This article contains short description major art styles of the 20th century. It will be useful to know both artists and designers.
Modernism (from French moderne modern)
in art, the cumulative name of artistic trends that established themselves in the second half of the 19th century in the form of new forms of creativity, where not so much following the spirit of nature and tradition prevailed, but the free view of the master, free to change the visible world at his discretion, following personal impression, inner idea or mystical dream (these trends largely continued the line of romanticism). Impressionism, symbolism, and modernism were its most significant, often actively interacting, directions. In Soviet criticism, the concept of “modernism” was anti-historically applied to all art movements of the 20th century that did not correspond to the canons of socialist realism.
Abstractionism(art under the sign of "zero forms", non-objective art) - an artistic direction that was formed in the art of the first half of the 20th century, completely refusing to reproduce the forms of the real visible world. The founders of abstractionism are considered to be V. Kandinsky, P. Mondrian and K. Malevich. W. Kandinsky created his own type of abstract painting, freeing from any signs of objectivity the spots of the Impressionists and the "wild". Piet Mondrian came to his pointlessness through the geometric stylization of nature, begun by Cezanne and the Cubists. The modernist trends of the 20th century, focused on abstractionism, completely depart from traditional principles, denying realism, but at the same time remain within the framework of art. The history of art with the advent of abstractionism experienced a revolution. But this revolution arose not by chance, but quite naturally, and was predicted by Plato! In his later work Philebus, he wrote about the beauty of lines, surfaces and spatial forms in themselves, independent of any imitation of visible objects, of any mimesis. This kind of geometric beauty, in contrast to the beauty of natural "irregular" forms, according to Plato, is not relative, but unconditional, absolute.
Futurism- literary and artistic trend in the art of the 1910s. Oтвoдя ceбe poль пpooбpaзa иcкyccтвa бyдyщeгo, фyтypизм в кaчecтвe ocнoвнoй пpoгpaммы выдвигaл идeю paзpyшeния кyльтypныx cтepeoтипoв и пpeдлaгaл взaмeн aпoлoгию тexники и ypбaнизмa кaк глaвныx пpизнaкoв нacтoящeгo и гpядyщeгo. An important artistic idea of futurism was the search for a plastic expression of the swiftness of movement as the main sign of the pace of modern life. The Russian version of futurism was called kybofuturism and was based on a combination of the plastic principles of French cubism and European general aesthetic installations of futurism. Using intersections, shifts, collisions and influxes of forms, the artists tried to express the crushing plurality of impressions of a contemporary person, a city dweller.
Cubism- "the most complete and radical artistic revolution since the Renaissance" (J. Golding). Painters: Picasso Pablo, Georges Braque, Fernand Léger Robert Delaunay, Juan Gris, Gleizes Metzinger. Cubism - (French cubisme, from cube - cube) a direction in the art of the first quarter of the 20th century. The plastic language of cubism was based on the deformation and decomposition of objects into geometric planes, the plastic shift of form. Many Russian artists have gone through a fascination with Cubism, often combining its principles with the techniques of other modern artistic trends - futurism and primitivism. Cubo-futurism became a specific variant of the interpretation of cubism on Russian soil.
Purism- (French purisme, from Latin purus - clean) a trend in French painting of the late 1910s and 20s. The main representatives are the artist A. Ozanfan and architect C. E. Jeanneret (Le Corbusier). Rejecting the decorative tendencies of cubism and other avant-garde movements of the 1910s, the deformation of nature they adopted, the purists strove for a rationalistically ordered transfer of stable and concise object forms, as if “cleared” of details, to the image of “primary” elements. The works of purists are characterized by flatness, smooth rhythm of light silhouettes and contours of objects of the same type (jugs, glasses, etc.). Having not been developed in easel forms, the essentially rethought artistic principles of purism were partially reflected in modern architecture, mainly in the buildings of Le Corbusier.
Serrealism- a cosmopolitan movement in literature, painting and cinema that arose in 1924 in France and officially ended its existence in 1969. It contributed greatly to the formation of consciousness modern man. The main figures of the movement Andre Breton- writer, leader and ideological inspirer of the movement, Louis Aragon- one of the founders of surrealism, who in a bizarre way later transformed into a singer of communism, Salvador Dali- artist, theorist, poet, screenwriter, who defined the essence of the movement with the words: "Surrealism is me!", a highly surrealist cinematographer Luis Buñuel, painter Juan Miro- "the most beautiful feather on the hat of surrealism", as Breton called it, and many other artists around the world.
Fauvism(from French les fauves - wild (animals)) Local direction in painting early. 20th century The name F. was given in mockery to a group of young Parisian artists ( A. Matisse, A. Derain, M. Vlaminck, A. Marquet, E.O. Friesz, J. Braque, A.Sh. Mangen, K. van Dongen), who jointly participated in a number of exhibitions in 1905-1907, after their first exhibition in 1905. The name was adopted by the group itself and firmly established itself behind it. The direction did not have a clearly formulated program, manifesto or its own theory and did not last long, leaving, however, a noticeable mark in the history of art. Its participants were united in those years by the desire to create artistic images exclusively with the help of an extremely bright open color. Developing the artistic achievements of the Post-Impressionists ( Cezanne, Gauguin, Van Gogh), relying on some formal techniques of medieval art (stained glass, Romanesque art) and Japanese engraving, popular in the artistic circles of France since the time of the Impressionists, the Fauvists sought to maximize the use of the coloristic possibilities of painting.
Expressionism(from French expression - expressiveness) - a modernist trend in Western European art, mainly in Germany, the first third of the 20th century, which developed in a certain historical period - on the eve of the First World War. The ideological basis of expressionism was an individualistic protest against the ugly world, the increasing alienation of man from the world, feelings of homelessness, collapse, disintegration of those principles on which, it seemed, so firmly rested European culture. Expressionists tend to gravitate towards mysticism and pessimism. Artistic techniques characteristic of expressionism: the rejection of illusory space, the desire for a flat interpretation of objects, the deformation of objects, love for sharp colorful dissonances, a special color that embodies apocalyptic drama. Artists perceived creativity as a way to express emotions.
Suprematism(from lat. supremus - highest, highest; first; last, extreme, apparently, through the Polish supremacja - superiority, supremacy) The direction of avant-garde art of the first third of the 20th century, the creator, main representative and theorist of which was a Russian artist Kazimir Malevich. The term itself does not reflect the essence of Suprematism. In fact, in the understanding of Malevich, this is an estimated characteristic. Suprematism is the highest stage in the development of art on the path of liberation from everything non-artistic, on the path to the ultimate revelation of the non-objective as the essence of any art. In this sense, Malevich also considered primitive ornamental art to be Suprematist (or “supreme-like”). He first applied this term to a large group of his paintings (39 or more) depicting geometric abstractions, including the famous "Black Square" on a white background, "Black Cross", etc., exhibited at the Petrograd Futurist exhibition "zero-ten" in 1915 It was behind these and similar geometric abstractions that the name Suprematism was attached, although Malevich himself referred to it many of his works of the 20s, which outwardly contained some forms of concrete objects, especially figures of people, but retained the “Suprematist spirit”. And in fact, the later theoretical developments of Malevich do not give grounds to reduce Suprematism (at least Malevich himself) only to geometric abstractions, although they, of course, constitute its core, essence, and even (black and white and white and white Suprematism) bring painting to the limit of its existence in general as a form of art, i.e., to the pictorial zero, beyond which there is no longer painting proper. This path in the second half of the century was continued by numerous directions in art activities that abandoned brushes, paints, and canvas.
Russian avant-garde The 1910s presents a rather complex picture. It is characterized by a rapid change in styles and trends, an abundance of groups and associations of artists, each of which proclaimed its own concept of creativity. Something similar happened in European painting at the beginning of the century. However, the mixing of styles, the "mess" of currents and directions were unknown to the West, where the movement towards new forms was more consistent. Many masters of the younger generation with extraordinary swiftness moved from style to style, from stage to stage, from impressionism to modernity, then to primitivism, cubism or expressionism, going through many steps, which was completely atypical for the masters of French or German painting. The situation that developed in Russian painting was largely due to the pre-revolutionary atmosphere in the country. She exacerbated many of the contradictions that were inherent in all European art as a whole, because. Russian artists studied on European models, were well acquainted with various schools and pictorial trends. A kind of Russian "explosion" in artistic life thus played a historical role. By 1913, it was Russian art that reached new frontiers and horizons. A completely new phenomenon of non-objectivity appeared - a line beyond which the French Cubists did not dare to cross. One by one they cross this line: Kandinsky V.V., Larionov M.F., Malevich K.S., Filonov P.N., Tatlin V.E.
cubofuturism Local trend in the Russian avant-garde (in painting and poetry) of the early 20th century. In the visual arts, cubo-futurism arose on the basis of a rethinking of pictorial finds, cubism, futurism, and Russian neo-primitivism. The main works were created in the period 1911-1915. The most characteristic paintings of cubo-futurism came out from under the brush of K. Malevich, and were also written by Burliuk, Puni, Goncharova, Rozanova, Popova, Udaltsova, Exter. The first cubo-futuristic works by Malevich were exhibited at the famous exhibition of 1913. "Target", on which Larionov's Luchism also debuted. By appearance cubo-futuristic works have something in common with the compositions of F. Leger created at the same time and are semi-subject compositions made up of cylinder-, cone-, flask-, shell-shaped hollow three-dimensional color forms, often with a metallic sheen. Already in the first such works by Malevich, there is a noticeable tendency to move from natural rhythm to purely mechanical rhythms of the machine world (Plotnik, 1912, Grinder, 1912, Portrait of Klyun, 1913).
neoplasticism- one of the earliest varieties of abstract art. It was created by 1917 by the Dutch painter P. Mondrian and other artists who were part of the Style association. Neoplasticism is characterized, according to its creators, by the desire for "universal harmony", expressed in strictly balanced combinations of large rectangular figures, clearly separated by perpendicular black lines and painted in local colors of the main spectrum (with the addition of white and gray tones). Neo-plasticisme (Nouvelle plastique) This term appeared in Holland in the 20th century. Piet Mondrian he defined his plastic concepts, systematized and defended by the group and the magazine "Style" ("De Stiji") founded in Leiden in 1917. The main feature of neoplasticism was the strict use of expressive means. Neoplasticism allows only horizontal and vertical lines to build form. Crossing lines at right angles is the first principle. Around 1920, a second one was added to it, which, removing the stroke and emphasizing the plane, limits the colors to red, blue and yellow, i.e. three pure primary colors to which only white and black can be added. With the help of this rigor, neoplasticism intended to go beyond individuality in order to achieve universalism and thus create a new picture of the world.
Official "baptism" orphism happened at the Salon des Indépendants in 1913. So the critic Roger Allard wrote in his report on the Salon: "... we note for future historians that in 1913 a new school of Orphism was born ..." ("La Cote" Paris March 19, 1913). He was echoed by another critic Andre Varno: "The Salon of 1913 was marked by the birth of a new school of the Orphic school" ("Comoedia" Paris March 18, 1913). Finally Guillaume Apollinaire reinforced this statement by exclaiming, not without pride: “This is Orphism. Here, for the first time, this trend, which I predicted, appeared” (“Montjoie!” Paris Supplement to March 18, 1913). Indeed, the term was invented Apollinaire(Orphism as a cult of Orpheus) and was first publicly announced during a lecture on modern painting and read in October 1912. What did he mean? He doesn't seem to know it himself. Moreover, he did not know how to define the boundaries of this new direction. In fact, the confusion that prevails to this day was due to the fact that Apollinaire unconsciously confused two problems that were interconnected, of course, but before trying to connect them, he should have emphasized their differences. On the one hand, the creation Delaunay pictorial expressive means entirely based on color and, on the other hand, the expansion of cubism through the emergence of several different directions. After a break with Marie Laurencin at the end of the summer of 1912, Apollinaire sought shelter from the Delaunay family, who received him with friendly understanding in their workshop on the Rue Grand-Augustin. Just this summer, Robert Delaunay and his wife experienced a profound aesthetic evolution leading to what he later called the "destructive period" of painting based solely on the constructive and spatio-temporal qualities of color contrasts.
Postmodernism (postmodern, postavant-garde) -
(from Latin post "after" and modernism), the collective name for artistic trends that became especially clear in the 1960s and are characterized by a radical revision of the position of modernism and the avant-garde.
abstract expressionism post-war (late 40s - 50s of the XX century) stage in the development of abstract art. The term itself was introduced in the 1920s by a German art critic E. von Sydow (E. von Sydow) to refer to certain aspects of Expressionist art. In 1929, the American Barr used it to characterize the early works of Kandinsky, and in 1947 he called the works "abstract-expressionist" Willem de Kooning and Pollock. Since then, the concept of abstract expressionism has been consolidated behind a fairly wide, stylistically and technically variegated field of abstract painting (and later sculpture), which developed rapidly in the 50s. in the USA, in Europe, and then all over the world. The direct ancestors of abstract expressionism are considered to be the early Kandinsky, expressionists, orphists, partly dadaists and surrealists with their principle of mental automatism. The philosophical and aesthetic basis of abstract expressionism was largely the philosophy of existentialism, popular in the post-war period.
Readymade(English ready-made - ready) The term was first introduced into the art history lexicon by the artist Marcel Duchamp to designate their works, which are objects of utilitarian use, removed from the environment of their normal functioning and exhibited without any changes at an art exhibition as works of art. Ready-Made claimed a new look at the thing and thingness. An object that ceased to fulfill its utilitarian functions and was included in the context of the space of art, that is, became an object of non-utilitarian contemplation, began to reveal some new meanings and associative moves, unknown either to traditional art or to the everyday-utilitarian sphere of being. The problem of the relativity of the aesthetic and the utilitarian emerged sharply. First Ready-Made Duchamp exhibited in New York in 1913. The most infamous of his Ready-Made. steel "Wheel from a bicycle" (1913), "Bottle dryer" (1914), "Fountain" (1917) - this is how an ordinary urinal was designated.
