destroy him - “stolen”.

Thus, we have restored the content of the story, and anyone who had any questions about the content of the story should disappear. You can proceed to the analysis of the work.

Conversation with the class:

- Who main character stories? Find his portrait. What have we learned about him?

— Who else are the heroes of the story? (artists)

- How do they differ from each other? What do they have in common?

— What types of artists could you identify in this work? (artist - craftsman, artist - genius, artist - icon painter).

Working with the text of the story .

We work in groups. Each group chooses one type of artist: after examining the text of the work, determine what type of artist is behind each of them?

Assignment: analyze one type of artist based on the text of Gogol’s story “Portrait”. Can you formulate what type of attitude towards art is behind each artist? Find evidence in the text. Draw a conclusion.

Criteria: 1) attitude towards art (goal)

2) attitude towards work

3) attitude towards fame

4) way of life (everyday life)

5) attitude towards people

What, according to Gogol, is true art? What ruins talent?

You are given 10-15 minutes to work.

The result of your work will be not only an oral presentation from the group, but also a prepared sheet of paper with a table, graph….

Each group performs with its own project.

The craftsman is Andrei Petrovich Chartkov, the main character of the story. Talented, follows nature. But... he strives for fashion. This is precisely what destroys him, chasing money and fame, he loses his talent. In order to paint portraits that people would pay money for, you don’t have to be a creator, you have to be a craftsman. He did not fulfill his purpose in this world and was punished with moral death.

The highest type of artist. He was engaged not in secular, but in religious painting. To display spiritual world, one must have enormous strength of spirit and purity of heart, otherwise evil will subjugate a person. He expresses Gogol’s view of creativity: “Save the purity of your soul.” Creativity is primarily a spiritual matter, and it cannot be polluted by vanity.”

The general conclusion is drawn:

Ideals for a person: spiritual independence from external circumstances, preference for spiritual values. True art serves Good. Gogol talks about how Russian people should live and act. Life poses many problems for creative people. One of them: art and reality. And they reflect the world in which they live.

Homework: written work to choose from:

- re-read the ending of part 1 of the story, imagine that Chartkov left a posthumous letter to the young artists (descendants). Write it (essay-letter);

— an essay on impressions of the story;

— a person’s goal in life? – do Good!?

Municipal budgetary educational institution

"Lyceum No. 24"

Literature lesson in 9A class

based on the story “Portrait” by N.V. Gogol.

Prepared

Russian language teacher

and literature

Loseva Isabella Vasilievna

G. Gukovo, Rostov region

2014

2. A message from a previously prepared student about the idea and history of the creation of the story “Portrait”.

Student.

The idea of ​​the story dates back to 1831-1832. Three works - “Nevsky Prospekt”, “Portrait” (1st ed.), “Notes of a Madman” - were included in the collection “Arabesques”, published in 1835. The author dreamed of creating a book about St. Petersburg artists, sculptors, and musicians. The first two stories echo a number of Arabesque articles on art issues. The author so deeply and sincerely believed in its saving power that he hoped to influence the world order through it. “...I know that before I understood the meaning and purpose of art, I already felt with the instinct of my whole soul that it should be holy... In art there are creations, not destruction. Art is the establishment of harmony and order in the soul, and not confusion and disorder...” - says N.V. Gogol in a letter to V.A. Zhukovsky.

In the early 40s, the author returned to work on the story, since its first edition was not accepted by his contemporaries. V. G. Belinsky noted: “Portrait” is an unsuccessful attempt by Mr. Gogol in the fantastic genre. There's talent here. The first part of this story cannot be read without But its second part is absolutely worthless: Gogol is not visible in it at all...” In Rome, the author subjected the story to a thorough revision. In the first edition, Gogol conducted an open dialogue with the reader, exposing all the “nerves” of the work. In the second edition, he deepened the aesthetic issues and more clearly expressed the aesthetic ideal. In the first part, the problem of realizing a hobby... an artistic gift, the influence of art on the human soul came up sporadically. In the final version, this question is posed with complete certainty: “Or is slavish, literal imitation of nature already an offense and seems like a discordant cry?” True art, according to Gogol, should be illuminated by the highest light and not obey the laws of the momentary, temporary. As a result of the edits, the plot was changed: the subtext was deepened, the exposition and ending were changed, and the fantasy was veiled.

Teacher's word. I would like to start a conversation about the story “Portrait” and its author with the words of N.V. himself. Gogol: “Compatriots, I loved you...”. Indeed, only a great love for people can explain the fact that the writer, being by virtue

his views and beliefs distant from fundamental social issues, nevertheless he became a writer public importance. He did not remain in literature as an artist - a writer of everyday life of Dikanka, but created such internally bright and truthful characters, shining through the external form, that are alive to this day. Gogol is an Artist, a Teacher, who perceived the outside world through subjective – spiritual comprehension. I'm sure, guys, that Gogol

It was given to us so that we would not be killed by vulgarity, indifference, and insignificance. After all, Christian preaching constitutes a significant part of Gogol’s heritage. This fully applies to the story “Portrait”.

Conversation on issues. 1. What is the reason for Chartkov’s “rebirth” from “an artist with a talent that prophesied much” into a pathetic, greedy artisan?

The reason was a terrible portrait of a moneylender, and most importantly, money that fell out of the frame.

2. Did he really have talent, did he have anything to lose?

He had considerable talent, the author himself speaks about this more than once: “he was selflessly devoted to his work,” in the paintings exhibited in the shop on Shchukin’s yard he saw with his experienced gaze “stupidity, powerless, decrepit mediocrity,” “his brush responded with observation, consideration , we have a great impulse to get closer to nature. The professor himself told Chartkov: “Look, brother, you have talent; It will be a sin if you destroy him.”

