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Antique theme in Russian art of the 20th century. Russian fine art of the XX century. The main directions of Russian painting of the twentieth century

This time is considered to be the pinnacle of Russian painting and the introduction of realism into it. Social phenomena and revolutions in the country had a special influence on art. There was already censorship and criticism in painting. A significant imprint was left on the work of painters by the authorities of that time. Almost every domestic artist was obliged to paint at least one picture dedicated to the new politics and the new social order.

The main directions of Russian painting of the twentieth century

In the period of the 20th century, it marked the end of Russian realism in painting and the beginning of Soviet or socialist. The time of the Great War is considered special, which was distinguished by the united movement of the party and the people. Military paintings made a splash and are relevant in the present period. The socialist current of the landscape genre was affected least of all.

Russian avant-garde

The word "avant-garde" means innovation, advanced movement. The domestic avant-garde combines the radical currents of painting. At first it was called modernism, new art, abstractionism and other names. The first glimpses in the direction appeared in the prewar years. The Russian avant-garde combines such moments as the absolute rejection of the past in culture and the unification of the processes of destruction and creation. In painting there is a place at the same time for aggression, the desire to destroy the old artistic values and the creation of something completely different.

In this direction, first of all, it is worth highlighting Wassily Kandinsky, who painted the paintings “Colorful Life”, “Song of the Volga”, “White Oval”, “Moscow. The Red Square". The avant-gardists also include Kazimir Malevich, who is a representative of supermatism, one of the avant-garde movements. This current characterizes the final stage of art, the absence of objects. They first started talking about him after the appearance of canvases with geometric abstractions.

socialist realism

After the revolution took place and many upheavals and changes took place, a new period and a new direction began in the visual arts. It corresponded to that time and was called socialist realism. This was demanded by the government and the people. Socialist realism was distinguished by the presence of heroism, expressed leaders, people, events, the truth of the party, and not the vision of the artist himself. The totalitarian society has changed Russian painting beyond recognition. It consisted mainly of paintings dedicated to the historical events of that time, the heroes and leaders of the state, as well as the everyday life of a simple worker.

Many called it "severe style", because there were no illusions, conjectures, childish carelessness in it. Only the merciless truth was displayed on the canvases. The heroism of that time lay in the inner tension and efforts of the leader. In socialist realism, work was a vocation, and heroes were pioneers and builders. At the end of the century, along with the collapse of Soviet culture, a new direction in Russian painting comes.

Postmodernism

A new direction in Russian painting came to replace modernism, which was not entirely clear in society. Postmodernism is characterized by photographic images. The painting is as close as possible to the original look. The style is distinguished by typological features. First of all, the finished form. Painters use classical images, but interpret them in a new way, give exclusivity. Very often, representatives of postmodernism combine forms from several directions, giving a slight irony to the image and some kind of secondary.

Another feature of the direction is the lack of rules. In postmodernism, the artist has complete control over the choice of forms and manners of depicting his painting. A certain freedom gave a fresh breath to art in general. There were art installations and performances. Postmodernism in painting is also characterized by the absence of clear techniques and general global popularity. The heyday of this direction came in the 90s of the 20th century. The most prominent representatives of it are the following artists: A. Menus, M. Tkachev, S. Nosova, D. Dudnik.

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Russian art of the 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 a 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 - "Vision to the youth 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 name "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 outstanding 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, owns 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" staged 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 the New Way magazine opened by Merezhkovsky's group, Moscow symbolists united around the "Vesy" magazine, musicians organized "Evenings of Contemporary Music", Diaghilev went entirely into 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 correctly noted by the researcher (V.N. Petrov), he always had a certain 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 them 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, which reassessed the entire modern artistic culture, approved new tastes and problems, returned 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. Closest of all "Goluborozovtsy" 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, the birth of the human soul in this harmony. 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, 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, is a brilliant evidence of the vitality of national traditions, the great ancient Russian painting. In the famous painting Bathing the Red Horse (1912, Fri), the artist resorted to a figurative 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: the mosaic frieze, beloved by modernity, or a belt of glazed ceramic tiles in faded decadent colors, stained-glass window bindings, a fence pattern, balcony lattices; 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 the work of Golubkina is her portraits, always dramatic, 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 Greek pagan mythology are 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. Andreev (1873-1932), opened in Moscow in 1909. This is Gogol of the last years of his 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 impressionistic influence of his teacher in his early works - 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 steles 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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The beginning of the century, the search for new ideas

The 100 years of the 20th century were an era of unprecedented upheavals for the entire civilization. By the end of the 20th century, scientific and technological progress had compressed time and space for the entire planet, social conflicts in a limited region grew into planetary upheavals. The culture and art of Russia in the 20th century, like all social activities in Europe and America, has a temporary attachment to the most important events of recent history.