Pop Art. After the Second World War, a large social stratum of people formed in America who earned enough money to buy goods that were not particularly important to them. For example, the consumption of goods: Coca cola or Levi's jeans become an important attribute of this society. A person using this or that product shows his belonging to a certain social stratum. Current mass culture was formed. Things became symbols, stereotypes. Pop art necessarily uses stereotypes and symbols. pop art(Pop Art) embodied the creative quest of the new Americans, which relied on the creative principles of Duchamp. It: Jasper Johns, K. Oldenburg, Andy Warhol, and others. Pop art takes on the importance of mass culture, so it is not surprising that it took shape and became an art movement in America. Their allies: Hamelton R, Ton China chosen as the authority Kurt Schwieters. Pop art is characterized by a work - an illusion of a game that explains the essence of the object. Example: pie K. Oldenburg depicted in various ways. An artist can not depict a cake, but dispel illusions, show that a person sees for real. R. Rauschenberg is also original: he pasted various photographs to the canvas, outlined them and attached some stuffed animal to the work. One of his famous works is a stuffed hedgehog. Also well known is his painting, where he used photographs of Kenedy.
Primitivism (Naive Art). This concept is used in several senses and is in fact identical to the concept "primitive art". In different languages and by different scientists, these concepts are used most often to refer to the same range of phenomena in artistic culture. In Russian (as well as in some others), the term "primitive" has a somewhat negative meaning. Therefore, it is more appropriate to focus on the concept naive art. In the broadest sense, this refers to fine art, which is distinguished by simplicity (or simplification), clarity and formal immediacy of the pictorial and expressive language, with the help of which a special vision of the world not burdened by civilizational conventions is expressed. The concept appeared in the new European culture of the last centuries, therefore it reflects the professional positions and ideas of this culture, which considered itself the highest stage of development. From these positions, naive art is also understood to mean the archaic art of ancient peoples (before the Egyptian or before the ancient Greek civilizations), for example, primitive art; the art of peoples who were delayed in their cultural and civilizational development (the indigenous population of Africa, Oceania, the Indians of America); amateur and non-professional art on the widest scale (for example, the famous medieval frescoes of Catalonia or the non-professional art of the first American immigrants from Europe); many works of the so-called "international Gothic"; folk art; finally, the art of talented primitivist artists of the 20th century, who did not receive a professional art education, but who felt in themselves the gift of artistic creativity and devoted themselves to its independent realization in art. Some of them (French A. Russo, K. Bombois, Georgian N. Pirosmanishvili, Croatian I. Generalich, American A.M. Robertson etc.) have created true artistic masterpieces that have become part of the treasury of world art. Naive art, in terms of the vision of the world and the methods of its artistic presentation, is somewhat close to the art of children, on the one hand, and to the work of the mentally ill, on the other. However, in essence it differs from both. The closest thing in terms of worldview to children's art is the Naive art of the archaic peoples and natives of Oceania and Africa. Its fundamental difference from children's art lies in deep sacredness, traditionalism and canonicity.
no art(Net Art - from the English net - network, art - art) The newest form of art, modern art practices, developing in computer networks, in particular, on the Internet. Its researchers in Russia, contributing to its development, O. Lyalina, A. Shulgin, believe that the essence of Net-art comes down to the creation of communication and creative spaces on the Web, providing complete freedom of network existence to everyone. Therefore, the essence of Net-art. not representation, but communication, and its original art unit is an electronic message. There are at least three stages in the development of Net-art, which arose in the 80s and 90s. 20th century The first was when aspiring web artists created pictures from letters and icons found on a computer keyboard. The second one began when underground artists and just everyone who wanted to show something from their work came to the Internet.
OP-ART(Eng. Op-art - an abbreviated version of optical art - optical art) - an artistic movement of the second half of the 20th century, using various visual illusions based on the features of the perception of flat and spatial figures. The current continues the rationalistic line of technicism (modernism). It goes back to the so-called "geometric" abstractionism, whose representative was V. Vasarely(from 1930 to 1997 he worked in France) - the founder of op art. The possibilities of Op-art have found some application in industrial graphics, posters, and design art. The direction of op art (optical art) originated in the 50s within abstractionism, although this time it was of a different variety - geometric abstraction. Its distribution as a current dates back to the 60s. 20th century
Graffiti(graffiti - in archeology, any drawings or letters scratched on any surface, from Italian graffiare - to scratch) This is the designation of the works of the subculture, which are mainly large-format images on the walls public buildings, structures, transport, made using various kinds of spray guns, aerosol cans with paint. Hence the other name "spray art" - Spray-art. Its origin is associated with the mass appearance of graffiti. in the 70s. on New York subway cars, and then on the walls of public buildings, store blinds. The first authors of graffiti. there were mostly young unemployed artists of ethnic minorities, primarily Puerto Ricans, therefore, in the first Graffiti, some stylistic features of Latin American folk art appeared, and the very fact of their appearance on surfaces not intended for this, their authors protested against their powerless position. By the beginning of the 80s. a whole trend of almost professional masters G. was formed. Their real names, previously hidden under pseudonyms, became known ( CRASH, NOC 167, FUTURA 2000, LEE, SEEN, DAZE). Some of them transferred their technique to canvas and began to exhibit in galleries in New York, and soon graffiti appeared in Europe.
HYPERREALISM(hyperrealism - English), or photorealism (photorealism - English) - artist. movement in painting and sculpture, based on photography, reproduction of reality. Both in its practice and in its aesthetic orientations towards naturalism and pragmatism, hyperrealism is close to pop art. they are primarily united by a return to figurativeness. It acts as an antithesis to conceptualism, which not only broke with representation, but also called into question the very principle of the material realization of art. concept.
land art(from the English land art - earthen art), a direction in the art of the last thirdXXcentury, based on the use of a real landscape as the main artistic material and object. Artists dig trenches, create bizarre heaps of stones, paint rocks, choosing for their actions usually deserted places - pristine and wild landscapes, thereby, as it were, striving to return art to nature. Thanks to his<первобытному>In appearance, many actions and objects of this kind are close to archeology, as well as to photo art, since the majority of the public can contemplate them only in series of photographs. It looks like we will have to come to terms with yet another barbarism in the Russian language. I don't know if it's a coincidence that the term<лэнд-арт>appeared at the end 60s at a time when in developed societies the rebellious spirit of the student body directed its forces to overthrow established values.
MINIMALISM(minimal art - English: minimal art) - artist. flow emanating from the minimal transformation of the materials used in the process of creativity, simplicity and uniformity of forms, monochrome, creative. artist's self-restraint. Minimalism is characterized by the rejection of subjectivity, representation, illusionism. Rejecting the classic creativity and tradition. artistic materials, minimalists use industrial and natural materials of simple geometric. shapes and neutral colors (black, gray), small volumes, serial, conveyor methods of industrial production are used. An artifact in the minimalist concept of creativity is a predetermined result of the process of its production. Having received the most complete development in painting and sculpture, minimalism, interpreted in a broad sense as the economy of the artist. funds, found application in other forms of art, primarily theater and cinema.
Minimalism originated in the United States in the trans. floor. 60s Its origins are in constructivism, suprematism, dadaism, abstractionism, formalistic Amer. painting of the 1950s, pop art. Direct precursor to minimalism. is an Amer. painter F. Stella, who presented in 1959-60 a series of "Black Paintings", where orderly straight lines prevailed. The first minimalist works appear in 1962-63 The term "minimalism." belongs to R. Walheim, who introduces it in relation to the analysis of creativity M. Duchamp and pop artists, minimizing the artist's intervention in the environment. Its synonyms are "cool art", "ABC art", "serial art", "primary structures", "art as a process", "systematic art". painting". Among the most representative minimalists are − C. Andre, M. Bochner, W. De Maria, D. Flavin. S. Le Witt, R. Mangold, B. Marden, R. Morris, R. Ryman. They are united by the desire to fit the artifact into the environment, to beat the natural texture of materials. D. Jade defines it as "specific. object”, different from the classical one. plastic works. arts. Independent, lighting plays a role as a way to create minimalist art. situations, original spatial solutions; computer methods of creation of works are used.
1. Art of Russia at the end of the 20th century. The last decade of the 20th century in Russia was full of political and economic events that radically changed the situation in the country. The collapse of the Union in 1991 and a change in political course, the transition to market relations and a clear orientation towards the Western model economic development Finally, the weakening, up to the complete abolition, of ideological control - all this in the early 90s contributed to the fact that the cultural environment began to change rapidly. The liberalization and democratization of the country contributed to the development and establishment of new trends and directions in the national art. The evolution of art in the 1990s in Russia takes place with the emergence of trends inherent in postmodernism, with the emergence of a new generation of young artists working in such areas as, conceptualism, computer graphics, neoclassicism related to the development of computer technology in Russia. Originating from classical eclecticism, "New Russian neoclassicism" became a "multi-faceted diamond", combining various trends that did not belong to the "classics" before the era of modernism. Neoclassicism- This is a direction in art in which artists revive the classical traditions of painting, graphics, sculpture, but at the same time they actively use the latest technologies. British historian and art theorist Edward Lucy Smith called Russian neoclassicism "the first striking phenomenon of Russian culture that influenced the world artistic process after Kazimir Malevich." Neoclassicism demanded a different attitude to antiquity than that of the classicists. The historical view of Greek culture made ancient works not an absolute, but a specific historical ideal, therefore, imitation of the Greeks acquired a different meaning: in the perception of ancient art, it was not its normativity that came to the fore, but freedom, the conditionality of rules that would later become the canon, the real life of the people . D.V. Sarabyanov finds neoclassicism a kind of "complication" of modernity. With the same probability, neoclassicism can be considered both late modern and an independent trend. In the work of the “new artists” there is no pure modernity or separate neoclassicism, they always act interconnectedly, the artists of the new academy combined several trends in the visual arts at once: avant-garde, postmodernism, classicism in the “collage space”. The works of the "new artists" are eclectic, combining computer graphics, etching, painting and photography. Artists digitized finished works, selected the necessary fragments and created collages, masterfully restoring the costumes and decor of antiquity. The combination of traditional methods with the capabilities of computer graphics programs has expanded the creative potential of artists. Collages were assembled from the scanned material, artistic special effects were applied to them, deformed, creating illusory compositions. The most prominent representatives of St. Petersburg neoclassicism in the early 1990s were O. Toberluts, E. Andreeva, A. Khlobystin, O. Turkina, A. Borovsky, I. Chechot, A. Nebolsin, E. Sheff. Neoclassicism Toberluts is one of the manifestations of romanticism. Her works embody the feelings of a person, dreams, nobility, something enthusiastic and turned to an unrealizable ideal. . The artist herself becomes the heroine of her works. Stylistically, O. Toberluts' work can be defined as neoclassicism, passed through the postmodern consciousness, as an eclectic world, which depicts ancient temples, Renaissance interiors, Dutch windmills and costumes from designer K. Goncharov as a touch of modernity. The limitless possibilities of computer graphics make the works of O.Tobreluts fantastic and supernatural. With the help of computer technology E.Sheff returns to ancient Greece, then to ancient Rome, creating images of ancient mythology in his collages. In series "Myths of Ludwig" the artist used photographs of Greek sculptures, architectural structures, superimposing the effects of antiquity on them. With the help of computer technology, the artist restores the originality of the Colosseum, conducting exciting excursions around it. Digital painting Shutov represents the emotional equivalent of his many hobbies. It contains both Greek classics and echoes of ethnographic research, as well as elements of youth subculture. Thus, it can be noted that the end of the 20th century was a turning point not only in the political and economic life of Russia, but also in art. In the 1990s, a powerful trend in the visual arts "new Russian neoclassicism" was founded. The development of computer technologies in Russia expanded the creative potential of artists, new artists, using new technologies, created classical works. The main thing is not technique and technology, but aesthetics. Modern art can also be classical. 2. The art of Russia at the beginning of the 21st century. A feature of fine art at the turn of the 20th - 21st centuries is that it became free from censorship oppression, from the influence of the state, but not from a market economy. If in Soviet times professional artists were provided with a package of social guarantees, their paintings were purchased for national exhibitions and galleries, but now they can only rely on their own strength. But Russian painting has not died and turned into a semblance of Western European and American art, it continues to develop on the basis of Russian traditions. Contemporary art is exhibited by contemporary art galleries, private collectors, commercial corporations, state art organizations, contemporary art museums, art studios or by the artists themselves in the artist-run space. Contemporary artists receive financial support through grants, awards and prizes, and also receive funds from the sale of their work. Russian practice is somewhat different in this respect from Western practice. Museums, Biennials, festivals and fairs of contemporary art are gradually becoming tools for attracting capital, investment in the tourism business or part of government policy. Private collectors have a great influence on the entire system of contemporary art. In Russia, one of the largest collections of contemporary art is held by the non-state Erarta Museum of Contemporary Art in St. Petersburg. Trends in contemporary art: Nonspectacular art- a trend in contemporary art that rejects spectacle and theatricality. An example of such art is the performance of the Polish artist Pavel Althamer "Script Outline", at the exhibition "Manifesta" in 2000. In Russia, he offered his own version of nonspectacular art Anatoly Osmolovsky. Street art(English) street art- street art) - visual arts, distinctive feature which is a pronounced urban style. The main part of street art is graffiti (otherwise spray art), but it cannot be considered that street art is graffiti. Street art also includes posters (non-commercial), stencils, various sculptural installations, etc. In street art, every detail, trifle, shadow, color, line is important. The artist creates his own stylized logo - a "unique sign" and depicts it on parts of the urban landscape. The most important thing in street art is not to appropriate territory, but to involve the viewer in a dialogue and show a different plot program. The last decade marks the diversity of directions that street art chooses. Admiring the older generation, young writers are aware of the importance of developing their own style. In this way, new branches are emerging, predicting a rich future for the movement. New diverse forms of street art sometimes surpass in scope everything that has been created before. Aerography - one of the painting techniques of the fine arts, using an airbrush as a tool for applying liquid or powdered dye using compressed air to any surface. A spray paint can also be used. Due to the widespread use of airbrushing and the emergence of a large number of different paints and compositions, airbrushing has received a new impetus for development. Now airbrushing is used to create paintings, photo retouching, taxidermy, modeling, textile painting, wall painting, body art, nail painting, painting souvenirs and toys, painting dishes. It is often used for drawing pictures on cars, motorcycles, other equipment, in printing, in design, etc. Thanks to a thin layer of paint and the ability to smoothly spray it on the surface, it is possible to achieve excellent decorative effects, such as smooth color transitions, three-dimensionality, photographic realism of the resulting image, imitation of a rough texture with an ideal surface smoothness.