3. Please note that in the professor’s speech and reproaches the word “fashionable” is heard three times; he puts an evaluative meaning into this word. Which?

He has a desire to show off, but this is probably explained by his youth and poverty. Moreover, he is waging an internal struggle with himself - “but despite all that, he could take power over himself.”

side of his soul. And in the second half there is a thirst for instant success and fame. But while passions do not rage, Chartkov copes with them, he manages to maintain mental balance. But then the strongest temptation comes - money falls out of the frame... . What happens to the hero?

This is the shortest path to fame, success, an easy life full of bright impressions. Chartkov felt the presence of some terrible force emanating from the portrait, it was this that pushed him to murmur, for the first time he raised his voice against fate. He began to grumble.

5. Yes, grumbling is indignation against God, it is the voice of the devil, and it was reborn at a moment of doubt and internal discord. And when the money appeared in his hands, the dispute became even more fierce. Can you find any excuses for Chartkov approaching the fatal line?

He is young, he is only 22 years old. Tired of poverty, sometimes even hungry, sees brilliance and luxury around him, is able to see lightness and carelessness in people's imperfections. Youth and envy take precedence over talent, hard work, and modesty.

6.And, worst of all, fear of God. Chartkov violates not only moral standards of behavior, but also the commandments of God. The artist is driven by one desire - motive: enrichment. Forgetfulness of conscience, which is the main Christian virtue, obsession with material passion, leads to the fact that he begins to paint artisan portraits, exchanges talent for money, turning it into an expensive commodity. His life appears to me as a mathematical proportion that you need to complete:

Chartkov= life

Painting? (golden frame).

7.Now let's listen to Svetlana Kopylova's song

"Leonardo Da Vinci." Is it appropriate to listen to it in class? Why?

Both heroes committed the Fall, apostasy, and both seemed to appear before the face of Christ. Both managed to see and understand the results of their deviation from righteousness: Chartkov died before he went mad, and the pitiful semblance of a man with the features of Judas still remembers the time when the Image of Christ was copied from him.

7. Both heroes retreated from God, forgot that they were created in his image and likeness, one chose the path to the gutter, indulging in drunkenness and debauchery, the other chose the path of an ordinary artisan, when art serves the whim of the customer, instead of art in the name of the eternal. And what is their ending?

The posing person was left with only memories of the beautiful image of Christ, the features of which the artist found in his face, and Chartkov lay among the cut-up paintings, and “his corpse was terrible.” A terrible sight and a difficult experience.

No, these immoral characters, these weak-willed creatures living their lives without faith cannot serve as life guidelines for us.

9. I would like to draw your attention to one more aspect. Both authors strive to eradicate shortcomings, thereby destroying the anti-ideal that they themselves created. What means do you think they use to achieve this?

Firstly, they both managed to convey the characteristic features of their heroes; they, like sculptors, removed all unnecessary, all minor details, and brought the most important ones to perfection. Secondly, one cannot help but admire the language of the works; talking about the destruction of personalities in such vivid language is only possible for great masters of words. So in Gogol, the closer the plot approaches reality, the more significantly the style changes, the means change artistic expression, although the artistic language characteristic of the author remains unique, unique, inimitable.

10. Indeed, Gogol, even before Dostoevsky, realized the great and saving role of beauty in the age of “whim and pleasure.” In his work, as in the song, he creates an artist who must save the world with beauty, for beauty is something worth living and creating for. Both authors highly value genuine painting, because in it, as in literature, one cannot lie or betray high ideals. The authors not only put everything “bad” before the face of Christ, but first of all they themselves appeared, were illuminated by faith and lit others with it. Even speaking about the ugly, which has fallen away from the Divine principle, Gogol creates a unique stylistic flavor with a pathetic tone of presentation, delights with the depth, subtlety, and elegance of the prose.

Find the keywords that complete the second part of the portrait. The main idea in them is the idea of ​​the high responsibility of a Man to be a Man, and the artist to be responsible for his talent, since it is “the most precious gift of God.”

“Whoever has talent within himself must have a purer soul than anyone else. Much will be forgiven to another, but it will not be forgiven to him..."

Homework. Describe any of V. Panov’s illustrations to N.V. Gogol’s story “Portrait”.

Literature used

T.F.Kurdyumova. Literature. 9th grade.-M./Drofa, 2012

Lesson on the topic : « The role of art in society."

Goals :

Based on independent research work repeat and summarize knowledge on the content of N.V. Gogol’s story “Portrait”, draw conclusions about the role of art in society, what is the true purpose of the artist, how relevant these problems are today;

cultivate moral qualities, encourage understanding of the true values ​​of life;

develop the skills of reasoned oral presentation, express your point of view, work in a group, and draw conclusions.

Basic concept :

art (1. creative reflection, reproduction in artistic images

2. ability, mastery, knowledge of the matter

3. the very thing that requires such skill, mastery.)

Equipment : portrait of N.V. Gogol, A.A. Ivanov, K.P. Bryullov; reproductions from paintings by Ivanov “The Appearance of Christ to the People”, Bryullov’s “The Last Day of Pompeii”, illustrations to Gogol’s story “Portrait”; book exhibition.

Lesson progress

I . Teacher's opening speech.

Creativity N.V. Gogol is inseparable from the time in which he lived, from the intense quests characteristic of Russian society after the defeat of the December uprising of 1825, when the best minds of Russia painfully tried to comprehend the ongoing historical processes, comprehend the truly dramatic past of their country and predict its future. A.S. Pushkin, Pyotr Yakovlevich Chaadaev, Alexander Ivanovich Herzen, Vissarion Grigorievich Belinsky, Sergei Timofeevich Aksakov and many others, including Gogol, who devoted his entire life to understanding Russia and its role in world history, thought about this. Gogol was convinced that in the events of the distant past lies the key to understanding modern reality. But he was first and foremost an artist and sought to comprehend the laws of historical existence through knowledge of man, through the revelation of the most secret movements of his soul.