The magic of numbers, marking the beginning of a new century, always gives rise to the expectation of change, the hope for the onset of a new, happy time. The nineteenth century, which created worldwide fame for Russian culture, was fading into the past, leaving traditions that could not disappear overnight.

“The World of Art” was the name of the association of artists that arose in 1898 and existed intermittently until 1924, without which it is impossible to imagine the fine arts in the first quarter of the 20th century in Russia. The "World of Art" did not have one, common developed style - painters, graphic artists, sculptors each went their own way, having an agreement in their views on the goals of art and its role in society. Many features of this view were expressed by the genius of Mikhail Vrubel. The formal core, the basis of the association were L. S. Bakst, M. V. Dobuzhinsky, E. E. Lansere, A. P. Ostroumova-Lebedeva, K. A. Somov. At different times, Ya. Bilibin, A. Ya. Golovin, I. E. Grabar, K. A. Korovin, B. M. Kustodiev, N. K. Roerich, V. A. Serov and other masters took part in it.

All of them recognized the primacy of professionalism in art, the enormous role of creative freedom and the independence of the artist from social dogmas, while not denying the value of art in human life, protesting against the rigidity of academism, on the one hand, and the excessive politicization of painting by the Wanderers, on the other. Criticized by supporters of traditions, the World of Art could not fit into the turbulent process of the birth of “proletarian” painting, but it had a huge impact on all the fine arts of the 20th century in Russia - both on those who worked in the USSR and on those who ended up in emigration.

Modern

The last decades of the nineteenth century were the period of the birth of a new style, which left a mark on the work of masters of fine arts and architecture. It had its own characteristics in certain regions of Europe, where it was even called differently. In Belgium and France, the name "Art Nouveau" was fixed, in Germany - "Art Nouveau", in Austria - "Secession". Other names are known associated with the most famous artists of this style or firms that produced furniture, jewelry and other products in this direction: mush style, Guimard style - in France, Liberty in Italy, in the USA - Tiffany style, etc. Art of Russia The 20th century, architecture in particular, know it as Art Nouveau.

After a long period of stylistic timelessness, Art Nouveau has become one of the most expressive and visually formed artistic movements. The vegetative, smooth character of the lines of rich decor, characteristic of it, in combination with geometrically simple and expressive forms of large volumes, attracted artists and architects with freshness and novelty.

Fedor Osipovich Shekhtel (1859-1926) - the star of Russian architectural modernity. His talent gave national features to the essentially cosmopolitan style, Shekhtel's masterpieces - the Yaroslavsky railway station, the Ryabushinsky mansion - are the creations of the Russian architect, both in general and in small things.

Pre-revolutionary avant-garde

The process of searching for new forms of art, and more - its new essence - was relevant for the art of all Europe and America. The art of Russia in the 20th century contains several truly revolutionary periods, when the work of several reformers indicated new directions in the development of artistic thought. One of the most striking and impressive was the inter-revolutionary period from 1905 to 1917. The peculiarities of avant-garde art in Russia were caused by the crisis of Russian public life after the tragedies of the Russo-Japanese War and the 1905 Revolution.

Numerous avant-garde movements and creative associations that arose at that time had similar generative causes and similar goals of artistic search. Having a powerful influence on the main types of art of the 20th century in Russia, the Futurists and Cubo-Futurists, the “Jack of Diamonds” and “Blue Rose”, Kandinsky and Malevich’s Suprematism in various ways sought new worlds, expressed the crisis of the old art, which had lost touch with reality, anticipated the onset of an era of global upheavals .

Among the new ideas born by the avant-garde artists was the thought of Russia in the 20th century, which contains such pages as the famous performance - the manifesto of the new art "Victory over the Sun" (1913). It was the result of the joint work of the futurist poets M. Matyushin, V. Khlebnikov, and the decoration was performed by Kazimir Malevich.

The artists P. Konchalovsky, K. Petrov-Vodkin, I. Mashkov, N. Goncharova, Marc Chagall, who enriched the art of Russia in the 20th century with their searches, became the authors of paintings that received world recognition. And this recognition began back in the 10s of the 20th century, in the era of the birth of avant-garde painting in modern history.

After the October Revolution, Russia had the opportunity to open new horizons to the whole world in public life, including in art. And at first conditions were created when the value of each gifted person grew immeasurably, generators of new creative ideas came to the fore.

How does art history interpret that time? The 20th century, Russia, the turbulent twenties - this is an unprecedentedly active artistic life of numerous creative associations, among which stand out:

UNOVIS - "Affirmative of the new art" (Malevich, Chagall, Lissitzky, Leporskaya, Sterligov). Founded on the basis of the Vitebsk art school, this association was an apologist for the artistic avant-garde, offering to look for new themes and forms for art.

