Russian language lesson" Preparation for a test essay based on the painting by S. Grigoriev “Goalkeeper” (7th grade)

The canvas is in the collection of the State Tretyakov Gallery and has been exhibited many times at exhibitions in cities of the USSR and modern Russia, as well as in China and the USA.

Grigoriev said that his “searches in the field of genre painting remained empirical for a long time,” that at first he “wrote everything from life and pulled a lot of unnecessary things into the picture,” but then “moved on to the director’s decision.” Researchers of the artist’s work wrote that Grigoriev was truly the first to succeed in such a solution (to unite all the characters in a single action corresponding to the artist-director’s plan) precisely in the film “Goalkeeper”, which is so thought out and “directed” that it is perceived as a sketch of what was directly seen in life. This demonstrated the mature skill of the genre artist. Each detail of the canvas has its own symbolic meaning, and each of its characters is convincing in its own way. However, despite the merits noted by critics, in Soviet times this painting was in the shadow of two other paintings by the artist - “Admission to the Komsomol” (also 1949) and “Discussion of the deuce” (1950).

The painting “Goalkeeper” was created in 1949. At this time, Grigoriev was already a professor, head of the drawing department. The artist’s turn to children’s themes was not accidental or his first (he first attracted attention to his works with the painting “Children on the Beach” in 1937). Grigoriev valued spontaneity, naturalness, and liveliness of reactions in children's images. The painting technique is oil painting on canvas. Size - 100 × 172 centimeters. At the bottom right is the author’s signature - “SA Grigoriev 1949”, another autograph is on the back of the canvas - “SA Grigoriev 1949 Kyiv”.

Painting by Sergei Grigoriev “Goalkeeper” in the exhibition of the New Tretyakov Gallery, 2017

The painting “Goalkeeper” (together with another painting by Grigoriev, “Admission to the Komsomol”, 1949) was awarded the Stalin Prize, II degree, for 1950. The canvas was acquired by the State Tretyakov Gallery at the All-Union Exhibition in 1950 from the author himself. It is still in the gallery's collection. Inventory number - 28043. The painting was presented at numerous exhibitions: in Moscow (1951), Leningrad (1953), at the Traveling Exhibition in Chinese cities from Beijing to Wuhan (1954-1956), in Moscow (1958 and 1971, 1979, 1986- 1987, 2001-2002, in the “New Manege” in 2002), in Kiev (1973, 1979), Kazan (1973-1974, 1977-1978), in US cities (1979-1980), at the anniversary exhibition dedicated to 225 anniversary of the USSR Academy of Arts, in Moscow (1983-1984).

V. A. Afanasyev reconstructed the events that preceded the scene captured in the painting by Sergei Grigoriev. A group of schoolchildren returning from classes staged an impromptu football match, constructing goals from briefcases, bags and berets. Outside the image in the picture, an exciting episode takes place, which attracted the attention of casual spectators located on a stack of fresh boards. The attention of the lanky, blond boy in a dark sweater, who occupies a place in the goal, is also drawn to the events on the field. A. M. Chlenov drew attention to the fact that the canvas depicts early autumn, when it is still warm, but “some cautious mothers” have already dressed their children in coats. He noted that the artist chose not the scene of the fight for the ball, which is currently taking place, in his estimation, in the center of the field, but the very edge of the football field.

The boy has a bandage on his right knee, and this, according to O’Mahoney, is a sign of dedication to his team, a willingness to sacrifice his health for it. Grigoriev relied on the “goalkeeper-border guard” metaphor, characteristic of the culture and ideology of the pre-war years, a valiant defender of the borders of the Motherland from insidious and cruel enemies (art critic Galina Karklin noted that the goalkeeper is much older than all the other children depicted on the canvas, and as a primary school student with proudly demonstrates his football skills to the little ones). However, the picture was painted in 1949, and the metaphor, from O’Mahoney’s point of view, acquires a number of additional meanings. A vacant lot is depicted on the outskirts of a city or village (both outside the city and in the immediate vicinity of it; such a “line of defense,” according to the British art critic, is a reference to both capitals, Moscow and Leningrad, at the very approaches to which the front line was located during the war ). The background of the picture tells about the restoration of the country - scaffolding is visible on two buildings; nearby, on the right, excavation work is underway; spectators are sitting on planks, which also serves as a hint that the match is taking place on a construction site.