The main motive of Gogol’s work is pain for man, for desecrated human dignity, a bitter feeling from the awareness of the impossibility of realizing bright and humane ideals in reality under existing conditions. And at the same time, he always believed that in anyone, even the worst person, the living human soul cannot completely fade away. There are those who perish, but there are no completely lost people, - this is what Gogol believed and tirelessly searched for the humanity in every person.

In Russian literature, Gogol acted as a continuer of Pushkin’s traditions and, while working on his works, carefully listened to the advice of the great poet.

But it would be wrong to see in Gogol only an obedient student of Pushkin. He had his own vision of the world, his own attitude to reality. He believed that fate had prepared for him a special mission, that he was destined to show Russia (and through it all of humanity) the path to purification and renewal.

The prophecy has always been characteristic feature our literature. The Russian writer not only created, he taught, sought to awaken in his compatriots a sense of humanity, compassion for others, and looked for universal ways to comprehend the ideals of goodness, truth and justice. And Gogol was one of the first Russian writers in whose work the prophetic principle manifested itself so clearly and definitely.

In the 30s and 40s, there were debates in society about the essence of art. Heroes romantic works became vulnerable people of art, often despised and misunderstood by those around them. And the life itself of many famous talented artists of the 19th century was not at all prosperous. Examples of this are the fates of artists: Isaac Ilyich Levitan, Van Gogh, Alexander Andreevich Ivanov, whose moral purity and devotion to the high ideals of art admired Gogol.

Controversial questions about the role of art in society, about the true purpose of the artist, about the artist’s responsibility for his work were also reflected in Gogol’s story “Portrait,” which was first published in the collection “Arabesques” in 1835. Encouraged by the success of “Evenings on a Farm near Dikanka,” Gogol collected articles on art (“Painting, sculpture and music,” “A few words about Pushkin,” “On the architecture of the present time”), lectures and articles on history and reflections on historical figures and published them together with the story "Portrait".

In his work, Gogol examines life contemporary artist against the backdrop of history and art. This frame of the story is very important in order to understand how the writer separates vanity and eternity, how he searches for the true meaning of human life and determines the purpose of art.

Gogol called his story "Portrait". Is it because the portrait of the moneylender played a fatal role in the life of his heroes, the artists, whose fates are compared in two parts of the story? Or because the author wanted to give a portrait modern society and a talented person who perishes or is saved in spite of hostile circumstances and the humiliating properties of nature? Or is this a portrait of art and the soul of the writer himself, trying to escape the temptation of success and prosperity and cleanse the soul with high service to art?

Probably, in this strange story by Gogol there is a social, moral, and aesthetic meaning, there is a reflection on what a person, society, and art are. Modernity and eternity are intertwined here so inextricably that the life of the Russian capital in the 30s of the 19th century goes back to biblical thoughts about good and evil, about their endless struggle in human soul.

Today in class on the basis of independent research work, we will repeat and generalize knowledge on the content of N.V. Gogol’s story “Portrait”, draw conclusions about the role of art in society, what is the true purpose of the artist, how relevant these problems are today;

I hope that this story will not leave you indifferent and will encourage you to think about the true values ​​of life.

We will continue to develop the skills of reasoned oral presentation, independent judgment, expressing our point of view, drawing conclusions, and, of course, the ability to work in groups.

So, there were 5 groups in total, and each one collected additional material on the questions asked.

Write down the topic of the lesson.

The leitmotif of our lesson will be the concept of “art”, so I suggest turning to explanatory dictionary Ozhegov and remember the lexical meaning of this word ( read out the value ). Highlight the most important words that characterize this concept (skill, skill, creativity).

Many famous personalities have given their own interpretation of this word.

American writer Theodore Dreiser said: “Art is the nectar of the soul, collected in labor and pain.”

“Art is a mediator of what cannot be expressed,” noted German writer Johann Goethe.

“Art, like life, is beyond the capabilities of the weak,” said Alexander Alexandrovich Blok.

“Serious art, like any serious business, requires a whole life,” reasoned Ivan Aleksandrovich Goncharov.

“Art was threatened by two monsters: the artist who is not a master, and the master who is not an artist,” is the point of view French writer Anatole France.

We will turn to these sayings at the end of the lesson, summing up our own thoughts and finding out which of these statements most corresponds to the problems posed in the lesson.

II . Student presentations with messages and their opinions on the seminar issues.

1 group.

What is the tragedy of the artist Chartkov?

When will Chartkov realize it?

What are its reasons?

Do similar problems exist today?

At first we meet the artist Chartkov at that moment in his life when, with youthful ardor, he loves the heights of the genius of Raphael, Michelangelo, Corriggio and despises handicraft fakes that replace art for the average person.

Seeing a strange portrait of an old man with piercing eyes in the shop, Chartkov is ready to give his last two kopecks for it. Poverty does not take away his ability to see the beauty of life and work with passion on his sketches. He reaches out to the light and does not want to turn art into an anatomical theater and expose the “disgusting man” with a knife-brush. He rejects artists whose “nature itself... seems low and dirty,” so that “there is nothing illuminating in it.” Chartkov, according to his teacher in painting, is talented, but impatient and prone to worldly pleasures and vanity; the professor warns him that his God-given gift can be ruined by gaining fame and wealth by drawing “fashionable pictures for money.” “Be patient,” he advises.

