Rhythm in visual art

In art, the role of rhythm is great and diverse. Rhythm is the ordering, alternation of some elements, occurring with a certain sequence, frequency.

The word rhythm (Greek rhythmos - movement, tact), comes from rhein - flow. In music, poetry, this concept conveys "fluidity," melody of melody, speech. Rhythm is one of the main elements of the expressiveness of the melody. Some rhythms are characteristic, for example, for marches, others for lullabies, etc.

Understanding rythm in visual art

 In painting, rhythm also plays a huge role. It is not always immediately visible to the viewer, but he acts quickly and strongly on it, adjusting it to the right mode. Rhythm can be transmitted by any of the main elements of painting: the geometry of forms, the technique of applying a paint layer, color, light, space. He can carry in the picture a semantic load, serve to create a general mood of the picture, to be one of the means of characterizing a person.In the painting by Velasquez "La rendición de Breda" rhythm is one of the main means of expressing the author's ideological design. The principle of the antithesis is used in the picture: two forces are opposed to each other - Dutch and Spanish. The moment of the transfer of the key from the city of Breda by the Dutch commander Justino Nassau to the Spanish commander Ambrosio Spinole June 2, 1625. Velasquez respectfully portrays the Dutch warriors who have shown steadfastness and courage in the long defense of their fortress. The Dutch achieved the right to leave the city with weapons in their hands and unfolded banners. Out of respect for the courage and prowess of the enemy, Spinola dismounted, took off his hat and, holding out his hand, did not let Nassau get on his knees.

La rendición de Breda by Velasquez

The main reason for the victory of the Spanish troops Velasquez sees in the organization, discipline of the professional Spanish army. The idea of ​​the superiority of the organized Spanish army over the Dutch militia is clearly expressed by the rhythm of the picture, manifested in the repetitions of clothes, poses, faces, weapons, etc. Spanish military leaders in armor, soldiers in similar clothing, almost in uniform. The Spaniards have similar hairstyles, mustaches, facial expressions. They form an organized system, standing tightly, united by a cohesive mass.The disorganization and spontaneity of the Dutch militia is transferred by a variety of clothes, Dutch poses. Each Dutchman is individual. Despite the significance of the moment, the procedure for the transfer of keys is significant, the Dutch do not observe the military order: one stands with his back to the viewer, the other side, a young man in white talking with a comrade in arms, wearing a hat for his musket. And other Dutchmen hold arms arbitrarily.On the contrary, the monolithic, disciplined nature of the Spanish army, its orderly system is underlined by the slender, majestic rhythm of the copies that have flared up. No wonder the old name of the painting is "The Spear".In the picture there is one more rhythm - the rhythm of symmetrical groups. Left Dutch army, right - Spanish, in the center - empty space, pause. With a symmetrical construction of the picture, the attention of all actors is usually drawn to what is happening in the center, which underlines its significance. Therefore, a similar rhythm is often used if they want to convey the solemnity of the moment. Here, this rhythm emphasizes the solemnity of the event of the transfer of the key from Breda, pictured right in the center of the picture. The inclined figures of generals in the center resemble a triumphal arch symbolizing victory.


Another exmaples of works discovering motion by contemporary authors are available by the link


Artists from different eras often used the strict, orderly rhythm typical of regular troops.Let us recall, for example, the famous picture of Goya "The Third of May 1808" one of the greatest and innovative paintings of the XIX century.

The Third of May 1808 by Goya

In this picture, Goya, with the help of rhythm, characterizes the power of power as a soulless machine of violence, suppressing any resistance to it.The painting depicts the execution of Spanish rebels by Napoleon's occupation forces. The French soldiers of the Murat army stand tight, like a wall, they are depicted almost from the back, we do not see their faces - it's a faceless, soulless machine. The rhythm of the positions of the legs, inclined to the poses of French soldiers, aiming at the insurgents; Rhythm of high shakos, sabers, knapsacks on the backs of soldiers; The rhythm of bristling gun barrels with bayonets create tension, underscore the organization, aggressiveness and ruthlessness of the Napoleonic army. French soldiers stand in the shadows, in the darkness of the night - they are representatives of dark, hostile forces.




The rebels are brightly lit by the light of a lantern placed on the ground. These are the bright forces of freedom and justice. They stand at the hill, symbolizing the height of their spirit. On the rebel, who raises his hands to the sky, a white shirt that symbolizes both the purity of his ideals, and the proximity to death and death. The color of his bright yellow pants is also symbolic: this is the color of the sun, the divine essence. Rebel protects his body with several other shot. On his hands - stigmata, traces of the Savior's cross for all people, directions of hands and feet form the form of the Andreev cross, on which the apostle Andrew was crucified. Goya thus elevated this image to biblical heights, consecrated the struggle of his people for liberation from the foreign yoke.This insurrection was the beginning of the popular resistance to the French occupation, and in May 1808 a guerrilla war was launched all over Spain, the so-called guerrilla, which ended in February 1814 by expelling the French from Spain.In many respects similar to the thought and composition of the picture Surikov "Morning streltsy penalty." Like Goya, the right side of the picture depicts the power of power, which suppresses popular resistance.

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