Kiev Art Institute, in the garden of which, according to A. M. Chlenov, the action of the picture takes place

In her book about the work of the artist T. G. Guryeva concluded that the background of the scene depicted in the picture is a panorama of Kyiv: St. Andrew's Church over the Dnieper, construction sites, and an array of houses are visible. Art critic A. Chlenov believed that it was possible to accurately determine the very place where the match took place. This is the garden of the Kyiv Art Institute, where the artist worked at the drawing department at that time. It is from here, according to Chlenov, that the view depicted by Grigoriev of St. Andrew’s Cathedral and buildings above the steep slopes of the Dnieper, falling to Podol, the lower part of Kyiv, opens.

The audience, with one exception, is children. They look, like the goalkeeper, beyond the picture frame, at the opponent preparing to strike. Some children watching the match are wearing sportswear; one boy stands behind the goalkeeper and seems to be assisting him. “Gates” are school bags placed on the ground on either side of the goalkeeper. According to O'Mahoney, this indicates the impromptu rather than planned nature of the event itself. Among the children, according to O'Mahoney, Sergei Grigoriev portrayed two girls (in contrast to him, Afanasyev counts four girls, including the smallest child, as well as a character in a lilac bonnet coat; Guryeva considers three characters to be girls, including number of the character in the red hood). O'Mahoney claims that the girls play a secondary role in the painting. One of the girls (wearing sweatpants like the boys') is nursing a doll, which suggests she is more of a mother-to-be than an athlete; the second, dressed in a school uniform, stands behind the other children. T. G. Guryeva notes the diversity and persuasiveness of the psychological characteristics of children, as well as the artist’s humor. Unlike Karklin, she refers the older children in the picture to adolescence (pioneer) age. A boy in a red ski suit spread his legs wide apart and put his hands behind his back, sticking out his stomach; he is distinguished, in her opinion, by a calm, contemplative character (the “kid” is not accepted into the game, but he managed to join the competition by picking up balls that flew over the line gate). Chlenov noted that he was filled with a sense of his own importance, looked down on the players (despite his small stature), and did not care which team would win the match. Both more temperamental and quite calm fans sit on the boards. A baby in a gray hood reacts animatedly to the game. A girl with a doll and a schoolgirl with a red bow in her short-cropped hair are calmly watching the game. Bent down and resting her hands on her knees, a girl in a red hood is enthusiastically watching the match. V. A. Afanasyev sees an expression of complete indifference to the game only in the image of a “lop-eared little dog” and a “baby wrapped in a warm scarf.” A young guy (this is how Guryeva evaluates the adult character in the film)

sits next to the small fry of children the way they sit only at the stadium - ready to jump up at any moment, full of sports passion, encouraging the players with shouts and gestures. His hat is pushed back on his head, the collar of his embroidered Ukrainian shirt is open, his jacket is unbuttoned. His hand holds the folder with papers, but he no longer remembers them, just as he doesn’t remember the business with which he was going somewhere. Captivated by the game, he sat down “for a minute” and... forgot about everything, completely surrendering to the experience of the game

There is only one adult in the painting. O'Mahoney notes that the pose in which the man is depicted by the artist immediately attracts the viewer's attention: he sits with his left leg forward in the direction of an invisible opponent, placing his hand on his knee, repeating the position of the goalkeeper's hands. In turn, he is duplicated by the little boy sitting to the left of the man. Judging by his clothes, the man is not a trainer. The folder and documents in his right hand indicate that he is a senior official of some government agency. On the lapel of his jacket there are medal bars and ribbons, indicating that he took part in the last war. In the film, he plays, according to O’Mahoney, the role of a mentor, passing on the experience of his generation to children. A. M. Chlenov “recognized,” in his words, a student, a young artist, “making up for... his years at the front.” At the beginning of 1940, the artist himself was drafted into the Red Army. Until the end of 1945, when he returned to Kyiv, not a single work signed with his name appeared at art exhibitions. Grigoriev himself repeatedly proudly said that during his service in the army he did not work as an artist, but participated in hostilities as a political worker and joined the ranks.

O’Mahoney considers it no coincidence that the Stalin Prize was awarded for this picture: Grigoriev emphasizes the importance of sport in the era of “restoration of the country and revival of the nation.” The role of the older generation is brought to the fore, and their knowledge and experience are conveyed by the artist “as vital for the transformation of Soviet youth into new defenders of the USSR.”