But it’s hard not to give in to temptation. And the young artist, suffering from hunger and cold, thinks about the injustices of life. (Find his reflections in the text. What words are key to understanding his nature? - “Sometimes it became annoying, when... even someone who was not a painter by vocation, with just his usual manner, the quickness of his brush and the brightness of his colors, made a general noise and instantly accumulated capital for himself... envious the fate of a rich painter was pictured in his hungry imagination... to give up everything and sting out of grief out of spite everything")

What struck him about the portrait of the old man? (one can feel the reality of the person depicted, but the eyes of the old man, which have terrible destructive power, are especially attractive.

What fantastic power does this portrait contain? Tell us about the artist's strange dream.

(The artist’s dream is a fantastic reality. The old man comes to life. He, like a devil, attracts the unfortunate Chartkov with the shine of gold, tempting him. And the artist finds himself in the hands of an evil creature.

Follow the feelings and movements of Chartkov, who saw a bundle of money that rolled a little further than the rest. (Working with the text, key words: “...stared all over the gold, looking motionless...”, “grabbed convulsively, full of fear,” etc.)

How does the artist manage this money, what does he decide to spend it on? (text – his actions, purchases).

And as soon as the money, miraculously dropped from the portrait frame, gives Chartkov the opportunity to lead an absent-minded social life, enjoy prosperity, wealth and fame, and not art, become his idol. The bad side of nature begins to triumph in him. We sense a dramatic change in the artist. Having become rich, Chartkov does not notice his teacher, orders articles about the extraordinary talents of the newly minted painter, and admires himself, looking at his reflection in the mirrors.

Considering himself an unsurpassed master, he overthrows authorities, criticizes Raphael and Michelangelo, Chartkov declares that “too much has already been attributed to previous artists,” and “genius creates boldly and quickly” (it was not for nothing that he worked on the first portrait of a girl, as it seemed to the lady customer, too long, but “soon he himself began to marvel at the wonderful speed of his brush. (POINT TO THE ILLUSTRATION - BOARD).

Chartkov owes his success to the fact that while drawing a portrait of a society young lady, which turned out rather bad for him (it was not for nothing that he worked for a long time on the first portrait of a young girl), he was able to rely on a disinterested work of talent - a drawing of Psyche, where one could hear the dream of an ideal being. Chartkov lied, giving the insignificant girl the appearance of Psyche. Having flattered for the sake of success, he betrayed the purity of art. And Chartkov’s talent began to leave him and betrayed him.

“Whoever has talent within himself must have the purest soul of all,” says the father to his son in the second part of the story

Chartkov, who has given up truth to beauty for the sake of success, ceases to feel life in its multicolor, variability, and trembling. His portraits console customers, but they do not live, they do not reveal, but hide the personality and nature. And despite the fame of a fashionable painter, Chartkov feels that he has nothing to do with real art. (find in the text: “He had already begun to tire of the same portraits and faces,” “His brush grew cold and dull, and he enclosed himself in monotonous, definite, long-worn forms”)

A wonderful painting by an artist who perfected himself in Italy caused a shock in Chartkov. But the shock experienced by Chartkov from the beautiful picture does not awaken him to a new life, because for this it was necessary to abandon the pursuit of wealth and fame, to kill the evil in himself. Chartkov chooses a different path: he begins to expel talented art from the world, buy and cut magnificent canvases, and kill goodness. And this path leads him to madness and death.

Gogol pronounces a harsh sentence: “Glory cannot give pleasure to those who stole it and did not deserve it.” The artist is reborn into a miser “with a dead man for a heart.”

What was the reason for these terrible transformations: a person’s weakness in the face of temptations or the mystical witchcraft of the portrait of a moneylender who gathered the evil of the world in his scorching gaze? Gogol answered this question ambiguously. A real explanation of Chartkov’s fate is just as possible as a mystical one. The dream that leads Chartkov to gold may be both the fulfillment of his subconscious desires and the aggression of evil spirits, which is mentioned whenever the portrait of a usurer is discussed. The words “devil”, “devil”, “darkness”, “demon” turn out to be the speech frame of the portrait in the story.

CONNECTION WITH MODERNITY.

Unfortunately, the problems under consideration are still relevant today...

Student performances:...

2nd group.

What is discussed in the first part of the story, and what is discussed in the second?

What connects them?

Why is the chronology broken (the second part should precede the first)?

The first part of the story contrasts two artists who studied at the Academy at the same time, both talented, but who chose different paths in life. One “from an early age carried within himself a passion for art, with the fiery soul of a worker, he plunged into it with all his soul, broke away from friends, from relatives, from sweet habits... he plunged into work and into activities that did not entertain anything.” He learns by imitating the great masters, especially Raphael.

Another, Chartkov, having suddenly received money, “dressed from head to toe, bought perfume, lipsticks, rented a magnificent apartment on Nevsky Prospekt, ate too much sweets in a confectionery, drank a bottle of champagne, which was also previously more familiar to him by ear. sidewalk with nog.

Chartkov quickly “became a fashionable painter in all respects. He began to go to dinners, accompany ladies to galleries and even to festivities, and publicly assert that an artist should belong to society.” Chartkov declares: “This man, who spends several months poring over a painting, for me, is a hard worker, not an artist. I don’t believe that he has talent. A genius creates boldly, quickly... I admit, I don’t recognize as art what is sculpted line by line; this is a craft, not an art" (POINT TO THE ILLUSTRATION - BOARD).

The creativity inherent in the first artist acquires the features of martyrdom and asceticism, and the cheerful lightness of the second turns into the sale to the devil of the soul of Chartkov, enchanted by gold, who succumbed to the demonic temptations.

It is also curious that Chartkov’s involuntary rival reveres the “great teachers” in art, while he himself boldly criticizes the brilliant artists of past centuries.

Seduced by the devil, Chartkov “recognized that mental torment when a weak talent strives to express itself in a size that exceeds it and cannot express itself; that terrible torment that makes a person capable of terrible atrocities. He was overcome by terrible envy, envy to the point of rage.” And Chartkov destroys “all the best that art has ever produced,” trying to destroy art itself. Chartkov ruined his talent, his soul and therefore commits atrocities.