Topics and questions seminars;
Topic 1. Basic concepts of art history and art history.
Questions:
1. The problem of classifying arts.
2. The concept of "work of art". The emergence and task of a work of art. Work and art.
3. Essence, goals, tasks of art.
4.Functions and meaning of art.
5. The concept of "style". Artistic style and its time.
6. Classification of arts.
7. The history of the emergence and formation of art criticism.
Issues for discussion:
1. There are 5 definitions of art. What is characteristic of each of them? Which definition do you follow? Can you formulate your definition of art?
2. What is the purpose of art?
3. How can you define a work of art? How do "work of art" and " piece of art"? Explain the process of the emergence of a work of art (according to I. Ten). What is the task of a work of art (according to P.P. Gnedich)?
4. List the 4 main functions of art (according to I.P. Nikitina) and four
possible understanding of the meaning of art.
5. Define the meaning of the concept of "style". What styles of European art do you know? What is "artistic style", "artistic space"?
6. List and give brief description types of art: spatial, temporal, space-time and spectacular arts.
7. What is the subject of art history?
8. What do you think is the role of museums, exhibitions, galleries, libraries for studying works of art history?
9. Features of ancient thought about art: Surviving information about the first examples of literature on art ("Canon" by Polykleitos, treatises by Duris, Xenocrates). "Topographical" direction in literature about art: "Description of Hellas" by Pausanias. Description of works of art by Lucian. The Pythagorean concept of "cosmos" as a harmonious whole, subject to the laws of "harmony and number" and its significance for the beginnings of the theory of architecture. The idea of order and proportion in architecture and urban planning. The images of the ideal city in the writings of Plato (the sixth book of the Laws, the dialogue Critias) and Aristotle (the seventh book of the Politics). Understanding Art in Ancient Rome. "Natural History" by Pliny the Elder (1st century AD) as the main source of information on the history of ancient art. Treatise of Vitruvius: a systematic exposition of classical architectural theory.
10. The fate of ancient traditions in the Middle Ages and features of medieval ideas about art: Aesthetic views of the Middle Ages (Augustine, Thomas Aquinas), the leading aesthetic idea: God is the source of beauty (Augustine) and its significance for artistic theory and practice. The idea of "prototype". Features of medieval literature on art. Practical-technological, prescription manuals: “Guide of painters” from Mount Afaon Dionysius Furnagrafiot, “On the colors and arts of the Romans” by Heraclius, “Schedula” (Schedula - Student) by Theophilus. Description of architectural monuments in chronicles and lives of saints.
11. Renaissance as a turning point in the history of the development of European art and art history. New attitude to antiquity (the study of the monuments of antiquity). The development of a secular worldview and the emergence of experimental science. Formation of a tendency towards historical and critical interpretation of the phenomena of art: "Comments" by Lorenzo Ghiberti Treatises on special issues - urban planning (Filaret), proportions in architecture (Francesco di Giorgio), perspective in painting (Piero dela Francesca). Theoretical understanding of the Renaissance turning point in the development of art and the experience of humanistic study of the ancient heritage in the treatises of Leon Batista Alberti (“On the Statue”, 1435, “On Painting”, 1435-36, “On Architecture”), Leonardo da Vinci (“Treatise on Painting” , published posthumously), Albrecht Dürer (Four Books on Human Proportions, 1528). Criticism of the architectural theory of Vitruvius in "Ten Books on Architecture" (1485) by Leon Baptiste Alberti. Vitruvian "Academy of Valor" and its activities in the study and translation of the work of Vitruvius. Giacomo da Vignola's treatise "The Rule of the Five Orders of Architecture" (1562). Four Books on Architecture (1570) by Andrea Palladio is a classic epilogue in the history of Renaissance architecture. The role of Palladio in the development of the architectural ideas of baroque and classicism. Palladio and Palladianism.
12. The main stages of the formation of historical art history in the New Age: from Vasari to Winckelmann: "Lives of the most prominent painters, sculptors and architects" Giorgio Vasari (1550, 1568) as a milestone work in the history of the formation of art criticism. "The Book of Artists" by Karel Van Mander as a continuation of Vasari's biographies based on the material of Netherlandish painting.
13. Thinkers of the 18th century on the problems of style formation in art, on artistic methods, the place and role of the artist in society: Rationalism in art history. The classic theory of Nicolas Poussin. The theoretical program of classicism in the "Poetic Art" by Nicolas Buallo (1674) and "Conversations about the most famous painters, old and new" by A. Feliben (1666-1688).
14. Age of Enlightenment (18th century) and theoretical and methodological problems of art. Formation of national schools within the framework of the general theory of art. Development of art criticism in France. The role of the Salons in French artistic life. Reviews of the Salons as the leading forms of critical literature on the fine arts. Disputes about the tasks of art criticism (evaluation of creativity or education of the public). Features of German art history. Contribution to the theory of fine arts by Gotthold Ephraim Lessing. Treatise "Laocoön" (1766) and the problem of the boundaries of painting and poetry. Introduction of the concept of "fine arts" instead of "fine arts" (shifting the emphasis from beauty to truth and highlighting the figurative-realistic function of art). The significance of the activities of Johann Joachim Winckelmann for the development of the historical science of art. Winckelmann's concept of ancient art and the periodization of its development.
15. Origins of Russian thought about art. Information about artists and artistic monuments in Russian medieval chronicles and epistolary sources. Raising questions about art in the social and political life of the 16th century. (Stoglavy Cathedral of 1551 and other cathedrals) as evidence of the awakening of critical thinking and the struggle of various ideological trends.
16. A radical change in Russian art of the 17th century: the formation of the beginnings of a secular worldview and the first acquaintance with European forms of artistic culture. Formation of artistic and theoretical thought. Chapter "On iconography" in the "Life" of Avvakum. "Essay on Art" by Joseph Vladimirov (1665-1666) and "Word to the Curious Icon Painting" by Simon Ushakov (1666-1667) are the first Russian works on the theory of art.
17. Active formation of new secular forms of culture in the 18th century. Notes
J. von Stehlin is the first attempt to create a history of Russian art.
18. New romantic understanding of art in critical articles by K.N. Batyushkova, N.I. Gnedich, V. Kuchelbeker, V.F. Odoevsky, D.V. Venevitinova, N.V. Gogol.
19. Art History of the Late 19th - 20th Centuries: Attempts to Synthesize the Achievements of the Formal School with the Concepts of Its Critics - "structural science" of artistic styles. Semiotic approach in art history. Features of the semiotic study of works of fine art in the works of Yu.M. Lotman, S.M. Daniel, B.A. Uspensky. The variety of methods for studying art in modern domestic science. Principles of analysis of a work of art and a problematic approach to the study of the history of art in the works of M. Alpatov (“Artistic problems of the art of Ancient Greece”, “Artistic problems of the Italian Renaissance”). Synthesis of methodological approaches (formal-stylistic, iconographic, iconological, sociological) by V. Lazarev. Comparative-historical method of research in the works of D. Sarabyanov (“Russian painting of the 19th century among European schools. The experience of comparative research”). Systematic approach to art and its features.
1. Alekseev V.V. What is art? About how a painter, graphic artist and sculptor depict the world. – M.: Art, 1991.
2. Valeri P. About art. Collection. – M.: Art, 1993.
3. Vipper B.R. Introduction to the historical study of art. – M.: Visual arts, 1985.
4.Vlasov V.G. Styles in art. - St. Petersburg: 1998.
5.Zis A.Ya. Kinds of art. – M.: Knowledge, 1979.
6.Kon-Wiener. History of Fine Arts Styles. - M .: Svarog and K, 1998.
7. Melik-Pashaev A.A. Modern dictionary-reference book on art. – M.: Olimp – AST, 2000.
8. Janson H.V. Fundamentals of art history. – M.: Art, 2001.
Theme 2. Art of the Ancient World. Art of the era of the primitive communal system and the Ancient East.
Questions:
1. Periodization of the art of primitive society. Characteristics of the primitive art of the era: Paleolithic, Mesolithic, Neolithic, Bronze.
2. The concept of syncretism in primitive art, its examples.
3. General laws and principles of the art of the Ancient East.
4. Art of Ancient Mesopotamia.
5. The art of the ancient Sumerians.
6. Art of ancient Babylonia and Assyria.
Issues for discussion:
1. Give short review periodization of primitive art. What are the features of the art of each period?
2. Describe the main features of primitive art: syncretism, fetishism, animism, totemism.
3. Compare the canons in the depiction of a person in the art of the ancient East (Egypt and Mesopotamia).
4. What are the features of the fine arts of Ancient Mesopotamia?
5. Tell us about the architecture of Mesopotamia on the example of specific monuments:
the ziggurat of Etemenniguru in Ur and the ziggurat of Etemenanki in New Babylon.
6. Tell us about the sculpture of Mesopotamia on the example of specific monuments: the walls along the Procession Road, the Ishtar Gate, the reliefs from the Ashurnasirpal Palace in
7. What is the theme of the sculptural relief images of Mesopotamia?
8. What was the name of the first Babylonian monuments of architecture? What was their
appointment?
9. What is the peculiarity of the cosmogony of the Sumero-Akkadian culture?
10. List the achievements in the art of the Sumero-Akkadian civilization.
1. Vinogradova N.A. Traditional art of the East. - M.: Art, 1997.
2. Dmitrieva N.A. Brief history of arts. Issue. 1: From ancient times to the 16th century. Essays. – M.: Art, 1985.
3. Art of the Ancient East (Monuments of world art). – M.: Art, 1968.
4. Art ancient egypt. Painting, sculpture, architecture, applied arts. – M.: Visual arts, 1972.
5. Art Ancient World. – M.: 2001.
6. History of art. The first civilizations - Barcelona-Moscow: OSEANO - Beta-Service, 1998.
7. Monuments of world art. Issue III, first series. Art of the Ancient East. - M.: Art, 1970.
8.Pomerantseva N.A. Aesthetic foundations of the art of ancient Egypt. – M.: Art, 1985.
9. Stolyar A.D. Origin of fine arts. – M.: Art, 1985.
RUSSIAN ART OF THE ENDXIX--STARTXXCENTURIES
Late 19th-early 20th century represents a turning point in all spheres of social and spiritual life. Russia was heading towards revolution. “We are going through turbulent times,” wrote V. I. Lenin in 1902, “when the history of Russia is striding forward by leaps and bounds, every year sometimes means more than decades of peaceful periods.” The key to understanding the relationship of art with the historical reality of this time can be the position formulated by V. I. Lenin in the famous series of articles about L. N. Tolstoy: Lenin's interpretation of Tolstoy's contradictions follows from this: "The contradictions in Tolstoy's views are not contradictions of his personal thought only, but a reflection of those highly complex, contradictory conditions, social influences, historical traditions that determined the psychology of various classes and various strata of Russian society in the post-reform, but pre-revolutionary era. This Leninist position contains the general methodological principle of the historical explanation of art, which makes it possible to extend what was said about Tolstoy to the field of artistic creation as a whole.
However, this provision should not be understood in a simplified way and it should not be thought that in any single work of art signs of the crisis of the bourgeois system or the influence of proletarian ideology are directly detected. It only means that art as a whole, in the main tendencies of the artistic process, becomes the spokesman for the contradictions of late bourgeois development, fraught with a revolutionary explosion and putting forward the proletariat as the leading revolutionary force. The degree of depth and sharpness of these contradictions is already such that art, and even more so visual art, dealing with the world accessible to external vision, is gradually imbued with the consciousness of the impossibility of displaying a new sense of life using the old realism method - the method of directly depicting reality in the forms of reality itself. The primacy of artistic images and forms that indirectly express the content of modernity over the forms of its direct reflection is the main distinguishing feature art of the late 19th and early 20th centuries.
CULTURE AT THE TURN OF THE CENTURY
Chronologically, this period is located between the beginning of the 90s and 1917. It is preceded by the 1980s as a transitional decade, when the realism of the second half of the 19th century reaches its height. in the work of Repin and Surikov, and at the same time, sprouts of a new art of understanding are found in the first works of artists who reached their creative flowering in the next period.
In the context of the polarization of social forces in the growing class battles, questions about the place and role of art are being raised anew and revised. The demand put forward by life itself for the democratization of art, keenly felt by the artists themselves, faced a tendency towards a sophisticated refinement of the art form, which characterizes the work of the greatest masters of this time - Vrubel, Levitan, Serov, Borisov-Musatov, and especially representatives of the "World of Art" circle - the first major artistic group after the wanderers.
After the revolutionary situation of the 1960s and 1970s, a violent political reaction set in in Russia. The 80s were the time of the crisis of revolutionary populism and the ideological platform on which the aesthetics of the Wanderers were based. This decade was both at the same time the highest flowering of Wandering realism in the work of Repin and Surikov, and the beginning of its crisis. Contemporaries are already beginning to consider it as a phenomenon that has survived its heyday.
In 1894, the largest representatives of the Partnership - Repin, Makovsky, Shishkin, Kuindzhi became part of the academic professorship.
The socio-critical pathos of previous art does not disappear, but is significantly transformed. It takes the form of the affirmation of the ideals of harmony and beauty in full awareness of their illusory nature, the hostility of these eternal ideals of culture to the modern world order, which was the source of pessimistic moods that constituted one of the important features of the intellectual climate at the end of the century. The consciousness that beauty is not created from the materials of this world, but arises only at the expense of the artist’s own resources of talent and poetic fantasy, was reflected in the attraction to fairy tale, allegorical or mythological plots and in the very structure of the art form, which translated images of external reality into the realm of folklore representations, memories of the past or vague premonitions of the future.
Analytical method of realism of the middle of the 19th century. outlives itself. The opposition of art to the prose of bourgeois relations acquires not so much a moral, ethical and social coloring as a proper aesthetic one: the main evil that the bourgeois world brings with it is indifference to beauty, the atrophy of the sense of beauty. The humanistic mission of the artist is now seen in the cultivation of this feeling by all means available to art. "To wake up ... from the little things of everyday life with majestic images ..." - this is how M. Vrubel formulated this task. "In its most consistent form, this problem boiled down to liberation from the oppression of utilitarian prosaism in this very same everyday sphere - the sphere of everyday life.