According to T. G. Guryeva, the landscape is written interestingly, subtly, but its drawback is the isolation of the foreground figures from the city landscape on the horizon, which creates a feeling of some artificiality, “as if the background for a live scene in the foreground is a theatrical backdrop.” Guryeva notes the artist’s skillful creation of a light, joyful coloring, which, according to her, conveys the artist’s love for life and his optimistic mood. G. N. Karklin notes “the rusty-golden color of a warm, clear day with individual decorative accents of red.” According to V. A. Afanasyev, the landscape, “full of thoughtful elegance,” does not play a dominant role in the picture; it is subordinated to the story of a breathtaking spectacle on an improvised football field. The autumn landscape, according to him, is painted “lightly and freely.” The art critic notes a soft, restrained color with a predominance of warm yellowish color. The tension of what is happening on the canvas is increased by the “abundance of tactfully scattered, tonally varied spots of red” (the baby’s clothes behind the main character’s back, the cap on the head of the “inflated girl”, embroidery on the adult character’s shirt, pants on the girl in the hood, bows on the girls and pioneer ties on boys). A. M. Chlenov noted that these spots of red color are balanced by cold tones, to which he included briefcases, the clothes of the goalkeeper and an adult character, as well as the general yellowish color of the foliage.

According to Afanasyev, in “The Goalkeeper” Grigoriev, for the first time in his work, managed not only to unite a large number of characters with a single action, but also to “direct” the scene so that it is perceived by the viewer as a sketch directly seen in life. Each detail “has its place,” and each character is revealed “in its own convincing way.” Ukrainian art and literary critic Oleg Kilimnik (Ukrainian) noted that “every child’s image presented by the master enchants with its truthfulness, authenticity, and the power of childish spontaneity.”

Along with other paintings by Grigoriev, “The Goalkeeper” was criticized in modern Ukraine. V. A. Afanasyev and the Ukrainian art critic L. O. Lotish in their articles noted the tendency that had arisen among art critics to present the artist “as a cunning cynic who saddled the mare of socialist realism in Russian language lessons, and a detailed analysis of its use is given in the book of Doctor of Pedagogical Sciences L. A. Khodyakova, where the painting is proposed as an essay topic in a Russian language lesson

. Works based on the painting by S.A. Grigoriev "Goalkeeper".

To learn how to write essays, you need to write them, write them as often as possible. The school program provides for systematic work on the development of students' speech. But the teacher will not be able to do anything if the students do not have the desire to think and hone their speech skills.

Of course, you need to remember what plan is used to write an essay on a painting.

A rough plan for an essay based on a painting.

2. Main part. What a picture. Her topic:

a) foreground;

b) background;

c) the color of the picture, its meaning;

d) the ideological content of the picture.

3. Features of the painting’s composition (if any).

4. Your attitude towards this work of art.

I offer the work of 7th grade students.

S.A. Grigoriev is a national artist, the author of many paintings: “At the meeting”, “Back”, “Goalkeeper”. He was awarded two Stalin Prizes, three orders and medals.

The most famous was his painting “Goalkeeper,” which depicts a game of football. We see the goalkeeper and several spectators of the match taking place somewhere outside the city, in a vacant lot. Most likely, it is already mid-autumn, because yellow bushes can be seen in the distance, the sky is overcast, and the clothes of the characters in the picture are autumn: the audience is in raincoats, jackets, some of the guys are wearing hats.

The picture describes the moment of the game itself. We see that the fans' eyes are directed to that part of the field that is not depicted. The goalkeeper stands in the foreground. With his knees slightly bent, he looks forward. He must be keeping a close eye on the ball. His right knee is bandaged and may have been injured during the game. His hands are wearing gloves. The clothes are simple, comfortable for playing: sweater, shorts, boots. Behind him we see a younger boy who was not taken to play. Spectators - fans, depicted in the background of the picture, show great interest in the game. The kids came straight after school, as evidenced by the school bags lying on the ground, marking the boundaries of the gate. All the people depicted in the picture are enjoying the game, perhaps for the last time: after all, it is already late autumn, it will soon become very cold and snow will fall. But no one is discouraged, because in winter there are many other interesting activities.