Chartkov was unable to preserve and improve his sacred gift; the instrument for seducing him from the true path was the painting great master, I want to say: genius artist. But Gogol, who created a magnificent image of a pictorial portrait, in every possible way convinces the reader that “this was no longer art. ... There was no longer that high pleasure that fills the soul when looking at the artist’s work, no matter how terrible the subject he took ...” The painting is not enough “an incomprehensible thought hidden in everything,” “there is nothing illuminating in it.” She is a very accurate copy from life, capable of coming to life - but a terrible old man comes to life. Thanks to the artist’s art, reality comes to life - but, not transformed by the divine idea of ​​good, it embodies and brings evil. It is not reality that comes to life, but its idea that comes to life: it is not the moneylender who appears to Chartkov, but the devil in one of his material incarnations.

The description of the portrait is made in such a way that, according to Belinsky, it has “some kind of invincible charm that makes you look at it, although you are scared.” And therefore it is difficult to believe that “this is not art.”

The portrait as the embodiment and bearer of evil is opposed by a brilliant painting painted by Chartkov’s nameless classmate.

The writer characterizes the artist’s skill: “Everything here seemed to come together: the study of Raphael, reflected in the high nobility of the positions, the study of Correggius, breathing in the final perfection of the brush. But most powerfully visible was the power of creation, already contained in the soul of the artist himself.” Mastery is combined with a gift sent to the artist’s soul. “It was clear how the artist first enclosed everything he had extracted from the outside world into his soul and from there, from the spiritual spring, directed it into one consonant, solemn song. And it became clear even to the uninitiated what an immeasurable abyss exists between creation and a simple copy from nature.”

Admired by the painting of his former classmate, Chartkov receives a powerful creative impulse: “... he wanted to portray a fallen angel. This idea was most in agreement with the state of his soul.” But a fallen angel is a demon. The way back turns out to be impossible - the demon cannot return to the divine throne.

Chartkov finally and irrevocably destroyed his soul, since he found himself in the power of the devil and could not escape from under this power.

The second part of the story shows an artist who sinned gravely, albeit unwittingly, but atoned for his sin and saved his soul and genius. Characteristics of the author of the portrait: “He was an artist, of which there are few, one of those miracles that only Rus' alone spews from its untapped womb.

He “believed in the simple, pious faith of his ancestors, and that is why, perhaps, on the faces he depicted there naturally appeared that lofty expression that brilliant talents could not reach.”

Gogol's constant epithets characterizing art are high, heavenly, and light. The devil is the spirit of darkness, and he leaves the canvas at night. Having started to paint a portrait, the artist seems to forget about God, although the lighting itself should have shown him who is in front of him: “the windows, as if on purpose, were crowded and cluttered from below so that they gave light only from one top.” But the artist does not see the light, he sees the face: “Damn it, how well his face is now illuminated!” Turning to the devil instead of praying coincides with the excitement of the master who succeeds in his work - and the fall is accomplished: “What power!” he repeated to himself. “If I portray him even half as he is now, he will kill all my saints and angels.” , they will turn pale before him. What devilish power! He will simply jump out of my canvas, if only I am even a little true to nature.”

In his passion for work, he formulated his artistic goal - and, unfortunately, achieved it. He sinned in the rapture of creativity, his creative power is great, and the greater and more powerful is the evil he committed. And there is only one reason: “...the artist’s hand was guided by an unclean feeling.”

So, evil affects not only Chartkov, who is subject to the temptations of success, but also the father of the artist B., who painted a portrait of a moneylender who resembled the devil and who himself became an evil spirit. And “a strong character, an honest, straightforward person,” having painted a portrait of evil, feels “incomprehensible anxiety,” disgust for life and envy for the success of his talented students.

The artist, atoning for the evil he committed by painting a portrait of a moneylender, goes to a monastery, becomes a hermit and reaches that spiritual height that allows him to paint the Nativity of Jesus.

The juxtaposition of the first and second parts in Gogol's "Portrait" is intended to convince the reader that evil can take possession of any person, regardless of his moral nature.

This thought of Gogol would be incomplete without the second part. The creator of a portrait must be able to refuse to pick up a defiled brush, so as not to betray not just his talent, but his destiny. In a sense, this second story is a variation of the first story; the nameless artist is the same Chartkov, who preferred art to monetary wealth, but never escaped the temptation of his fame and power. This prompted the writer to deliberately break the compositional sequence of the story. The second part is more optimistic than the first, the artist-monk is reborn, cleanses his soul and God helps him create, create masterpieces, and Chartkov was never able to return his talent, since he destroyed his soul irrevocably and made no attempts to change anything in his life.

3rd group.

The story is called Gogol's "aesthetic program". Tell and show with the help of text what the author’s writer’s views are on art and the artist (writer, musician, etc.). Which of the heroes of the story is a true artist and why? What does Gogol think about freedom of creativity, about the purpose of art, about its relationship with religion?

Aesthetics

Philosophical doctrine about the essence and forms of beauty in artistic creativity, in nature and in life, about art as a special type of social ideology.

Someone's system of views on art.

We remembered only two meanings of this word.

The devilish obsession that overwhelmed the humanity of Gogol’s time is the power of money, this is capitalism.

“In the passion for art,” says Gogol, “there is a lot of tempting charm of infatuation - but only in combination with the love for the good, for the bright in a person, can it enlighten both the creator and those for whom he creates. Otherwise, the angels themselves in his paintings They will look with devilish eyes."