The task of bringing art closer to life was understood by artists of the middle of the century and the Wanderers as the task of reflecting life in art, while art itself remained still fenced off from reality by the walls of the museum. Artists of the late 19th century accept the formula of bringing art closer to life in its direct meaning - as the task of bringing art into life, transforming the beauty of the surrounding world.
A painting, a sculptural work should leave the museum, become an integral part of everyday life along with everyday things and architecture that make up a person's environment. But for this, a work of art in its very fabric, in configurations of shapes and colors, must be in tune with the environment, make up a single ensemble with it. This unity is provided by the style that gives the law of shaping, penetrating the entire field of spatial arts, the style towards the creation of which the efforts of artists of the late 19th and early 20th centuries were directed. In Russia, he received the name Art Nouveau.
Deep shifts in the artistic consciousness of the period under consideration were made by the revolution of 1905-1907, which, in the words of V. I. Lenin, “is a revolution of the whole people” 2 . Of course, these shifts in artistic consciousness did not reveal themselves immediately, and their direction was determined by the entire course of the previous development of Russian art. The turning point of the era under consideration was expressed in art in the internal conflict of development, in the relationship of overt or covert polemics between individual artistic groups, replacing each other in kaleidoscopic diversity, in the gradually increasing swiftness of artistic evolution, especially after 1910. the activity of the exhibition life, as well as the increase in the number of periodicals and other types of publications, specially devoted to the issues of fine art, especially modern - Russian, and Western European.
A large role in this process belonged to the group of artists "World of Art", who organized their own exhibitions and retrospective shows of Russian art of the 18th century, published for six years a magazine with the same name, which was very popular both among artists and among wide circles of young people and the intelligentsia. . By attracting Western European masters to participate in its exhibitions, the World of Art contributed to the expansion of contacts between Russian art and contemporary foreign art. The study of young Russian artists in private European schools and studios is becoming a common occurrence. The activities of the "World of Art", the center of which was St. Petersburg, stimulated the process of consolidation of artistic forces in Moscow, which led to the emergence in 1903 of a new artistic association - the "Union of Russian Artists". In general, the self-determination of the Moscow school of painting in relation to the St. Petersburg "World of Art" trend with its cult of graphics should be noted as an essential factor in the development of art in the period under review.
Another important feature of this period is the alignment of the previously uneven development of certain types of art: architecture, arts and crafts, book graphics, sculpture, and theatrical scenery become next to painting. The hegemony of the easel painting, which distinguished the art of the middle of the century, is a thing of the past. In conditions when the spheres of application of fine arts are unusually expanding, a new type of universal artist is being formed, who “can do everything” - paint a picture and a decorative panel, perform a vignette for a book and a monumental painting, sculpt a sculpture and compose a theatrical costume. The features of such universalism marked the work of M. Vrubel, the artists of the "World of Art".
The cult of artistic universalism reigned in the circle of artists, grouped around the industrialist and philanthropist S. I. Mamontov. Established in 1872 and having Abramtsevo near Moscow as its "residence", the circle became a kind of forge of ideas and forms of new Russian art. The activity of the circle gradually acquires an orientation towards theatrical-decorative and decorative-applied art, towards the revival of folk art. Handicrafts are collected, folklore motifs are studied in fine art - in popular prints, embroideries, toys, wooden carvings.
At the turn of the century, a style developed that affected all plastic arts, starting, first of all, with architecture (in which eclecticism dominated for a long time) and ending with graphics, which received the name of style modern. Art Nouveau is a new stage in the synthesis of architecture, painting, and decorative arts. Art Nouveau manifested itself in the following way: in sculpture - the fluidity of forms, the special expressiveness of the silhouette, the dynamism of the compositions; in painting - the symbolism of images, addiction to allegories.
The emergence of Art Nouveau did not mean that the ideas of wandering died by the end of the century. In the 1990s, genre painting developed, but it developed somewhat differently than in the “classical” movement of the 1970s and 1980s. One of the largest artists, an innovator of Russian painting at the turn of the century was Valentin Aleksandrovich Serov (1865–1911).. Serov often writes representatives of the artistic intelligentsia: writers, artists, artists. But a special theme in the work of Serov is peasant. In his peasant genre there is no itinerant social sharpness, but there is a sense of the beauty and harmony of peasant life, admiration for the healthy beauty of the Russian people.
creative way Mikhail Alexandrovich Vrubel (1856–1910) was more direct, though also extraordinarily complex. In the 90s, when the artist settled in Moscow, Vrubel's writing style full of mystery and almost demonic power took shape. Color combinations do not reflect the reality of color relationships, but have a symbolic meaning. With Vrubel we are entering a new century, the era of the "Silver Age", the last period of the culture of St. Petersburg Russia
Viktor Elpidiforovich Borisov-Musatov (1870–1905)- a direct exponent of pictorial symbolism and one of the first retrospectives in the fine arts of frontier Russia. His works are an elegiac sadness for the old deserted “noble nests” and dying “cherry orchards”, for beautiful women, spiritualized, almost unearthly, dressed in some kind of timeless costumes that do not carry external signs of place and time. Borisov-Musatov with artists of the "World of Art"- an organization that arose in St. Petersburg in 1898 and united the masters of the highest artistic culture, the artistic elite of Russia of those years. Of great importance for the formation of this association was the personality of Diaghilev, a patron and organizer of exhibitions, and later - the impresario of Russian ballet and opera tours abroad. When the last, fifth exhibition of the World of Art closed in March 1903, the last issue of the World of Art magazine came out in December 1904, most of the artists moved to the Union of Russian Artists organized on the basis of the Moscow exhibition of 36 . In 1910, an attempt was made to breathe life back into the "World of Art" (led by Roerich).
In 1903, as already mentioned, one of the largest exhibition associations of the beginning of the century arose - Union of Russian Artists. The exhibitors of the "Union" were artists of different worldviews: S. Ivanov, M. Nesterov, A. Arkhipov, the Korovin brothers, L. Pasternak. Organizational affairs were in charge of A.M. Vasnetsov, S.A. Vinogradov, V.V. Binders. Pillars of movement V.M. Vasnetsov, Surikov, Polenov were its members. K. Korovin was considered the leader of the "Union".
In 1910, a number of young artists - P. Konchalovsky, I. Mashkov, A. Lentulov, R. Falk, A. Kuprin, M. Larionov, N. Goncharova and others - united in organization "Jack of Diamonds”, which had its own charter, arranged exhibitions and published its own collections of articles. The “Jack of Diamonds” actually existed until 1917. Just as post-impressionism, primarily Cezanne, was a “reaction to impressionism”, so the “Jack of Diamonds” opposed the vagueness, untranslatability, the subtlest nuances of the symbolic language of the “Blue Rose” and aesthetic stylism “ World of Art.
The extreme simplification of the form, the direct connection with the art of signage is especially noticeable in M.F. Larionov (1881–1964), one of the founders of the "Jack of Diamonds", but already in 1911 broke with him and organized new exhibitions: "Donkey's Tail" and "Target". His theme is the life of a provincial street, soldiers' barracks. In 1913, Larionov published his book "Luchism" - in fact, the first of the manifestos of abstract art, the true creators of which in Russia were V. Kandinsky and K. Malevich. M.Z. Chagall (1887–1985) created fantasies transformed from the boring impressions of small-town Vitebsk life and interpreted in a naive-poetic and grotesque-symbolic spirit.
The art of the pre-revolutionary years in Russia is marked by the extraordinary complexity and inconsistency of artistic searches, hence the successive groupings with their own program settings and stylistic preferences. But along with the experimenters in the field of abstract forms in the Russian art of that time, the "World of Art" and "Goluborozites", "allies", "knaves of diamonds" continued to work at the same time, there was also a powerful stream of neoclassical currents, an example of which can be the work of an active member of the "Mir art" in its "second generation" Z.E. Serebryakova (1884–1967). Finally, a brilliant evidence of the vitality of national traditions, the great ancient Russian painting is the creativity Kuzma Sergeevich Petrov-Vodkin (1878–1939), an artist-thinker who later became a well-known master of art of the Soviet period.
The era of highly developed industrial capitalism caused significant changes in architecture, especially in the architecture of the city. There are new types of architectural structures: factories and plants, railway stations, shops, banks; with the advent of cinema - cinemas. The revolution was made by new Construction Materials: reinforced concrete and metal structures, which made it possible to block gigantic spaces, make huge showcases, and create a bizarre pattern of bindings.
In the last decade of the 19th century, it became clear to architects that in using the historical styles of the past, architecture had reached a dead end; what was needed, according to researchers, was not a “rearrangement” of historical styles, but a creative understanding of the new that was accumulating in the environment of a rapidly growing capitalist city. The last years of the 19th - early 20th centuries. - this is the time of the domination of modernity in Russia, a striking example of which in Russia was creativity F.O. Shekhtel(1859–1926). Profitable houses, mansions, buildings of trading companies and railway stations - in all genres left F.O. Shekhtel's handwriting. In Art Nouveau, one can trace a certain evolution, two stages of development: the first is decorative, with a passion for ornament, decorative sculpture and painting (ceramics, mosaics, stained glass), the second is more constructive, rationalistic.
Mikhail Vrubel
Vrubel Mikhail Alexandrovich (1856–1910), Russian artist, the largest representative of symbolism and modernity in Russian fine arts. Born in Omsk on March 5 (17), 1856. Vrubel studied at the St. Petersburg Academy of Arts (1880–1884) under Pavel Petrovich Chistyakov; I took watercolor lessons from Ilya Efimovich Repin. Vrubel was particularly influenced by the painting of the Venetian Renaissance. Invited to restore St. Cyril's Church (12th century), Vrubel in a number of cases had to perform new compositions (in particular, The Descent of the Holy Spirit, 1884); at the same time, the artist also painted the icon "The Virgin and Child" (Kyiv Museum of Russian Art). The enchanting splendor of Vrubel's coloring was fully manifested in the painting "Girl Against the Background of a Persian Carpet" (1886, ibid.). After moving to Moscow, Vrubel becomes one of the most active members of Savva Mamontov's artistic group. Here the painter paints a number of his best paintings, works in majolica - sculptures of Tsar Berendey, Lel, Volkhov - all in the Tretyakov Gallery, Moscow, referring to design, performs sketches of a ceramic stove, vase, bench (Museum in Abramtsevo). The “Russian style” of these things finds expression in his scenography associated with Savva Ivanovich Mamontov’s Moscow Private Russian Opera, including the design of Sadko (1897) and The Tale of Tsar Saltan (1900) by Nikolai Andreyevich Rimsky-Korsakov. Vrubel's talent as a decorator is also evident in his huge panel "Princess Dream", commissioned for the Nizhny Novgorod Fair (1896, Tretyakov Gallery).
The Demon, 1890, The Flight of Faust and Mephistopheles, 1896, The Swan Princess, 1900, The Six-winged Seraphim Azrael, Pan 189
The atmosphere of a fairy tale, characteristic of the paintings "Pan" (1899), "The Swan Princess", "By Night", "Lilac" (all 1900), the tragedy culminates in those Vrubel images that go back to his illustrations for Lermontov's poem " Demon" (watercolor, whitewash, 1890-1891, Tretyakov Gallery and the Russian Museum, St. Petersburg), - in the paintings "Demon" (1890) and "Demon Defeated" (1902; both works - Tretyakov Gallery).
In 1902, Vrubel was struck by a severe mental illness, but even in his later period (carried out mainly in private clinics in Moscow and St. works transitional from modern to avant-garde. In 1906 the artist went blind. Vrubel died in St. Petersburg on April 1 (14), 1910. The influence of his art was universal: in one way or another, almost all the major masters of Russian art of the 20th century experienced it.
42 "World of Art" - a significant phenomenon in the Russian artistic life of the late XIX - early XX century, which played a big role in the development of not only the fine arts in Russia, but also theater, music, architecture, and applied arts.
The cradle of the "World of Art" was a circle of the St. Petersburg intelligentsia, which arose in the 1890s. Among them were the artists A. N. Benois, K. A. Somov, L. S. Bakst. By the end of this decade, the "World of Art" took shape as an ideological and artistic association. V. A. Serov took part in it, supporting him with his authority. The core of the young group was replenished by E. E. Lansere and M. V. Dobuzhinsky. S. P. Diaghilev, devoted to the interests of art, played an important organizational role. From 1899 to 1904, the figures of the "World of Art" published a literary and artistic magazine. However, he was not unified in his direction. Its artistic department, headed by outstanding masters of the fine arts, differed sharply from the literary-philosophical department, which was of a symbolist-religious nature.
The main goal of the World of Art was the renewal of Russian art, the improvement of its artistic culture, mastery, wide familiarization with the traditions of foreign and domestic heritage. Miriskusniki arranged extensive exhibitions of domestic and foreign art, and were the initiators of many artistic endeavors. They then declared themselves opponents of both the routine academicism and the petty everyday life of the late Wanderers.
In their creative practice, the World of Arts proceeded from specific life observations, depicting contemporary nature and man. AT early years in the life of the association, the World of Arts paid tribute to individualism. Later, in the pre-revolutionary decade, they largely revised their aesthetic positions, recognizing individualism as detrimental to art. During this period, modernism became their main ideological opponent.
In two types of art, the artists of the "World of Art" achieved particularly significant success: in theatrical and decorative art, which embodied their dream of the harmony of the arts, of their synthesis, and in graphics.
Graphics attracted the World of Arts as one of the mass art forms, they were also impressed by its chamber forms, common in those years in many art forms. In addition, the graphics required special attention, since it was much less developed than painting. Finally, the development of graphics was also facilitated by achievements in domestic printing.