The picture does not evoke any special feelings in me, but looking at it, I can imagine what feelings each character depicted by the artist experiences: excitement, excitement, pleasure received from the game.

Olesya Naprienko

Sergei Alekseevich Grigoriev is a people's artist, the author of many paintings: “At the meeting”, “Admission to the Komsomol”, “Discussion of the deuce”, “Goalkeeper”, he was awarded two Stalin Prizes, three orders and medals.

I look at Grigoriev’s painting “Goalkeeper”. This painting depicts a football match taking place in a vacant lot. But only the goalkeeper is depicted among the players. Judging by the gloves on his hands, by his face expressing seriousness, by his sinewy legs, the goalkeeper is a very experienced player and has stood on goal more than once. He came to the vacant lot right after class, as evidenced by his briefcase lying instead of a barbell.

In the background is a boy behind the goal and fans who are closely watching the game. Probably the boy in the red suit standing behind the goal plays football well, but he was not taken because he is younger than the players. The spectators are very interested in the game, only the dog is dozing at the feet of the owner, it is not interested in football.

The scene of the film is Moscow, with Stalinist buildings visible in the background. It's autumn, apparently the last warm days, because the guys are dressed quite lightly.

I liked this picture because it is alive. I feel the emotions of the audience with which all the characters in the film “Goalkeeper” are filled.

Elizaveta Sukhoterina

Grigoriev Sergei Aleksandrovich is the author of many paintings: “At the meeting”, “Returned”, “Admission to the Komsomol”, “Discussion of the deuce”, “Goalkeeper”. He has the title of People's Artist of the USSR. His work was awarded two Stalin Prizes, three orders and medals.

In front of me is Grigoriev’s painting “Goalkeeper”, it depicts a football match, but not the kind we are used to watching. The composition of the picture itself is interesting: we do not see the game, the ball - the goalkeeper and fans are presented to our attention. The author has set himself the task of showing what feelings overwhelm everyone who became a participant or spectator of this match.

The goalkeeper is depicted in the foreground of the canvas; he is the main character of the picture. After classes, the boy decided to play football in a vacant lot. Perhaps it was destined for him to be a goalkeeper; it seems to me that he really wants to be a player, fight for the ball, be in the center of the game and help his team.

In the background there is a boy who is not averse to playing, but he is still small. The painting also shows other fans closely following the progress of the game. Each of them is interested in what will happen next, who will win. Even a man passing by sat down on a bench and watched the game with boyish enthusiasm.

Ekaterina Trishina

Of course, the works are all different, but they also have something in common: the picture did not leave the guys indifferent, although this is a completely different era, people with completely different inner worlds.

The material was prepared by the teacher of Russian language and literature Pletneva L.G.

One of the most popular works of the artist Sergei Grigoriev is the painting “Goalkeeper”, which is now in the Tretyakov Gallery. It was written in 1949, only four years have passed since the Great Patriotic War. By this time, the country had not yet recovered from devastation, the standard of living of most people was low, but peaceful life was filled with hope and optimism. The painting “Goalkeeper” tells us about this. It is dedicated to children's passion for football, but at the same time conveys the atmosphere of that time, difficult and at the same time happy.

Football was the main love of the boys of those years, their greatest passion. Football was played in courtyards, in parks, and simply in vacant lots, as depicted in the painting “Goalkeeper.” The main character of the picture is a boy standing on the gate. Although the artist did not place it in the center, all the emotional load of the picture goes to him. The goalkeeper stands in a tense position, it seems that the outcome of the match will depend on his quickness and dexterity. It is clear from the boy that the role of goalkeeper is familiar to him, he is a good and reliable goalkeeper.

There are no gates, they are “represented” by two briefcases located where the barbells should be. This suggests that the children did not go home after school, but moved to the vacant lot. The uncomfortable surface of the field, which occupies the foreground of the picture, does not bother the players. In those years, few people were lucky enough to play on good green fields. We don’t see how events unfold on the playing field; the artist deliberately took this action beyond the scope of the picture. Only by the goalkeeper's posture and the expression on the spectators' faces we can guess that the players of both teams have to fight for victory; it will not be given just like that.

But look at how many spectators the match attracted - those who, due to their age, were not included in the team, are enthusiastically watching the game. They settled down either on a fallen tree or on a stack of boards. An adult spectator, perhaps a random passer-by, also joined the children. A guy in a red suit stands behind the goalkeeper; he hasn’t been accepted into the team yet, but he would really like to play, his whole appearance speaks of it. And only the dog, curled up in a white lump at the feet of one of the spectators, is indifferent to the game.