In his story, Gogol found it necessary to compare and contrast three heroes. From the first pages of the story we are introduced to an important character - the young artist Chartkov, who, according to the writer, “was devoted to his work with selflessness.” It is no coincidence that we first meet the young artist in Shchukin’s yard. Very ironically, Gogol describes the masterpieces that are so popular among the people and puts into the mouth of his hero his own thoughts about what true art is and what craftsmanship is: “tinsel frames,” “a Flemish man with a pipe and a broken arm, looking like an Indian rooster and cuffs.” , “these red and blue landscapes that show some kind of claim to a somewhat higher step in art, but in which all its deep humiliation was expressed.”

“Here there was simply stupidity, powerless, decrepit mediocrity, which arbitrarily entered the ranks of art, when its place was among the low crafts,” thought the young and talented artist. Undoubtedly, Chartkov is “an artist with a talent that prophesied much,” but thinking too early about the injustices of life, too impatient, the Professor warns him that the gift given by God can be ruined by gaining fame and wealth by drawing “fashionable pictures for money,” and he was absolutely right.

In contrast to Chartkov, who perishes under the power of gold and sold his soul to the devil, an ideal genius is placed, living correctly and achieving perfection, and the second part tells the story of the creator of the portrait, who tells his son: “Whoever has talent within himself must be purer in soul than anyone else.”

Gogol writes a story about how the artist, like all people, is subject to the temptation of evil and destroys himself and his talent more terribly and quickly than ordinary people. Talent that is not realized in true art, talent that has parted with goodness, becomes destructive for the individual.

If for Pushkin a genius is a creator of art equal to God, then for Gogol a work of art created according to the laws of craftsmanship, inspired by divine, heavenly thought, is divine. A genius only acquires, at the cost of boundless service, at the cost of his entire life, the “heavenly brush” and the heavenly gift of creation, the ability to embody “a thought flown from heaven.” The main place in Gogol's concept of art is occupied by a work of art. Therefore, the distraught Chartkov barbarously destroyed works of art (it was not for nothing that in the first edition this hero bore the surname Chertkov, which is associatively connected with both the devil and the verb to draw).

The author of the portrait atoned for his sin by imitating the life of holy righteous people and hermits. After that, he paints the icon, “without leaving his cell, barely feeding himself with raw food, praying incessantly. After a year, the picture was ready. It was, indeed, a miracle of the brush... Everyone was amazed at the extraordinary holiness of the figures... The abbot said: “No, It is impossible for a person, with the help of human art alone, to produce such a picture: a holy, higher power guided your brush, and the blessing of heaven rested on your work." The icon depicts the Mother of God: "The feeling of divine humility and meekness in the face of the most pure mother, bending over the baby, deep intelligence in the eyes of the divine baby, as if already seeing something in the distance..."

The wonderful picture produces a “magical impression”: “All the brethren fell to their knees before the new image.”

The writer characterizes the skill of the nameless painter: “Everything here seemed to come together: the study of Raphael, reflected in the high nobility of the positions, the study of Correggius, breathing in the final perfection of the brush. But most powerfully visible was the power of creation, already contained in the soul of the artist himself.” Mastery is combined with a gift sent to the artist’s soul. “It was clear how the artist first enclosed everything he had extracted from the outside world into his soul and from there, from the spiritual spring, directed it into one consonant, solemn song. And it became clear even to the uninitiated what an immeasurable abyss exists between creation and a simple copy from nature.”

The painting itself becomes a wonder of the world, causing awe in everyone who saw it: “... the painting, meanwhile, every minute seemed higher and higher; brighter and more wonderfully separated from everything and finally everything turned into one moment, the fruit of a thought that flew from heaven onto the artist, a moment, to for which all human life is one preparation. Involuntary tears were ready to roll down the faces of the visitors who surrounded the picture, it seemed that all the tastes, all the daring, incorrect deviations of taste merged into some kind of silent hymn to the divine work.

If a portrait is not art, despite the skill of its author, because it embodies and carries evil, then a painting by a selfless artist is the meaning and embodiment of divine art. She herself becomes an object of worship. The comparison of the painting with the bride is typical: “Pure, immaculate, beautiful, like a bride, stood before him the artist’s work.” Purity and innocence come first, beauty only follows them.

In the image of the artist living in Italy and sending his brilliant work to the exhibition, one can see the features of A.A. Ivanov, whose ascetic work on the painting “The Appearance of Christ to the People” became for Gogol an example of true devotion to art. Ivanov’s features can also be discerned in another character in the story - the ideal old artist, ascetically indifferent to the blessings of life. In the essay “A. Ivanov” (1858), A. I. Herzen wrote: “Ivanov’s life was an anachronism; such piety towards art, religious service to it, with self-distrust, with fear and faith, we only encounter in stories about medieval hermits , who prayed with a brush, for whom art was a moral feat of life, a sacred act, a science."

Also, probably, in the admiring outline of this painting, Gogol gives a generalized image of the famous painting by Karl Bryullov “The Last Day of Pompeii”. Gogol devotes an enthusiastic article to her in the second part of the collection “Arabesques” (1834), calling this picture “a complete universal creation,” where “everything was reflected,” reflected in the image of “strong crises felt by the whole mass.”

Let us turn to Ivanov’s reproduction of “The Appearance of Christ to the People.”

This description fully corresponds to Pushkin’s sonnet “Madonna”: (a student prepared by heart).

Not many paintings by ancient masters

I always wanted to decorate my abode,

So that the visitor might superstitiously marvel at them,

Heeding the important judgment of experts.

In my simple corner, amidst slow labors,

I wanted to be forever a spectator of one picture,

One: so that from the canvas, like from the clouds,

Most Pure One and our divine savior -

She with greatness, he with intelligence in his eyes -

They looked, meek, in glory and in the rays,

Alone, without angels, under the palm of Zion.

My wishes came true. Creator

Sent you to me, you, my Madonna,

The purest example of pure beauty.