Landscapes of old St. Petersburg and its suburbs, the beauty of which the artists sang, as well as a portrait, which in their work occupied essentially an equal place with the picturesque, became a peculiarity of the easel graphics of the World of Art. A. P. Ostroumova-Lebedeva made a great contribution to the graphics of the early 20th century; in her work woodcut is affirmed as independent view art. The romantic work of V. D. Falileev, who developed the art of engraving on linoleum, was peculiar. The most significant phenomenon in the field of etching was the work of V. A. Serov. They were distinguished by simplicity, rigor of form and excellent mastery of drawing. Serov also advanced the development of lithography, creating a number of remarkable portraits in this technique, distinguished by their expressiveness with an amazing economy of artistic means.
The masters of the World of Art achieved great success in the field of book illustration, raising high level artistic culture of the book. Particularly significant in this regard is the role of A. N. Benois, E. E. Lansere, and M. V. Dobuzhinsky. I. Ya. Bilibin, D. N. Kardovsky, G. I. Narbut, D. I. Mitrokhin, S. V. Chekhonin and others worked fruitfully in book graphics.
The best achievements of graphic art at the beginning of the century, and first of all of the World of Art, contained the prerequisites for the broad development of Soviet graphic art.
Russian avant-garde
The first timid step towards avant-garde art was made in 1907 by the artists Association "Blue Rose"- P. Kuznetsov, N. apunov, S. Sudeikin, M. Saryan, A. Fonvizin, N. Krymov. The style of the “Goluborozites”, refined, poetic, closely associated with the aesthetics of symbolism, was created with an emphasis on neo-primitivism, which partly influenced the development of the work of such “titans” of the Russian avant-garde as M. Larionov, N. Goncharova or K. Malevich.
The new art first loudly announced itself in 1910 at the Jack of Diamonds exhibition organized on the initiative of Mikhail Larionov. It was attended by original and very dissimilar masters - Ilya Mashkov (1), Natalya Goncharova (2), Aristarkh Lentulov (3), Robert Falk and many others. What united them all was the mood of a “pictorial action in the square”, the desire to convey the atmosphere of a booth, a fairground performance.
The pictorial style of the "jack of diamonds" was characterized by a bizarre mixture of French post-impressionism with purely Russian icon-painting traditions and folk art techniques (lubok, painting trays and toys, shop signs). The exhibition was a real shock for respectable Muscovites and even for art critics, who have already seen a lot of things. However, its organizers would be upset if the effect was different. After all, the very choice of the name of the exhibition has become quite shocking: in street jargon, “jack of diamonds” meant “swindler”, “rogue”, “dishonest person”.
Unfortunately (or fortunately for further development avant-garde), already by 1912 creative differences began among the members of the association. Larionov and Goncharova separated from the main core, while the rest announced the creation of an official group under the name "Jack of Diamonds". In their work, the Jack of Diamonds relied on the discoveries of Paul Cezanne, especially in the field of color and space, so still life and landscape became their favorite genres.
Larionov and Goncharova did not approve of such a passion for French art, believing that their former like-minded people value Western masters too much and pay too little attention to national traditions. In 1912 they staged an exhibition called "Donkey Tail"- as an allusion to the situation that arose in the Salon des Indépendants, where they tried to pass off a canvas painted with a donkey's tail as a masterpiece of avant-garde art. Larionov and Goncharova did not completely abandon the use of the painting techniques of European masters, but combined them with the achievements of Russian folk paintings and icon painting (4). An integral pictorial trend did not grow out of the exhibition, but it turned out to be very significant for the further development of the Russian avant-garde. In a year they arranged another exhibition, "Target", in which St. Petersburg futurist artists took part. In the same place, Larionov demonstrated his first non-objective "radiant" works.
The artistic life of St. Petersburg also did not stand still. In 1910, a creative association arose here "Youth Union", which did not have special program and uniting in its composition representatives of different artistic movements (O. Rozanova, I. Klyun (6), N. Altman, A. Exter, N. Udaltsova, M. Chagall). Unlike Muscovites, Petersburgers were more influenced by the Cubists and Italian Futurists, and the Russian version of Futurism turned out to be much richer and more interesting than what Marinetti and his followers proposed. Combining the principles of these two areas, they created their own style based on them - cubo-futurism. The main work was carried out in the period 1911–1915. The work of Olga Rozanova is especially original, she is looking for ways to abstraction in parallel with Kandinsky and Malevich.
Supremus - means "supreme, excellent." The term coined by Malevich for the new pictorial trend was supposed to mean the superiority of the new painting over everything that was before it, the victory of pure colors, freed from the world of things.
In the first years after the October Revolution, many art universities and workshops arose in the country, in the activities of which the avant-garde masters took the most ardent part. The main educational institutions were INHUK (Institute of Artistic Culture) and VKHUTEMAS (Higher Artistic and Technical Workshops), where the leading figures of the avant-garde - Popova, Exter, Rodchenko, Malevich, Tatlin, Filonov taught.
Filonov's work stands apart in the motley kaleidoscope of styles and phenomena of the first decade of the 20th century. He has the honor of creating a specific direction called "analytical art" (8). In March 1914, he began to gather around him a group of like-minded people who issued a manifesto "Intimate workshop of painters and draftsmen
The unity of power and art was not destined to last long. Already in the 1920s, a gradual “tightening the screws” began. Increasingly, avant-garde artists were accused of being isolated from the people, reproached for excessive complexity and abstruseness.
By 1932, non-medicalism was forced out of art workshops, and the doctrine of "socialist realism" was finally established in art.
Wassily Kandinsky
Wassily Kandinsky (1866-1944), Russian and German artist, art theorist and poet, one of the leaders of the avant-garde of the first half of the 20th century; became one of the founders of abstract art. Born in Moscow on November 22 (December 4), 1866. Even in his gymnasium years, he began to actively engage in music and painting. From 1885 Kandinsky studied law at the university in Moscow, but later decided to devote himself to art. Since 1897 he lived in Munich, where he studied at the local Academy of Arts under the direction of Franz von Stuck. Traveled extensively in Europe and North Africa (1903-1907), (paintings "Colorful life", "Ladies in crinolines" and others). In 1910, Kandinsky created the first abstract pictorial improvisations and completed the treatise On the Spiritual in Art (the book was published in 1911 in German).
Motley life, Moscow 1
In 1914 Wassily Kandinsky returned to Russia, where he lived mainly in Moscow. ("Moscow. Red Square", 1916, Tretyakov Gallery; "Troubled", ibid; "Twilight", Russian Museum; "Grey Oval", Art Gallery, Yekaterinburg; all works - 1917). In 1918 Wassily Kandinsky published his autobiographical book Steps. However, not accepting the communist ideology, he left Russia forever in 1921. Lived in Germany. ("In the Black Square", 1923; "Several Circles", 1926; both paintings are in the S. Guggenheim Museum, New York). In 1924, together with Yavlensky, L. Feininger and P. Klee, the master formed an association "Blue Four" arranging joint exhibitions with them. With the beginning of the German occupation (1939), he returned to Paris, where he continued to work actively, including on the project of a comedy ballet film, which he intended to create together with the composer Hartmann. Kandinsky died in Neuilly-sur-Seine on December 13, 1944.
Pavel Filonov
was born in Moscow. Early orphaned, he moved to St. Petersburg, where he took painting lessons. Since 1908 Pavel Filonov studied at the Academy of Arts, from where he was expelled in 1910. In 1911 he contacted the Youth Union and participated in their exhibitions. The next year he traveled to Italy and France.
The first significant works of Filonov, usually written in mixed media on paper (Man and Woman, Feast of Kings, East and West, West and East; all works - 1912–1913, Russian Museum, St. Petersburg), closely adjoin symbolism and modernity. In 1913 designed scenery on the stage for the tragedy of Vladimir Mayakovsky "Vladimir Mayakovsky" In 1919. the artist's paintings were exhibited at the first state free exhibition of workers' art in Petrograd.
In 1923 Pavel Filonov becomes a professor at the Academy of Arts and a member of the Institute of Artistic Culture (INKhUK). In the same years, Pavel Filonov's "Declaration of World Overgrowth" was published in the journal "Life of Art". Two years later, Pavel Filonov assembled a team of masters of analytical painting (now known as the Filonov School). Due to the continued sharp criticism and attacks against Filonov, his exhibition, planned for 1929-1930. did not take place in the Russian Museum. In 1932 His life and work was not interrupted by the war. He died of pneumonia during the siege of Leningrad in 1941. In 1967 A posthumous exhibition of Pavv Filonov's works was held in Novosibirsk.
Small house in Moscow
Malevich Kazimir (1878(?) - 1935)- artist, one of the founders. geometer. abstr. art., father Belarusian. - Belarusian and Russian artist, one of the founders of geometric abstract art .. Kazimir Malevich was born on February 23, 1878 or 1879 in Kyiv. According to popular belief, the date of birth of K. Malevich is 1878, however, according to a study by the Kyiv author D. Gorbachev, archival records of metrics found in 2004 indicate that the date of birth of K. Malevich is 1879.
Malevich's parents were Poles by origin. My father worked as a manager at the sugar factory of the famous Ukrainian industrialist Tereshchenko. According to other sources, Malevich's father was the Belarusian ethnographer and folklorist Severin Antonovich Malevich (1845-1902). Mother Ludwig Alexandrovna (1858-1942) was a housewife. The Malevich couple had fourteen children, but only nine of them survived to adulthood. Casimir was the firstborn. He began to learn to draw on his own, after his mother gave him a set of paints at the age of 15. At the age of 17, he spent some time at the Kyiv Art School of N. I. Murashko. In 1896 the Malevich family settled in Kursk. There, Kazimir worked as a minor official, but left the service for the sake of a career as an artist. The first works of Malevich were written in the style of impressionism. Later, Malevich became one of the active participants in futuristic exhibitions. In 1913 he designed the futuristic opera Victory over the Sun.
In 1919-1922, Kazimir Malevich taught at the People's Art School of the "new revolutionary model" in Vitebsk. In the 1920s, he participated in the design of the performances of V. V. Mayakovsky's "Mystery-Buff".
From 1923 to 1927 - director of the Leningrad State Institute of Artistic Culture. He was a member of the "Association of Modern Architects" (OSA). In 1930, the artist's works were exhibited at exhibitions in Berlin and Vienna. In the fall of 1930, Malevich was arrested by the NKVD as a "German spy". He stayed in prison until December 1930. Under arrest for many years in the USSR were his paintings.
Malevich was a consistent propagandist of his own theory. Over time, a group of like-minded people UNOVIS (Affirmers of the New Art) formed around him. The creations of Russian avant-garde artists of the beginning of the century blew up the outdated pro-Western visual consciousness.
He was a member of the Donkey Tail group of young artists.
The most famous painting by Malevich is Black Square (1915), which was a kind of pictorial manifesto of Suprematism. The mystical addition to the picture is the "Black Circle" and "Black Cross". According to his will, after his death, Malevich's body was cremated in a Suprematist coffin, and then the urn was buried under the artist's favorite oak near the village of Nemchinovka. Above the grave was a cubic concrete monument depicted with a black square. During the war, the grave was lost. Currently, its location has been established by enthusiasts with sufficient accuracy. The grave is located near Sovetsky Prospekt in Nemchinovka, east of the pond. A small monument was erected at the site of the grave.
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Russian art late 19th-early 20th century
Introduction
Painting
Konstantin Alekseevich Korovin
Valentin Alexandrovich Serov
Mikhail Alexandrovich Vrubel
"World of Art"
"Union of Russian Artists"
"Jack of Diamonds"
"Youth Union"
Architecture
Sculpture
Bibliography
Introduction
Russian culture of the late XIX - early XX centuries is a complex and controversial period in the development of Russian society. The culture of the turn of the century always contains elements of a transitional era, which includes the traditions of the culture of the past and the innovative tendencies of a new emerging culture. There is a transfer of traditions and not just a transfer, but the emergence of new ones, all this is connected with the turbulent process of searching for new ways of developing culture, corrected by the social development of this time. The turn of the century in Russia is a period of major changes brewing, a change in the state system, a change from the classical culture of the 19th century to the new culture of the 20th century. The search for new ways of developing Russian culture is associated with the assimilation of progressive trends in Western culture. The diversity of directions and schools is a feature of Russian culture at the turn of the century. Western trends are intertwined and complemented by modern ones, filled with specifically Russian content. A feature of the culture of this period is its orientation towards the philosophical understanding of life, the need to build a holistic picture of the world, where art, along with science, plays a huge role. The focus of Russian culture of the late 19th - early 20th centuries turned out to be a person who becomes a kind of connecting link in the motley variety of schools and areas of science and art, on the one hand, and a kind of starting point for analyzing all the most diverse cultural artifacts, on the other. Hence the powerful philosophical foundation that underlies Russian culture at the turn of the century.
Highlighting the most important priorities in the development of Russian culture of the late XIX - early XX centuries, one cannot ignore its most important characteristics. The end of the 19th - the beginning of the 20th century in the history of Russian culture is usually called the Russian Renaissance or, in comparison with the golden age of Pushkin, the silver age of Russian culture.
At the turn of the century, a style developed that affected all the plastic arts, starting primarily with architecture (in which eclecticism dominated for a long time) and ending with graphics, which was called the Art Nouveau style. This phenomenon is not unambiguous, in modernity there is also decadent pretentiousness, pretentiousness, designed mainly for bourgeois tastes, but there is also a desire for unity of style that is significant in itself. The Art Nouveau style is a new stage in the synthesis of architecture, painting, and decorative arts.
In the visual arts, Art Nouveau showed itself: in sculpture - by the fluidity of forms, the special expressiveness of the silhouette, the dynamism of the compositions; in painting - the symbolism of images, addiction to allegories. symbolism modern avant-garde silver
The Russian symbolists played an important role in the development of the aesthetics of the Silver Age. Symbolism as a phenomenon in literature and art first appeared in France in the last quarter of the 19th century and by the end of the century had spread to most of Europe. But after France, it is in Russia that symbolism is realized as the most large-scale, significant and original phenomenon in culture. Russian symbolism at first had basically the same prerequisites as Western symbolism: "a crisis of a positive worldview and morality." The main principle of the Russian symbolists is the aestheticization of life and the desire for various forms of substitution of aesthetics for logic and morality. First of all, Russian symbolism is characterized by the demarcation with the traditions of the revolutionary-democratic “sixties” and populism, with atheism ideologization, utilitarianism. according to the Russian symbolists, they correspond to the principles of "pure", free art.