- "Four Arts" - a flow in line with the "World of Art" The main goal is to show the enormous expressive possibilities of architecture, sculpture, graphics and painting. The need for high professionalism and creative freedom was declared. The most prominent representatives: architect A. V. Shchusev, graphic artist V. A. Favorsky, sculptor V. I. Mukhina, painters K. S. Petrov-Vodkin, A. P. Ostroumova-Lebedeva and others.

- "OST", "Society of easel artists". It considered the main thing to show the signs of the onset of a new peaceful life, the construction of a modern young country by means of an advanced expressive, but simple and clear style. Leaders: D. Sternberg, A. Deineka, Yu. Pimenov, P. Williams.

- "Circle of Artists" (Leningrad). Following the official course, developing the "style of the era". Active members of the group: A. Samokhvalov, A. Pakhomov, V. Pakulin.

AHRR - "Association of Artists of Revolutionary Russia" - an association that became the basis of the subsequently created Union of Artists of the USSR, an active conductor of directions for the ideological leadership of the artistic process, an instrument of party propaganda, the heirs of the Wanderers. I. I. Brodsky, A. M. Gerasimov, M. B. Grekov, B. V. Ioganson were at the head.

Constructivism

In the programs of the most prestigious educational institutions preparing architects, there is always a study of the topic "Russian constructivism - the architectural avant-garde of the 20s". It is of great importance for understanding the art of building, the ideas proclaimed by the leaders of that direction are very relevant for any time. The surviving buildings of Konstantin Melnikov (the architect's residential building in Krivoarbatsky lane, Rusakov's club on Stromynka, a garage on Novoryazanskaya street, etc.), the Vesnin brothers, Moses Ginzburg (Narkomfin House on Novinsky Boulevard) and other stars of Russian architecture are the golden fund of Russian architecture.

Functionalism, the rejection of unnecessary embellishment, the aesthetics of the building structure, the harmony of the created living environment - these ideas became the basis for solving new problems set for young architects, artists and specialists in the field that began to be called industrial design. They had to build mass housing for new cities, workers' clubs for the comprehensive development of the individual, create facilities for the work and recreation of a new person. The amazing achievements of the avant-garde of the twenties cannot be bypassed, studying the art of Russia, Europe and America of all subsequent time is largely based on them. It is sad that these progressive ideas turned out to be the least in demand in their homeland, and the “Stalin Empire style” is considered by many to be the greatest achievement of Soviet architecture.

The art of the era of totalitarianism

In 1932, the Decree of the Central Committee of the All-Union Communist Party of Bolsheviks on the work of creative associations was issued. The turbulent era of various currents and directions ended under the influence of the state machine, which gained power, controlled by the ideological apparatus, in which the sole power was growing stronger. For many years, the art of Russia in the 20th century, like much in the life of the country, began to depend on the opinion of one person - Joseph Stalin.

Creative unions have become a means of subordinating artistic thought to uniform ideological standards. The era of the socialist has come. Gradually, any deviation from the official course began to be declared criminal, those who disagree fell under real repression. Accusations of deviating from the party line became a method for resolving creative discussions. The progressiveness of this is highly questionable. How, for example, would the theatrical art of Russia in the 20th century have developed if the great stage reformer Vsevolod Meyerhold had not fallen victim to repression?

The nature of artistic talent is complex and inexplicable. The images of the leaders were embodied with great skill and sincere feeling. None of the most brutal repressions could prevent the emergence of truly talented artists, for whom self-expression was the main thing, regardless of the ideological framework.

In architecture, the time has come for the "Stalinist empire". The search for avant-garde artists was replaced by a return to proven canons. The power of communist ideology was embodied in spectacular examples of reworked neoclassicism - Stalin's "skyscrapers".

Art of the war period

There is a time in the history of our country that has become the greatest tragedy and a stage of unprecedented spiritual upsurge. The art of Russia in the 20th and 21st centuries has received one of the main themes that made it possible to express the greatness of the Russian folk character, the depth of feelings that can take possession of an individual and huge masses during historical upheavals.

The Great Patriotic War from the first days found expression in visual images of amazing power. Poster I. Toidze "Motherland is calling!" raised to the defense of the country better than any commanders, and Deineka's "Defense of Sevastopol" shocks any person, regardless of the ideas that he shares. Dmitri Shostakovich's Seventh Symphony is just as impressive, and the musical art of Russia in the 20th century, no less than other types of creativity, paid tribute to the theme of the war against fascism.