Gogol's hymn to art is colored religiously. The last instruction of the author of the portrait to his son clearly goes back to the medieval theory of the image: “Talent is the most precious gift of God - do not destroy it. Explore, study everything you see, conquer all brushes, but in everything be able to find the inner thought and most of all try to comprehend the highest the mystery of creation... in the insignificant the artist-creator is just as great as in the great; in the despised he no longer has the despicable, for the beautiful soul of the creator shines through him invisibly, and the despicable has already received a high expression, for it has flowed through the purgatory of his soul. about the divine, heavenly paradise is concluded for man in art, and for that alone it is already above everything. And how many times is solemn peace above all worldly excitement; how many times is creation above destruction; all the countless forces and proud sufferings of Satan - so many times higher than anything else in the world, the lofty creation of art cannot cause grumbling in the soul, but with resounding prayer it strives forever towards God...”

This is Gogol’s aesthetic program, colored by the idea of ​​religious service and the affirmation of the artist as a sacred person. The ponderous solemnity of Gogol's style in this teaching from father to son turns out to be an expression of the writer's conviction that man is sinful by nature, that his ascent up the stairs of purgatory is painful and difficult.

Gogol sought to influence society; he viewed art as a type of public service: “... the author, creating his creation, ... fulfills exactly the duty for which he was called to Earth, for which he was given the abilities and strength, and, fulfilling it, at the same time he serves his state, as if he were actually in public service.”

4th group.

In the first edition of the story, the ending was like this: after telling the story of the terrible portrait, the image of the moneylender disappears from the canvas before everyone’s eyes. In the second edition, the portrait is stolen during the story. What is the point of such an ending?

Having left Russia after the scandal associated with the premiere of The Government Inspector, Gogol finds refuge in Italy. He lives in Rome, surrounded by great works of art from different times and contemporary Russian artists who, having graduated from the St. Petersburg Academy of Arts with a medal, received a pension to improve their art in Italy and were therefore called pensioners. Among Russian artists, Gogol was especially attracted to Alexander Ivanov, who painted the painting “The Appearance of Christ to the People,” making many sketches from life, endlessly changing the poses of the characters in his painting and the color illuminating them and nature. The criticism of V.G. Belinsky and the tireless work of A. Ivanov prompted Gogol to reconsider his attitude towards the story “Portrait” and remake it. By 1841, Gogol completed this work. The surname of the main character has changed: previously his name was Chertkov, which emphasized the connection with evil spirits. Gogol excluded from the story scenes of mystical, inexplicable appearances of the portrait and customers. The style of the story became clearer, realistic characteristics were developed minor characters: Nikita, the professor, the owner of the house, the quarterly, the ladies - the customers. In the first edition, the image of the moneylender disappeared from the canvas. In the second edition, the portrait disappears, which again went for a walk around the world.

These changes change the meaning of the story. The story "Portrait" does not bring reassurance, showing how all people, regardless of the properties of their character and the height of their convictions, are susceptible to evil. Gogol, having remade the ending of the story, takes away the hope of eradicating evil. The portrait of the moneylender disappears: evil has again begun to roam the world.

The mysterious and terrible moneylender said that “he will not die at all, that he needs to be present in the world.”

5 group .

Gogol’s contemporary, leading critic V.G. Belinsky, gave the following assessment of the story: “And the idea of ​​the story would be wonderful if the poet understood it in a modern spirit. In Chartkov, he wanted to portray a gifted artist who ruined his talent, and, consequently, himself, greed for money and the charm of petty fame. And the implementation of this thought should have been simple, without fantastic ideas, on the basis of everyday reality, then Gogol with his talent would have created something great. There would be no need to drag in a terrible portrait here... not. there would be no need for a moneylender, no auction, or much else that the poet considered so necessary precisely because he moved away from the modern view of life and art.”

What did the critic not accept in the story? Is it only greed for money that is the tragedy of Chartkov? Do you agree with this assessment of Gogol's work?

The great Russian critic V.G. Belinsky predicted to Gogol that he would take Pushkin’s place at the head of Russian literature. Gogol was assessed as the heir and continuer of Pushkin's work; as the discoverer and banner of the new, “Gogol” period in the development of Russian literature; as the “evil genius” of Russian writers and Russian readers, who seduced them and showed the wrong path to Russian culture and Russia itself.

Contrasting Pushkin and Gogol, Yu. Aikhenvald wrote: “They both stand at the gates of our literary kingdom,... light and dark, grateful and despairing. ... Pushkin, grateful to his genius, admiring his talent in divine naivety, unshakably and joyfully believes, that he erected a monument to himself not made by hands, and Gogol suffered from his talent, from his destiny, which was predetermined for him from above.”

Aikhenwald, noting the “painful consciousness of responsibility” so characteristic of Gogol, applied to the writer the image of a painter, the author of a wonderful and terrible portrait from his story. The artist-monk turns out to be one of the incarnations of Gogol.

Gogol believed that a different era had come: “... you cannot serve art itself, no matter how wonderful this service is, without understanding its highest goal and without determining for yourself why art was given to us; you cannot repeat Pushkin. No, not Pushkin and no one else should now to become a model for us; other times have already come. Now you can’t take anything away - neither the originality of your mind, nor the picturesque personality of your character, nor the pride of your movements - the poet must now be educated with a Christian higher education.” In "Portrait" Gogol tried to embody this conviction in living images.

Ten years of life 1842-1852 were tragic years internal struggle associated with the re-evaluation of everything that has been done so far.