Another striking phenomenon of the Silver Age that has acquired world significance is the art and aesthetics of the avant-garde. In the space of the already listed areas of aesthetic consciousness, the avant-garde artists were distinguished by an emphatically rebellious character. They perceived the crisis of classical culture, art, religion, sociality, statehood with delight as a natural dying, the destruction of the old, obsolete, irrelevant, and they realized themselves as revolutionaries, destroyers and gravediggers of "all junk" and creators of everything new, in general, a new emerging race. Nietzsche's ideas about the superman, developed by P. Uspensky, were taken literally by many avant-garde artists and tried on, especially by the futurists, for themselves.
Hence the revolt and outrageousness, the desire for everything fundamentally new in the means of artistic expression, in the principles of approach to art, the tendency to expand the boundaries of art until it comes to life, but on completely different principles than those of representatives of theurgical aesthetics. Life for the avant-gardists of the 10s. 20th century - this is, above all, a revolutionary revolt, an anarchist revolt. Absurdity, chaos, anarchy are for the first time comprehended as synonyms of modernity and precisely as creatively positive principles based on the complete denial of the rational principle in art and the cult of the irrational, intuitive, unconscious, meaningless, abstruse, formless, etc. The main directions of the Russian avant-garde were: abstractionism (Vasily Kandinsky), Suprematism (Kazimir Malevich), constructivism (Vladimir Tatlin), Cubofuturism (Cubism, Futurism) (Vladimir Mayakovsky).
Painting
For painters of the turn of the century, other ways of expression are characteristic than those of the Wanderers, other forms of artistic creativity - in images that are contradictory, complicated and reflect modernity without illustrativeness and narrative. Artists painfully seek harmony and beauty in a world that is fundamentally alien to both harmony and beauty. That is why many saw their mission in cultivating a sense of beauty. This time of "eves", the expectation of changes in public life, gave rise to many trends, associations, groupings, a clash of different worldviews and tastes. But it also gave rise to the universalism of a whole generation of artists who came forward after the "classical" Wanderers.
Impressionistic lessons in plein air painting, the composition of "random framing", a wide free pictorial manner - all this is the result of evolution in the development of pictorial means in all genres of the turn of the century. In search of "beauty and harmony" artists try themselves in a variety of techniques and art forms - from monumental painting and theatrical scenery to book design and arts and crafts.
Genre painting developed in the 1990s, but it developed somewhat differently than in the "classical" Wandering movement of the 1970s and 1980s. Thus, the peasant theme is revealed in a new way. S. A. Korovin (1858-1908) depicts the split in the rural community in the painting “On the World” (1893).
At the turn of the century, a somewhat peculiar path is outlined in the historical theme. So, for example, A.P. Ryabushkin (1861-1904) works more in the historical genre than in the purely historical genre. “Russian women of the 17th century in the church” (1899), “Wedding train in Moscow. XVII century ”(1901) - these are everyday scenes from the life of Moscow in the XVII century. Ryabushkin's stylization is reflected in the flatness of the image, in the special system of plastic and linear rhythm, in the color scheme built on bright major colors, in the general decorative solution. Ryabushkin boldly introduces local colors into the plein-air landscape, for example, in “The Wedding Train ...” - the red color of the wagon, large spots of festive clothes against the background of dark buildings and snow, given, however, in the finest color nuances. The landscape always poetically conveys the beauty of Russian nature.
F. A. Malyavin (1869-1940) created a new type of painting, in which folklore artistic traditions were mastered and translated into the language of modern art in a completely special way. His images of “women” and “girls” have a certain symbolic meaning - healthy soil Russia. His paintings are always expressive, and although these are, as a rule, easel works, they receive a monumental and decorative interpretation under the artist’s brush.“Laughter” (1899, Museum of Modern Art, Venice), “Whirlwind” (1906,) is a realistic image peasant girls, contagiously laughing loudly or rushing uncontrollably in a round dance, but this realism is different than in the second half of the century. the entire canvas.
M. V. Nesterov (1862-1942) addresses the theme of Ancient Russia, but the image of Russia appears in the artist’s paintings as a kind of ideal, almost enchanted world, in harmony with nature, but disappeared forever like the legendary city of Kitezh. This keen sense of nature, delight in the world, in front of every tree and blade of grass is especially pronounced in one of Nesterov's most famous works of the pre-revolutionary period - "The Vision of the Young Bartholomew" (1889-1890,). In the disclosure of the plot of the picture, there are the same stylistic features as those of Ryabushkin, but a deeply lyrical sense of the beauty of nature is invariably expressed, through which the high spirituality of the characters, their enlightenment, their alienation from worldly fuss are transmitted.
M.V. Nesterov did a lot of religious monumental painting. The murals are always dedicated to the ancient Russian theme (for example, in Georgia - to Alexander Nevsky). In the wall paintings of Nesterov, there are many observed real signs, especially in the landscape, portrait features - in the image of saints. In the artist's desire for a flat interpretation of the composition of elegance, ornamentality, refined sophistication of plastic rhythms, an undoubted influence of Art Nouveau manifested itself.
The landscape genre itself develops at the end of the 19th century also in a new way. Levitan, in fact, completed the search for the Wanderers in the landscape. A new word at the turn of the century was to be said by K.A. Korovin, V.A. Serov and M.A. Vrubel.
Konstantin Alekseevich Korovin
For the brilliant colorist Korovin, the world appears as a "riot of colors." Generously gifted by nature, Korovin was engaged in both portraiture and still life, but it would not be a mistake to say that landscape remained his favorite genre. He brought into art the strong realistic traditions of his teachers from the Moscow School of Painting, Sculpture and Architecture - Savrasov and Polenov, but he has a different view of the world, he sets other tasks. He began to paint en plein air early, already in the portrait of a chorus girl in 1883, one can see his independent development of the principles of plein airism, embodied then in a number of portraits made in the estate of S. Mamontov in Abramtsevo (“In the Boat”, portrait of T.S. Lyubatovich, and etc.), in the northern landscapes, executed during the expedition of S. Mamontov to the north (“Winter in Lapland”,). His French landscapes, united by the title "Parisian Lights", are already a completely impressionistic painting, with its highest culture of etude. Sharp, instantaneous impressions of the life of a big city: quiet streets at different times of the day, objects dissolved in a light-air environment, molded by a dynamic, “trembling”, vibrating stroke, a stream of such strokes that create the illusion of a curtain of rain or city air saturated with thousands of different vapors, - features reminiscent of the landscapes of Manet, Pissarro, Monet. Korovin is temperamental, emotional, impulsive, theatrical, hence the bright brilliance and romantic elation of his landscapes (“Paris. Capuchin Boulevard”, 1906, State Tretyakov Gallery; “Paris at night. Italian Boulevard”, 1908,). Korovin retains the same features of impressionistic etude, painterly maestro, striking artistry in all other genres, primarily in portraiture and still life, but also in decorative panels, in applied art, in theatrical scenery, which he was engaged in all his life (Portrait of Chaliapin, 1911, Russian Museum; "Fish, wine and fruits" 1916, State Tretyakov Gallery).
Korovin's generous gift for painting brilliantly manifested itself in theatrical and decorative painting. As a theater painter, he worked for the Abramtsevo Theater (and Mamontov was perhaps the first to appreciate him as a theater artist), for the Moscow Art Theater, for the Moscow Private Russian Opera, where his lifelong friendship with Chaliapin began, for the Diaghilev entreprise. Korovin raised theatrical scenery and the significance of the artist in the theater to a new level, he made a whole revolution in understanding the role of the artist in the theater and had a great influence on his contemporaries with his colorful, "spectacular" scenery, revealing the very essence of a musical performance.
Valentin Alexandrovich Serov
One of the largest artists, an innovator of Russian painting at the turn of the century, was Valentin Alexandrovich Serov (1865-1911). Serov was brought up among prominent figures of Russian musical culture (his father is a famous composer, his mother is a pianist), he studied with Repin and Chistyakov.
Serov often paints representatives of the artistic intelligentsia: writers, artists, artists (portraits of K. Korovin, 1891, State Tretyakov Gallery; Levitan, 1893, State Tretyakov Gallery; Yermolova, 1905, State Tretyakov Gallery). All of them are different, he interprets all of them deeply individually, but the light of intellectual exclusivity and inspired creative life shines on all of them.
Portrait, landscape, still life, domestic, historical painting; oil, gouache, tempera, charcoal - it is difficult to find both pictorial and graphic genres in which Serov would not work, and materials that he would not use.
A special theme in the work of Serov is the peasant. In his peasant genre there is no itinerant social sharpness, but there is a sense of the beauty and harmony of peasant life, admiration for the healthy beauty of the Russian people (“In the village. A woman with a horse”, on the map, pastel, 1898, State Tretyakov Gallery). Winter landscapes are especially exquisite with their silver-pearl range of colors.
Serov interpreted the historical theme in his own way: the “royal hunts” with pleasure walks of Elizabeth and Catherine II were conveyed by the artist of the new time, ironic, but also invariably admiring the beauty of life in the 18th century. Serov's interest in the 18th century arose under the influence of The World of Art and in connection with the work on the publication of The History of the Grand Duke, Tsar and Imperial Hunting in Russia.
Serov was a deeply thinking artist, constantly looking for new forms of artistic realization of reality. Inspired by Art Nouveau, ideas about flatness and increased decorativeness were reflected not only in historical compositions, but also in his portrait of the dancer Ida Rubinstein, in his sketches for The Abduction of Europa and The Odyssey and Navzikai (both 1910, State Tretyakov Gallery, cardboard, tempera). It is significant that Serov at the end of his life turns to the ancient world. In the poetic legend, interpreted by him freely, outside the classical canons, he wants to find harmony, the search for which the artist devoted all his work.
Mikhail Alexandrovich Vrubel
The creative path of Mikhail Alexandrovich Vrubel (1856-1910) was more direct, although at the same time unusually complex. Before the Academy of Arts (1880), Vrubel graduated from the law faculty of St. Petersburg University. In 1884, he went to Kyiv to supervise the restoration of frescoes in St. Cyril's Church and created several monumental compositions himself. He makes watercolor sketches of the murals of the Vladimir Cathedral. The sketches were not transferred to the walls, as the customer was frightened by their non-canonical and expressiveness.
In the 90s, when the artist settled in Moscow, Vrubel's style of writing, full of mystery and almost demonic power, was formed, which cannot be confused with any other. He sculpts the shape like a mosaic, from sharp "faceted" pieces of different colors, as if glowing from the inside ("Girl against the backdrop of a Persian carpet", 1886, KMRI; "Fortuneteller", 1895, State Tretyakov Gallery). Color combinations do not reflect the reality of the color relationship, but have a symbolic meaning. Nature has no power over Vrubel. He knows her, knows her perfectly, but creates his own fantasy world, little like reality. He gravitates toward literary subjects, which he interprets abstractly, trying to create eternal images of great spiritual power. So, having taken up illustrations for "The Demon", he soon departs from the principle of direct illustration ("Tamara's Dance", "Do not cry, child, do not cry in vain", "Tamara in the coffin", etc.). The image of the Demon is the central image of Vrubel's entire work, his main theme. In 1899, he wrote "The Flying Demon", in 1902 - "The Downcast Demon". Vrubel's demon is, first of all, a suffering creature. Suffering prevails over evil in it, and this is the peculiarity of the national Russian interpretation of the image. Contemporaries, as rightly noted, saw in his "Demons" a symbol of the fate of an intellectual - a romantic, trying to rebelliously escape from a reality devoid of harmony into an unreal world of dreams, but plunged into the rough reality of the earthly
Vrubel created his most mature paintings and graphic works at the turn of the century - in the genre of landscape, portrait, book illustration. In the organization and decorative-planar interpretation of the canvas or sheet, in the combination of the real and the fantastic, in the commitment to ornamental, rhythmically complex solutions in his works of this period, the features of modernity are increasingly asserting themselves.
Like K. Korovin, Vrubel worked a lot in the theater. His best scenery was performed for Rimsky-Korsakov's operas The Snow Maiden, Sadko, The Tale of Tsar Saltan and others on the stage of the Moscow Private Opera, that is, for those works that gave him the opportunity to "communicate" with Russian folklore, fairy tale, legend.
The universalism of talent, boundless imagination, extraordinary passion in the affirmation of noble ideals distinguish Vrubel from many of his contemporaries.
Viktor Elpidiforovich Borisov-Musatov
Viktor Elpidiforovich Borisov-Musatov (1870-1905) is a direct exponent of pictorial symbolism. His works are an elegiac sadness for the old empty "noble nests" and dying "cherry orchards", for beautiful women, spiritualized, almost unearthly, dressed in some kind of timeless costumes that do not carry external signs of place and time.
His easel works most of all resemble not even decorative panels, but tapestries. The space is solved in an extremely conditional, planar way, the figures are almost ethereal, like, for example, the girls by the pond in the painting "Pond" (1902, tempera, State Tretyakov Gallery), immersed in dreamy meditation, in deep contemplation. Faded, pale gray shades of color enhance the overall impression of fragile, unearthly beauty and anemic, ghostly, which extends not only to human images, but also to the nature depicted by him. It is no coincidence that Borisov-Musatov called one of his works "Ghosts" (1903, tempera, State Tretyakov Gallery): silent and inactive female figures, marble statues by the stairs, a half-naked tree - a faded range of blue, gray, purple tones enhances the ghostliness of the depicted.
"World of Art"
"World of Art" - an organization that arose in St. Petersburg in 1898 and united the masters of the highest artistic culture, the artistic elite of Russia of those years. "World of Art" has become one of the largest phenomena of Russian artistic culture. Almost all famous artists participated in this association.
In the editorial articles of the first issues of the journal, the main provisions of the "World of Art" about the autonomy of art, that the problems of modern culture are exclusively problems of artistic form, and that the main task of art is to educate the aesthetic tastes of Russian society, primarily through acquaintance with the works of the world art. We must give them their due: thanks to the World of Art, English and German art was really appreciated in a new way, and most importantly, Russian painting of the 18th century and the architecture of St. Petersburg classicism became a discovery for many. "World of Art" fought for "criticism as an art", proclaiming the ideal of a critic-artist with a high professional culture and erudition. The type of such a critic was embodied by one of the creators of The World of Art, A.N. Benoit.
