Brush Falling

A drop brush is a term used in fine art to refer to a brush that is used not to create form or texture, but rather to emphasize movement and dynamism in an image. Unlike a classic round or brush brush, the Falling Brush has a sharper, tapered end and is lighter in weight, allowing it to easily move shapes and create a variety of line variations without having to apply pressure to the brush.

The history of the Falling Brush dates back to the 17th century, when Dutch and Flemish masters of painting began to use it to create the effect of dynamics and movement in their works. Over time, this method became widespread, and today the Pad brush

A falling brush is an object that creates an atmosphere of melancholy and sadness. This is a work of art created by Jean Delisle in 1819. However, the technique of its creation has nothing to do with painting skill. The use of the falling brush has opened up a new way to express emotions and feelings. This instrument has become a symbol of loss and the transition from life to death.

The use of the falling brush was popularized by the French philosopher Immanuel Kant. In the book Critique of Pure Reason, he describes its use as a tool for experiencing tragic events. A drop brush is a metal or glass tube filled with water. The tube is strongly compressed under the action of the finger, and water pours out of it; The weaker the tube is compressed, the stronger the water flows.

The technique of creating and using a drop brush gained popularity thanks to the work of the famous artist William Blake. His paintings and engravings in which he used this instrument became world famous. One of these paintings is called "Empty Scam". It depicts a fall brush lying near a building. Everything around is deserted and lifeless, and the wind inexorably drives the brush further away from the viewer. The water has already spilled and some of it has washed away the road, turning it into mud. The instrument itself looks unusually simple and modest, compared to the elegant structure of the buildings, but it opens up new dimensions in the fine arts and drawing techniques.

In addition, the falling brush has become the subject of philosophical reflection by many authors. Friedrich Nietzsche found in its use an element of melancholy reflection

At first glance, the action in “Eating is Served!” could only happen somewhere in a French restaurant, such a play of light, shadows, music, atmosphere and tension will not leave anyone indifferent. It seems that the fashion designers spent a long time and carefully thinking through every nuance of the performance.

The brush falls. No strain of movement, simple, no fuss. The light is carefully set, an atmosphere of tense expectation on the part of the audience is drawn, and... then the first short fold appears, the thrill of anticipation, the second fold on the fabric is picked up, intensifies, ends with the curtained sound of Moriah's violin, only the fractional knock of bones sounds... And they spin around the stage. One, another. Fanwise, no, they don’t fall like a fan. Shallow and hasty.

The costume is a work of art. In the first act of the play “It’s Served!” The main female role of Milady cannot be presented in a theatrical-historical style. She needs a bright, ostentatious, dramatic costume. Bright, open neckline, ambiguous hip angle. Bold sophistication as a reflection of style. The material is the same. Black silk and the French history of morals in one visible image. Only the insertion of red into the legs breaks the monochrome of the material. The ring sparkles just as brightly. Ring for the bride? They didn't get engaged. In this case, it is a symbol, but not of frivolity, but of power. Feeling through the black world of silk, the red thread of past events is clear. It is important. As mentioned above, the French fashion house Jean-Paul Gaultier is an unforgettable brand. His spring-summer 2020 model, dedicated to the Sun King, was also exhibited at the beginning of this century. This time the artist turned to the costumes of the gallant time. Let's take a look at the sketch Jean-Paul Gouther drew in 1986 for the production of Madame Bovary. (Figure 4).