The events depicted in the picture take place on a bright, fine day in early autumn, the distance is clearly visible. In the background we see construction sites: high-rise buildings are being erected, which will soon become symbols of Moscow. This construction landscape adds optimism to the overall mood of the picture.

The painting “Goalkeeper” by Grigoriev was painted back in 1949. But it’s still interesting to look at it now, because it’s dedicated to a game that never goes out of date—football.

The painting depicts a match and spectators watching it. The picture attracts attention with its ease. It seems like the kids just ran from school to a vacant lot, made a goal out of their briefcases and started the game. A curious feature of the picture is that there are no field players depicted in it. We only see one of them, the goalkeeper. It is with his description, as I think, that one should begin the description of the painting “Goalkeeper” by Grigoriev.

This is a boy of twelve or thirteen years old. He stands half-bent, waiting for the ball. His face expresses seriousness, he is very passionate about the game. It is clear that the boy is an experienced goalkeeper. He has a confident posture and strong, sinewy legs. Even with his clothes he wants to look like real football players. He is wearing shorts (and judging by the clothes of the spectators, it is already cool autumn outside), and he has gloves on his hands. They help the goalkeeper in the game. He has a bandage on his leg - he was probably unlucky in one of the previous matches.

What is happening on the field is not visible to the viewer, and because of this, I personally find the picture even more interesting. One can only guess where the ball is now, when it will fly into the goal and whether the goalkeeper will be lucky. But judging by the faces of those watching the match, the game is in full swing. And if you look closely at the goalkeeper’s concentrated face, you can confidently say that he won’t miss the ball!

The painted spectators in the film play no less a role than the figure of the main character. There are quite a lot of them. Basically, these are the same as the boy-goalkeeper, schoolchildren. But in the very corner of the picture one can see the figure of an adult man in a suit, wearing a hat and with a folder on his lap. It looks like he was going somewhere on business, but stopped, carried away by the battle. I really like his pose and face, because it is clear that he is truly interested in the game and does not consider it childish nonsense. If he could, he would have run to the field himself.

The little boy in the red tracksuit is no less captivated by the events. He was obviously not included in the game due to the fact that he is still small, but he desperately wants to be among the players. So he froze behind the goalkeeper, leaning back slightly, so that his whole figure was expressing protest. I think he is offended by the schoolchildren, but he cannot leave - everything that is happening is too interesting.

There are also girls among the spectators. One of them, with a bright red bow, is carefully watching the game. It is clear that she has a fighting character and that she could also act. The second, a very small spectator, sits on her brother’s lap. It is not known whether she understands anything, but she looks very carefully.

Football has always been the favorite game of millions of boys. They always tried to imitate their idols and discussed the latest sports news. In each yard you can meet a small team of local kids. One of these is depicted in the painting by S. Grigoriev.

The film takes place in the city. In the background we see large buildings that resemble a theater or university. Judging by the fact that the bushes depicted in the picture are turning yellow, the author showed the beginning of autumn. These thoughts are also brought about by the fact that the audience is dressed in autumn style: in jackets and hoods. The main character of the picture is a boy of about eleven years old, who very carefully follows the movement of the ball and plans to hit the ball from the opposing team. He is wearing a brown jacket with a white collar visible underneath, gray shorts and black boots.

All fans are also closely following the game. Among them are guys of the same age, a little boy, girls, and even a middle-aged man in a hat and suit. A black and white dog sat next to them. It is unlikely that he follows the progress of the game. Most likely, he is immersed in other thoughts. It is possible that this is the dog of one of the fans. They all look in the opposite direction from the boy, where the ball should fly from. Perhaps they take a penalty. The boy's right leg is bandaged. He most likely received the wound during another training session. Another boy is standing behind him. He is wearing an orange suit. Perhaps he was not chosen to play on the team, and he is watching from the sidelines. But, unlike other spectators, he took a place not among them, but behind the goalkeeper, right on the field.

Most likely, this place is not intended for football at all, because there are no goals here, like on a real football field. Instead, there are briefcases indicating the place where the gate should be. I think that the guys gathered after school to relax and play football, because it is a very popular sport.