"Miriskusniki" organized exhibitions. The first was also the only international one that brought together, in addition to Russians, artists from France, England, Germany, Italy, Belgium, Norway, Finland, etc. Both St. Petersburg and Moscow painters and graphic artists took part in it. But the crack between these two schools - St. Petersburg and Moscow - was already evident almost from the first day. In March 1903, the last, fifth exhibition of the World of Art closed, in December 1904 the last issue of the magazine World of Art was published. Most of the artists moved to the Union of Russian Artists organized on the basis of the Moscow exhibition "36", writers - to open group Merezhkovsky, the New Way magazine, the Moscow Symbolists united around the Scales magazine, the musicians organized the Evenings of Modern Music, Diaghilev completely devoted himself to ballet and theater.
In 1910, an attempt was made to breathe life back into the "World of Art" (led by Roerich). Glory came to the “World of Art” but the “World of Arts”, in fact, no longer existed, although formally the association existed until the early 1920s (1924) - with a complete lack of integrity, on boundless tolerance and flexibility of positions. The second generation of "World of Art" was less busy with the problems of easel painting, their interests lie in graphics, mainly book, and theatrical and decorative arts, in both areas they made a real artistic reform. In the second generation of "World of Art" there were also major individuals (Kustodiev, Sudeikin, Serebryakova, Chekhonin, Grigoriev, Yakovlev, Shukhaev, Mitrokhin, etc.), but there were no innovative artists at all.
The leading artist of the "World of Art" was K. A. Somov (1869-1939). The son of the chief curator of the Hermitage, who graduated from the Academy of Arts and traveled around Europe, Somov received an excellent education. Creative maturity came to him early, but, as the researcher (V.N. Petrov) rightly noted, he always had some duality - the struggle between a powerful realistic instinct and a painfully emotional worldview.
Somov, as we know him, appeared in the portrait of the artist Martynova (“Lady in Blue”, 1897-1900, State Tretyakov Gallery), in the portrait painting “Echo of the Past Time” (1903, on map, aqua., gouache, State Tretyakov Gallery ), where he creates a poetic characterization of the fragile, anemic female beauty of the decadent model, refusing to convey the real everyday signs of modernity. He dresses the models in ancient costumes, gives their appearance the features of secret suffering, sadness and dreaminess, painful brokenness.
Somov owns a series of graphic portraits of his contemporaries - the intellectual elite (V. Ivanov, Blok, Kuzmin, Sollogub, Lansere, Dobuzhinsky, etc.), in which he uses one general technique: on a white background - in a certain timeless sphere - he draws a face, a resemblance in which it is achieved not through naturalization, but by bold generalizations and apt selection of characteristic details. This lack of signs of time creates the impression of static, stiffness, coldness, almost tragic loneliness.
Before anyone else in The World of Art, Somov turned to the themes of the past, to the interpretation of the 18th century. ("Letter", 1896; "Confidentialities", 1897), being the forerunner of Benois' Versailles landscapes. He is the first to create an surreal world, woven from the motifs of the nobility, estate and court culture and his own purely subjective artistic sensations, permeated with irony. The historicism of the "World of Art" was an escape from reality. Not the past, but its staging, longing for its irretrievability - this is their main motive. Not true fun, but a game of fun with kisses in the alleys - such is Somov.
The ideological leader of the "World of Art" was A. N. Benois (1870-1960) - an unusually versatile talent. A painter, easel graphic artist and illustrator, theater artist, director, author of ballet librettos, art theorist and historian, musical figure, he was, in the words of A. Bely, the main politician and diplomat of the "World of Art". As an artist, he is related to Somov by stylistic tendencies and addiction to the past (“I am intoxicated with Versailles, this is some kind of illness, love, criminal passion ... I completely moved into the past ...”). In the landscapes of Versailles, Benois merged the historical reconstruction of the 17th century. and contemporary impressions of the artist, his perception of French classicism, French engraving. Hence the clear composition, clear spatiality, the grandeur and cold severity of rhythms, the opposition between the grandeur of monuments of art and the smallness of human figures, which are only staffage among them (the 1st Versailles series of 1896-1898 under the title "The Last Walks of Louis XIV"). In the second Versailles series (1905-1906), the irony, which is also characteristic of the first sheets, is colored with almost tragic notes (“The King’s Walk”, c., gouache, aqua, gold, silver, pen, 1906, State Tretyakov Gallery). The thinking of Benois is the thinking of a theatrical artist par excellence, who knew and felt the theater very well.
Nature is perceived by Benois in an associative connection with history (views of Pavlovsk, Peterhof, Tsarskoe Selo, executed by him in watercolor technique).
Benois the illustrator (Pushkin, Hoffman) is a whole page in the history of the book. Unlike Somov, Benois creates a narrative illustration. The plane of the page is not an end in itself for him. A masterpiece of book illustration was the graphic design of The Bronze Horseman (1903, 1905, 1916, 1921-1922, ink and watercolor imitating colored woodcuts). In a series of illustrations for the great poem, the main character is the architectural landscape of St. Petersburg, now solemnly pathetic, now peaceful, now sinister, against which the figure of Eugene seems even more insignificant. This is how Benois expresses the tragic conflict between the fate of Russian statehood and the personal fate of a little man (“And all night long the poor madman, / Wherever he turned his feet, / The Bronze Horseman was everywhere with him / With a heavy stomp galloped”).
As a theater artist, Benois designed the performances of the Russian Seasons, of which the most famous was the ballet Petrushka to music by Stravinsky, he worked a lot at the Moscow Art Theater, and later on almost all major European stages.
A special place in the "World of Art" is occupied by N. K. Roerich (1874-1947). A connoisseur of philosophy and ethnography of the East, an archaeologist-scientist, Roerich received an excellent education, first at home, then at the law and historical-philological faculties of St. Petersburg University, then at the Academy of Arts, in the workshop of Kuindzhi, and in Paris in the studio of F. Cormon. Early he gained the authority of a scientist. He was related to the “World of Art” by the same love for retrospection, only not of the 17th-18th centuries, but of pagan Slavic and Scandinavian antiquity, to Ancient Russia; stylistic tendencies, theatrical decorativeness (“Messenger”, 1897, State Tretyakov Gallery; “The Elders Converge”, 1898, Russian Museum; “Sinister”, 1901, Russian Museum). Roerich was most closely associated with the philosophy and aesthetics of Russian symbolism, but his art did not fit into the framework of existing trends, because, in accordance with the artist’s worldview, it turned, as it were, to all of humanity with an appeal for a friendly union of all peoples. Hence the special epic nature of his paintings.
After 1905, the mood of pantheistic mysticism grew in Roerich's work. Historical themes give way to religious legends (The Heavenly Battle, 1912, Russian Museum). The Russian icon had a huge influence on Roerich: his decorative panel “The Battle of Kerzhents” (1911) was exhibited during the performance of a fragment of the same title from Rimsky-Korsakov’s opera “The Legend of the Invisible City of Kitezh and the Maiden Fevronia” in the Parisian “Russian Seasons”.
The "World of Art" was a major aesthetic movement at the turn of the century, reevaluating the entire modern artistic culture, establishing new tastes and problems, returning to art - at the highest professional level - the lost forms of book graphics and theatrical and decorative painting, which gained all-European recognition through their efforts, created new art criticism, which promoted Russian art abroad, in fact, even opened some of its stages, like the Russian 18th century. The "World of Art" created a new type of historical painting, portrait, landscape with its own stylistic features (distinct stylistic tendencies, the predominance of graphic techniques over pictorial ones, a purely decorative understanding of color, etc.). This determines their significance for Russian art.
The weaknesses of the "World of Art" were primarily reflected in the variegation and inconsistency of the program, proclaiming the model "either Böcklin, then Manet"; in idealistic views on art, in an affected indifference to the civic tasks of art, in programmatic apathy, in the loss of the social significance of the picture. The intimacy of the "World of Art", its pure aestheticism determined the short historical period of his life in the era of formidable tragic portents of the impending revolution. These were only the first steps on the path of creative searches, and very soon the young ones overtook the World of Art students.
"Union of Russian Artists"
In 1903, one of the largest exhibition associations of the beginning of the century, the Union of Russian Artists, was founded. At first, almost all the prominent figures of the "World of Art" - Benois, Bakst, Somov, entered it, Vrubel, Borisov-Musatov were participants in the first exhibitions. The initiators of the creation of the association were Moscow artists associated with the "World of Art", but weighed down by the programmatic aesthetics of Petersburgers.
National landscape, lovingly painted pictures of peasant Russia - one of the main genres of the artists of the "Union", in which "Russian impressionism" expressed itself in a peculiar way with its predominantly rural rather than urban motifs. So the landscapes of I.E. Grabar (1871-1960), with their lyrical mood, with the finest pictorial nuances reflecting instantaneous changes in true nature, is a kind of parallel on Russian soil to the French impressionistic landscape (“September Snow”, 1903, State Tretyakov Gallery). Grabar's interest in the decomposition of visible color into spectral, pure colors of the palette also makes him related to neo-impressionism, to J. Seurat and P. Signac ("March Snow", 1904, State Tretyakov Gallery). The play of colors in nature, complex coloristic effects become the subject of close study of the "Allies", who create on the canvas a pictorial and plastic figurative world, devoid of narrative and illustrativeness.
With all the interest in the transmission of light and air in the painting of the masters of the "Union", the dissolution of the object in the light-air medium is never observed. The color becomes decorative.
"Allies", in contrast to the Petersburgers - the graphic artists of the "World of Art" - are mostly painters with a heightened decorative sense of color. An excellent example of this is the paintings of F.A. Malyavin.
On the whole, The Allies gravitated not only towards plein-air studies, but also towards monumental pictorial forms. By 1910, the time of the split and the secondary formation of the "World of Art", at the exhibitions of the "Union" one could see an intimate landscape (Vinogradov, Yuon, etc.), painting close to French divisionism (Grabar, early Larionov) or close to symbolism ( P. Kuznetsov, Sudeikin); they were also attended by the artists of Diaghilev's "World of Art" - Benois, Somov, Bakst.
The "Union of Russian Artists", with its solid realistic foundations, which played a significant role in the domestic fine arts, had a certain impact on the formation of the Soviet school of painting, having existed until 1923.
In 1907, in Moscow, the Golden Fleece magazine organized the only exhibition of artists following Borisov-Musatov, called the Blue Rose. P. Kuznetsov became the leading artist of the Blue Rose. The “Blue Bears” are closest to symbolism, which was expressed primarily in their “language”: unsteadiness of mood, vague, untranslatable musicality of associations, refinement of color relationships. The aesthetic platform of the participants of the exhibition also had an effect in subsequent years, and the name of this exhibition became a household name for a whole trend in art in the second half of the 900s. The entire activity of the "Blue Rose" also bears the strongest imprint of the influence of the Art Nouveau style (plane-decorative stylization of forms, whimsical linear rhythms).
The works of P. V. Kuznetsov (1878-1968) reflect the basic principles of the Blue Bears. Kuznetsov created a decorative panel-picture in which he sought to abstract from everyday concreteness, to show the unity of man and nature, the stability of the eternal cycle of life and nature, birth in this harmony human soul. Hence the desire for monumental forms of painting, dreamy-contemplative, cleansed of everything instantaneous, universal, timeless notes, a constant desire to convey the spirituality of matter. A figure is only a sign expressing a concept; color serves to convey feelings; rhythm - in order to introduce into a certain world of sensations (as in icon painting - a symbol of love, tenderness, sorrow, etc.). Hence the reception of a uniform distribution of light over the entire surface of the canvas as one of the foundations of Kuznetsov's decorativeness. Serov said that P. Kuznetsov's nature "breathes". This is perfectly expressed in his Kyrgyz (Steppe) and Bukhara suites, in Central Asian landscapes. Kuznetsov studied the techniques of ancient Russian icon painting, the early Italian Renaissance. This appeal to the classical traditions of world art in search of its own great style, as correctly noted by researchers, was of fundamental importance in a period when any traditions were often denied altogether.
The exoticism of the East - Iran, Egypt, Turkey - is realized in the landscapes of M. S. Saryan (1880-1972). The East was a natural theme for the Armenian artist. Saryan creates in his painting a world full of bright decorativeness, more passionate, more earthly than that of Kuznetsov, and the pictorial solution is always built on contrasting color relationships, without nuances, in sharp shadow comparison (“Date Palm, Egypt”, 1911, maps. , tempera, GTG).
The images of Saryan are monumental due to the generalization of forms, large colorful planes, the general lapidarity of the language - this is, as a rule, a generalized image of Egypt, whether, Persia, native Armenia, while maintaining vital naturalness, as if written from nature. Saryan's decorative canvases are always cheerful, they correspond to his idea of creativity: “... a work of art is the very result of happiness, that is, creative work. Consequently, it should ignite the flame of creative burning in the viewer, contribute to the identification of his natural desire for happiness and freedom.
"Jack of Diamonds"
In 1910, a number of young artists - P. Konchalovsky, I. Mashkov, A. Lentulov, R. Falk, A. Kuprin, M. Larionov, N. Goncharova and others - united in the Jack of Diamonds organization, which had its own charter, arranged exhibitions and published its own collections of articles. The “Jack of Diamonds” actually existed until 1917. As post-impressionism, primarily Cezanne, was a “reaction to impressionism”, so the “Jack of Diamonds” opposed the vagueness, untranslatability, the subtlest nuances of the symbolic language of the “Blue Rose” and the aesthetic stylism of the “World of Art” . The "Knave of Diamonds", carried away by the materiality, "materiality" of the world, professed a clear construction of the picture, emphasized objectivity of the form, intensity, fullness of color. It is no coincidence that the still life becomes a favorite genre of the “Valetovites”, just as the landscape becomes a favorite genre of the members of the Union of Russian Artists. The subtlety in conveying the change of moods, the psychologism of the characteristics, the understatement of the states, the dematerialization of the painting of the Blue Bearers, their romantic poetry are rejected by the Valetovites. They are opposed by the almost spontaneous festivity of colors, the expression of the contour drawing, the juicy pasty broad manner of writing, which convey an optimistic vision of the world, creating an almost farcical, square mood. The "Knave of Diamonds" allow such simplifications in the interpretation of the form, which are akin to a popular popular print, a folk toy, painting tiles, a signboard. The craving for primitivism (from the Latin primitivus - primitive, initial) manifested itself in various artists who imitated the simplified forms of art of the so-called primitive eras - primitive tribes and nationalities - in search of gaining immediacy and integrity of artistic perception. The “Jack of Diamonds” drew its perceptions from Cezanne (hence sometimes the name “Russian Cezanneism”), even more from cubism (“shift” of forms) and even from futurism (dynamics, various modifications of form.