Thaw

After the Great Victory, the next most powerful historical factor influencing public life in the USSR was the death of Stalin (March 1953) and the 20th Congress of the CPSU, which raised the issue of exposing the cult of personality. For some time, for artists, as well as for the whole society, there was a breath of freedom of creativity and new ideas. The generation of the "sixties" is a very specific phenomenon, it left a memory of itself as a short breath of fresh air taken before plunging again for decades into the swamp of a measured, scheduled, regulated existence.

The first experiments of the artistic avant-garde of the "second wave" - the works of E. Belyutin, Y. Sooster, V. Yankilevsky, B. Zhutovsky and others - at the exhibition dedicated to the 30th anniversary of the Moscow branch of the Union of Artists, were personally condemned by the new leader of the country N Khrushchev. The party again began to explain to the people what kind of art they needed, and to the artists how to paint.

Architecture was instructed to deal with excesses, which was rightly explained by the economic difficulties of the post-war period, the time came for mass housing construction, the time of "Khrushchev", which somewhat removed the acuteness of the housing issue, but disfigured the appearance of many cities.

The art of "developed socialism"

In many ways, the art of Russia in the second half of the 20th century is largely a story of confrontation between an artistic personality and the dominant ideology. But even in an atmosphere of ideological regulation of every piece of spiritual space, many artists found ways to slightly modify the prescribed method of socialist realism.

So, a real example for the young was the masters who formed their convictions back in the twenties: N. Romadin, M. Saryan, A. Plastov and others. The picture of the former member of the art association "OST" Y. Pimenov "Wedding on tomorrow's street", written in 1962, became a symbol of society's hopes for renewal.

Another striking phenomenon in Soviet painting of that time was the formation of a “severe style”. This term denoted the work of G. Korzhov, P. Ossovsky, the Smolin brothers, P. Nikonov and others. In their paintings, painted in different genres (everyday, historical), a hero appeared who did not need instructions, busy with an understandable and necessary business. He was depicted without unnecessary details and coloristic frills, capaciously and expressively.

Of particular importance is the work of such a master as the civic sound of his canvases contains a rare for Soviet art general humanistic, almost religious message, and the painting style has roots in the Italian Renaissance.

Nonconformism

The official dominance of "socialist realism" forced informal artists to find their way to the audience or resort to emigration. M. Shemyakin, I. Kabakov, O. Rabin, E. Neizvestny and many others left. These were artists of the 20th century in Russia, who were the bearers of spiritual values born by the avant-garde of the beginning of the century, and who returned to their homeland after the collapse of communist ideology.

And during its reign, internal emigration appeared, giving rise to the popular motif of a crazy, eternally drunk artist, an inhabitant of mental hospitals, persecuted by the authorities and the leadership of creative unions, but highly valued by independent Western experts. A typical bearer of such an image was A. Zverev - a legendary figure for Moscow in the era of developed socialism.

Polystylistics and pluralism

Having freed itself from the state dictates of the Soviet era, the fine arts of the 20th century in Russia entered the global process as an inseparable part of it, having properties and trends common with it. Many forms of creativity, familiar to the West for a long time, were quickly mastered by domestic artists. The words "performance", "video installation", etc. have become familiar in our speech, and among the most significant contemporary masters with worldwide fame are artists of diametrical views: Z. Tsereteli, T. Nazarenko, M. Kishev , A. Burganov and many others.

The stormy, unpredictable recent history of the country, which occupies a sixth of the earth's land, looks into its mirror - the art of Russia of the 20th century - and is reflected in it with thousands of unforgettable images ...

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 of economic development, and finally the weakening, up to the complete abolition, of ideological control - all this in the early 1990s 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 concrete 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) - fine art, a distinctive feature of 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. Due to the thin layer of paint and the possibility of its smooth spraying 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 of 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 "work of art" coexist? 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 a brief description of the 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 a brief overview of the 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 of Ancient Egypt. Painting, sculpture, architecture, applied arts. – M.: Visual arts, 1972.

5. Art of the 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.

This article contains a brief description of the main 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 applied anti-historically 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 the impressionist and "wild" spots from any signs of objectivity. 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 greatly contributed to the formation of the consciousness of 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, and disintegration of those principles on which European culture seemed to rest so firmly. 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. In appearance, the cubo-futuristic works have something in common with the compositions created at the same time by F. Leger and are semi-objective compositions composed of cylinder-, cone-, flask-, shell-shaped hollow three-dimensional colored 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 may 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 felt the gift of artistic creativity in themselves 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 its 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 - scratch) This is the designation of subculture works, which are mainly large-format images on the walls of public buildings, structures, transport, made using various kinds of spray guns, aerosol paint cans. 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.