He is interested in the works of ancient religious philosophers, first translated into Russian, and seeks answers from them to the questions of what anger and passions are. He ceases to feel so acutely about the social disorder of society, and seeks ways to transform it through the improvement of the human personality. It seems to Gogol that he has found a way to make life on earth beautiful. This method is very simple: everyone must turn into a kind, intelligent, noble person, become a master and a family man, give up all excesses and not complain if his lot is hard

He called for abandoning the political struggle and, heeding his prophetic advice, to engage in moral self-improvement, basing it on religious morality - Christian virtue and humility, mystical faith in some special, predetermined from above, mission of Orthodox Russia and its “God-given” monarch .

He presented all these thoughts, which seemed extremely valuable to Gogol, in the form of letters, and collected these letters in one book under the title: “Selected passages from correspondence with friends,” the appearance of which caused a storm of indignation.

Gogol believed that art is capable of re-creating life, remaking it according to the ideal of the poet. He directly wrote that poetry is an invisible step towards Christianity.

The theme of spiritual blackness is touched upon in many of Gogol’s wonderful works, such as “Terrible Revenge”, “Viy”, “Portrait”, “ Dead souls" (BOOK EXHIBITION).

“Love us black,” says Chichikov in the second volume.” Dead souls", - and everyone will love us little white." For Gogol, to love people “black” means to save them from blackness, to expel it from the soul; these writer’s beliefs are closely intertwined with biblical commandments.

The best way to do this, Gogol believes, is by personal example. In the summer of 1850, while visiting Optina Pustyn, he shared his doubts with the hieromonk of the monastery and, asking him for protection, wrote about himself: “... I am the most sinful and unworthy of all.” He asks to pray for him, for Christ “is strong and merciful to do everything and to whiten me, black as coal, and raise me to that purity that a writer who dares to talk about the holy and beautiful must achieve.”

In the image of the artist Chartkov, the writer sought to show that on the thorny path of a true creator there are many obstacles: not only the thirst for easy monetary enrichment, but also the desire for quick fame, the lack of moral support, and faith in one’s destiny. The one who succumbed to temptation cannot be called a true creator, but rather an artisan. Talent without faith, without Christian service, without repentance for one’s sins is destructive, does not benefit either the artist himself or society, but is destructive (the ending of the first part of the story: Chartkov could not cleanse his soul, turn his dark soul to the light, for this was punished: he went crazy and died after much suffering).

It is faith in God and repentance that will help the artist change his essence, become better, purer, and allow him to bring light, warmth, and goodness to people (using the example of the nameless artist and the artist who authored the portrait).

Perhaps Gogol is the prototype of the artist-monk.

This is what Belinsky did not understand and did not accept, since he clearly appreciated Gogol’s worldview. Indeed, it was difficult to understand that in Gogol two people seemed to come together: a brilliant writer, a man whom society recognized as its leader, its spiritual teacher and allowed to “stigmatize” his shortcomings; and a man who suddenly leaves the elevation erected for him and, sinking down, asks people for forgiveness for his sins. “Are we better than other peoples? We are no better than anyone,” says Gogol, “and life is even more unsettled and disordered than all of them. But I, a writer who says this to the faces of my compatriots, am no better than any of them, I see my abominations, my pride and declare it openly.”

III . Final word teachers.

Indeed, Gogol was one of the first Russian writers in whose work the prophetic principle manifested itself so clearly and definitely. He took upon himself a task that was not only enormous, but also hardly feasible, and somewhere in the depths of his soul he understood this. Hence his eternal dissatisfaction with himself, torment and torment from the consciousness of the futility of turning his plans into reality. “Rus'! What do you want from me?” he asked with involuntary trepidation. “Why are you looking like that, and why has everything that is in you turned its eyes full of expectation to me?..”

It was this feeling of unfulfilled duty to Russia and its long-suffering people that haunted Gogol, tormented him, forced him to peer closely at the world around him and, above all, at a person in whom he did not lose hope of finding a “living soul.”

“High nobility of heart, passionate love for truth and good,” wrote Chernyshevsky, “always burned in his soul... he seethed with passionate hatred for everything low and evil until the end of his life.”

So, our lesson is coming to an end, it's time to summarize.

1. What is the role of art in society?

2. What is the true purpose of an artist?

3. How relevant are these problems today?

4. Let's return to statements. Whose saying, in your opinion, most corresponds to the issues discussed in the lesson? Justify your point of view.

If there is time left, complete this task in writing.

Should I sacrifice myself for the sake of art or be content with a well-fed life, placing my art in the service of the crowd of ordinary people? What choice to make? Is it easy to make? On the scales on the one hand - work, service to art, poverty, on the other - money, wealth, fame. Which cup will outweigh? What is a true artist?

How relevant are these problems today? (Guiding questions)

The role of art in society is great. It can work miracles: make people kinder, more honest, more sensitive, sow light, warmth, and purity in the souls of every person. True art ennobles a person, elevates him, brings him closer to perfection, and through the individual, society is improved.

The true purpose of an artist is to be responsible for his work, skillfully direct the gift given by God for the benefit of each individual person, create, spread goodness, love, teach and selflessly serve the muse, devote himself entirely to the service of art.

These problems will be relevant at all times. Especially in today's time, when many moral values God's commandments are lost, forgotten, and violated. Often a person is judged by his social status, but inner beauty is simply not seen. It is necessary to help people recover from myopia, teach them to see the beautiful, appreciate, admire, and improve themselves. In this, a huge role is given to true art, true artists - creators. It’s enough to stuff people with cheap fakes and tinsel; only real art can create a miracle. Truly, beauty will save the world!

So, guys, I want to thank you for your research, serious work. Each group, in my opinion, prepared conscientiously for the lesson, all group members worked. You guys gave detailed, reasoned answers, proved your point of view, and also drew conclusions and answered the question at the end of the lesson. problematic issues. Consequently, we achieved the goals set during the lesson.

Thanks for the work.

Ratings.

Homework: come up with 5 test questions based on the story "Portrait".