The extreme simplification of the form, the direct connection with the art of signage is especially noticeable in M.F. Larionov (1881-1964), one of the founders of the "Jack of Diamonds", but already in 1911 broke with him. Larionov paints landscapes, portraits, still lifes, works as a theater artist of the Diaghilev entreprise, then turns to genre painting, his theme is the life of a provincial street, soldiers' barracks. The forms are flat, grotesque, as if deliberately stylized as a child's drawing, popular print or signboard. In 1913, Larionov published his book "Luchism" - in fact, the first of the manifestos of abstract art, the true creators of which in Russia were V. Kandinsky and K. Malevich.
Artist N.S. Goncharova (1881-1962), Larionov's wife, developed the same tendencies in her genre paintings, mostly on a peasant theme. In the years under review, in her work, more decorative and colorful than the art of Larionov, monumental in its inner strength and laconicism, a passion for primitivism is keenly felt. Describing the work of Goncharova and Larionov, the term "neo-primitivism" is often used.
M.Z. Chagall (1887-1985) created fantasies transformed from the boring impressions of small-town Vitebsk life and interpreted in a naive-poetic and grotesque-symbolic spirit. With surreal space, bright colorfulness, deliberate primitivization of form, Chagall turns out to be close to both Western expressionism and primitive folk art (“I and the Village”, 1911, Museum of Contemporary Art, New York; “Over Vitebsk”, 1914, coll. Zak. Toronto; "Wedding", 1918, State Tretyakov Gallery).
"Youth Union"
The Union of Youth is a St. Petersburg organization formed almost simultaneously with the Jack of Diamonds (1909). The leading role in it was played by L. Zheverzheev. Just like the "valetovtsy", members of the "Union of Youth" published theoretical collections. Until the collapse of the association in 1917. The "Union of Youth" did not have a specific program, professing symbolism, and cubism, and futurism, and "non-objectivity", but each of the artists had his own creative face.
The art of the pre-revolutionary years in Russia is marked by the extraordinary complexity and inconsistency of artistic quests, hence the successive groupings with their own program settings and stylistic sympathies. But along with the experimenters in the field of abstract forms in the Russian art of that time, the "World of Art" and "Goluborozites", "allies", "knaves of diamonds" continued to work at the same time, there was also a powerful stream of neoclassical currents, an example of which can be the work of an active member of the "Mir art" in his "second generation" Z. E. Serebryakova (1884-1967). In her poetic genre canvases with their laconic drawing, palpably sensual plastic modeling, and balance of composition, Serebryakova proceeds from the high national traditions of Russian art, primarily Venetsianov and even further - ancient Russian art (“Peasants”, 1914, Russian Museum; “Harvest”, 1915 , Odessa Art Museum; "Whitening of the canvas", 1917, State Tretyakov Gallery).
Finally, brilliant evidence of the vitality of national traditions, the great ancient Russian painting is the work of K. S. Petrov-Vodkin (1878-1939), an artist-thinker who later became the most prominent master of art of the Soviet period. In the famous painting "Bathing the Red Horse" (1912, Fri), the artist resorted to pictorial metaphor. As it was correctly noted, the young man on a bright red horse evokes associations with the popular image of St. George the Victorious (“Saint Yegory”), and the generalized silhouette, rhythmic, compact composition, the saturation of contrasting color spots that sound in full force, and the flatness in the interpretation of forms lead in memory of an ancient Russian icon. A harmoniously enlightened image is created by Petrov-Vodkin in the monumental painting “Girls on the Volga” (1915, State Tretyakov Gallery), in which he also feels his orientation towards the traditions of Russian art, leading the master to a true nationality.
Architecture
The era of highly developed industrial capitalism caused significant changes in architecture, primarily in the architecture of the city. There are new types of architectural structures: factories, stations, shops, banks, with the advent of cinema - cinemas. The coup was made by new building materials: reinforced concrete and metal structures, which made it possible to block gigantic spaces, make huge shop windows, and create a bizarre pattern of bindings.
In the last decade of the 19th century, it became clear to architects that in using the historical styles of the past, architecture had reached a dead end; according to the researchers, it was already necessary, according to the researchers, not to “rearrange” historical styles, but to creatively comprehend the new that was accumulating in the environment of a rapidly growing capitalist city. . The last years of the 19th - early 20th centuries are the time of the dominance of modernity in Russia, which was formed in the West primarily in Belgian, South German and Austrian architecture, a phenomenon in general cosmopolitan (although here Russian modernity differs from Western European, because it is a mixture with historical neo-renaissance, neo-baroque, neo-rococo, etc.).
A striking example of Art Nouveau in Russia was the work of F.O. Shekhtel (1859--1926). Profitable houses, mansions, buildings of trading companies and stations - in all genres Shekhtel left his handwriting. The asymmetry of the building is effective for him, the organic increase in volumes, the different nature of the facades, the use of balconies, porches, bay windows, sandriks above the windows, the introduction of a stylized image of lilies or irises into the architectural decor, the use of stained-glass windows with the same ornament motif, different textures of materials in interior design. A bizarre pattern, built on the twists of lines, extends to all parts of the building: a mosaic frieze, beloved by Art Nouveau, or a belt of glazed ceramic tiles in faded decadent colors, stained-glass window bindings, fence pattern, balcony grilles; on the composition of the stairs, even on the furniture, etc. Capricious curvilinear outlines dominate everything. In Art Nouveau, one can trace a certain evolution, two stages of development: the first is decorative, with a special passion for ornament, decorative sculpture and painting (ceramics, mosaics, stained glass), the second is more constructive, rationalistic.
Art Nouveau is well represented in Moscow. During this period, railway stations, hotels, banks, mansions of the wealthy bourgeoisie, tenement houses were built here. The Ryabushinsky mansion at the Nikitsky Gates in Moscow (1900-1902, architect F.O. Shekhtel) is a typical example of Russian Art Nouveau.
Appeal to the traditions of ancient Russian architecture, but through the techniques of modernity, not copying the naturalistic details of medieval Russian architecture, which was characteristic of the "Russian style" of the middle of the 19th century, but freely varying it, trying to convey the very spirit of Ancient Russia, gave rise to the so-called neo-Russian style of the beginning 20th century (sometimes called neo-romanticism). Its difference from Art Nouveau itself is primarily in disguise, and not in revealing, which is typical for Art Nouveau, the internal structure of the building and the utilitarian purpose behind the intricately complex ornamentation (Shekhtel - Yaroslavsky Station in Moscow, 1903-1904; A.V. Shchusev - Kazansky station in Moscow, 1913-1926; V. M. Vasnetsov - the old building of the Tretyakov Gallery, 1900-1905). Both Vasnetsov and Shchusev, each in their own way (and the second under the very great influence of the first), were imbued with the beauty of ancient Russian architecture, especially Novgorod, Pskov and early Moscow, appreciated its national identity and creatively interpreted its forms.
Art Nouveau was developed not only in Moscow, but also in St. Petersburg, where it developed under the undoubted influence of the Scandinavian, so-called "northern modern": P.Yu. Suzor in 1902-1904 builds the building of the Singer company on Nevsky Prospekt (now the Book House). The terrestrial sphere on the roof of the building was supposed to symbolize the international nature of the company's activities. The façade was clad with precious stones (granite, labradorite), bronze, and mosaics. But the traditions of monumental St. Petersburg classicism influenced St. Petersburg modernism. This served as an impetus for the emergence of another branch of modernity - neoclassicism of the 20th century. In the mansion of A.A. Polovtsov on Kamenny Island in St. Petersburg (1911-1913) architect I.A. Fomin (1872-1936) fully affected the features of this style: the façade (central volume and side wings) was resolved in the Ionic order, and the interiors of the mansion in a reduced and more modest form, as it were, repeat the enfilade of the hall of the Tauride Palace, but the huge windows of the semi-rotunda of the winter garden , stylized drawing of architectural details clearly define the time of the beginning of the century. The works of a purely St. Petersburg architectural school of the beginning of the century - tenement houses - at the beginning of Kamennoostrovsky (No. 1-3) Avenue, Count M.P. Tolstoy on the Fontanka (No. 10-12), buildings b. The Azov-Don Bank on Bolshaya Morskaya and the Astoria Hotel belong to the architect F.I. Lidval (1870-1945), one of the most prominent masters of St. Petersburg Art Nouveau.
Art Nouveau was one of the most significant styles that ended the 19th century and opened the next. All modern achievements of architecture were used in it. Modern is not only a certain constructive system. Since the reign of classicism, modern is perhaps the most consistent style in terms of its holistic approach, the ensemble solution of the interior. Art Nouveau as a style captured the art of furniture, utensils, fabrics, carpets, stained-glass windows, ceramics, glass, mosaics, it is recognized everywhere for its drawn contours and lines, its special color range of faded, pastel colors, and its favorite pattern of lilies and irises.
Sculpture
Russian sculpture at the turn of the 19th-20th centuries. and the first pre-revolutionary years is represented by several major names. First of all, this is P.P. Trubetskoy (1866-1938). His early Russian works (portrait of Levitan, image of Tolstoy on horseback, both - 1899, bronze) give a complete picture of Trubetskoy's impressionist method: the form is, as it were, all permeated with light and air, dynamic, designed to be viewed from all points of view and from different angles creates a multifaceted characterization of the image. The most remarkable work of P. Trubetskoy in Russia was the bronze monument to Alexander III, erected in 1909 in St. Petersburg, on Znamenskaya Square. Here Trubetskoy leaves his impressionistic style. Researchers have repeatedly noted that Trubetskoy's image of the emperor is resolved, as it were, in contrast to Falconet's, and next to The Bronze Horseman, this is an almost satirical image of autocracy. It seems to us that this contrast has a different meaning; not Russia, “raised on its hind legs”, like a ship launched into European waters, but Russia of peace, stability and strength is symbolized by this rider sitting heavily on a heavy horse.
Impressionism in a peculiar, very individual creative refraction found expression in the works of A. S. Golubkina (1864-1927). In the images of Golubkina, especially women's, there is a lot of high moral purity, deep democracy. These are most often images of ordinary poor people: exhausted women or sickly "children of the dungeon".
The most interesting thing in Golubkina's work is her portraits, always dramatically intense, which is generally characteristic of the work of this master, and unusually diverse (portrait of V.F. Ern (wood, 1913, State Tretyakov Gallery) or a bust of Andrei Bely (gypsum, 1907, State Tretyakov Gallery)) .
In the work of Trubetskoy and Golubkina, for all their differences, there is something in common: features that make them related not only to impressionism, but also to the rhythm of fluid lines and forms of modernity.
Impressionism, which captured the sculpture of the beginning of the century, little affected the work of S. T. Konenkov (1874-1971). The marble “Nike” (1906, State Tretyakov Gallery) with clearly portrait (moreover, Slavic) features of a round face with dimples on the cheeks portends the works that Konenkov performed after a trip to Greece in 1912. Images of the Greek pagan mythology intertwined with Slavic mythology. Konenkov begins to work in wood, draws a lot from Russian folklore, Russian fairy tales. Hence his "Stribog" (tree, 1910, State Tretyakov Gallery), "Velikosil" (tree, private, coll.), images of beggars and old people ("Old Man-Polyevichok", 1910).
In the revival of wooden sculpture, Konenkov's great merit. Love for the Russian epic, for the Russian fairy tale coincided with the "discovery" of ancient Russian icon painting, ancient Russian wooden sculpture, with an interest in ancient Russian architecture. Unlike Golubkina, Konenkov lacks drama, mental breakdown. His images are full of popular optimism.
In the portrait, Konenkov was one of the first to pose the problem of color at the beginning of the century. His coloring of stone or wood is always very delicate, taking into account the characteristics of the material and the characteristics of the plastic solution.
Of the monumental works of the beginning of the century, it is necessary to note the monument to N.V. Gogol N.A. Andreeva (1873-1932), opened in Moscow in 1909. This is Gogol recent years life, terminally ill. Unusually expressive are his sad profile with a sharp ("Gogol") nose, a thin figure wrapped in an overcoat; In the lapidary language of sculpture, Andreev conveyed the tragedy of a great creative personality. In a bas-relief frieze on a pedestal in multi-figured compositions, Gogol's immortal heroes are depicted in a completely different way, with humor or even satirically.
A. T. Matveev (1878-1960). He overcame the impressionist influence of his teacher and in early work- in the nude (the main theme of those years. Strict architectonics, laconism of stable generalized forms, a state of enlightenment, peace, harmony distinguish Matveev, directly contrasting his work with sculptural impressionism.
As rightly noted by the researchers, the master's works are designed for a long, thoughtful perception, they require an inner mood, "silence" and then they open up most fully and deeply. They have the musicality of plastic forms, great artistic taste and poetry. All these qualities are inherent in the gravestone of V.E. Borisov-Musatov in Tarusa (1910, granite). In the figure of a sleeping boy, it is difficult to see the line between sleep and non-existence, and this is done in the best traditions of memorial sculpture of the 18th century. Kozlovsky and Martos, with her wise calm acceptance of death, which in turn leads us even further, to archaic antique stelae with scenes of "funeral treats". This tombstone is the pinnacle in the work of Matveev of the pre-revolutionary period, who still had to work fruitfully and become one of the famous Soviet sculptors. In the pre-October period, a number of talented young masters appeared in Russian sculpture (S.D. Merkurov, V.I. Mukhina, I.D. Shadr, etc.), who in the 1910s were just starting their creative activity. They worked in different directions, but retained the realistic traditions that they brought to the new art, playing an important role in its formation and development.
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