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literature

Literature: Nekipelov, AD: New Russian Encyclopedia. Volume I. Russia. Publishing house "Emcyclopedia", Moscow 2004. Treasures of Russia. Introduction to Russian art. Art Publishing House, Moscow 1995. Fozikoš, A., Reiterová, T.: Reálie rusky mluvících zemí. Nakladatelství Fraus, Plzeň, 1998. Lepilová, K.: Essay on Russian culture. OU, Ostrava, 1996. Manková, N.: Čítanka z dějin ruské culture. Západočeská univerzita, Pedagogická Fakulta, Plzeň1998. Fine Arts Library: http://www.artlib.ru/ Painting: http://jivopis.ru/gallery/ Golden Archive of Icons Ancient Russia 11th - 16th century: http://staratel.com/pictures/icona/main.htm Russian painting: http://staratel.com/pictures/ruspaint/main.htm

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Presentation on the topic "Contemporary Art" in fine arts in powerpoint format. The purpose of this presentation for schoolchildren is to introduce students to the trends of contemporary art of the 20th century in Russia, as well as to explore moments in the biographies of artists - prominent representatives of contemporary art. Presentation author: Yulia Petrova, 10th grade student.

Fragments from the presentation

Contemporary art is...

• Philosophy of life
• vision of the world
• Symbol association as a formula of self-expression

Directions of contemporary art

• Modernist trends
• In the 10s. 20th century Abstract art is developing in Russia. Its representatives are considered artists of world significance, the founders of modern art. Russian art is greatly influenced by cubism, futurism and constructivism.

Kazimir Malevich

Malevich's work was strongly influenced by cubism, but the author developed his own system of abstract art, the so-called "Suprematism". The artist combines simple geometric shapes in contrasting colors (Suprematist composition), tries to simplify his paintings as much as possible. Malevich painted the world-famous Black Square. a square on a white background has many meanings: white is the sum of all colors, and black is the absence of any color, that is, the contrast “something-nothing”, “existence-non-existence” is combined in the picture. A black square is a “hole into infinity” .

Wassily Kandinsky

Kandinsky is one of the founders of abstract art. After the revolution of 1917 he emigrated to Germany. He entered the history of art with his Compositions, for example, Composition No. 7.

Marc Chagall

Chagall was born in Belarus, in the city of Vitebsk, the image of which became the thematic basis of his paintings (I and the village). He draws ordinary villagers, rabbis, clowns, musicians. Figures of animals (horse, donkey, rooster) are repeated in his paintings. Chagall is close to expressionism and primitive folk art, paints pictures in a grotesque-symbolic spirit. After the revolution, the artist continued to work in Paris and America, created stained-glass windows and mosaics in Jerusalem, and illustrated Gogol's Dead Souls.

Leonid Kiparisov

Born in 1964. He began his professional career in the field of art in high school as a cartoonist for the regional newspaper Priokskaya Pravda. Pedagogical Institute, graduated in 1989. Since 1987, I have been participating in art exhibitions in Russia and abroad.

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Features of the artistic culture of the XX century. were determined by the new conditions for its formation, among which revolutions, wars (especially two world wars), scientific discoveries and technical achievements were the leading factors. The prerequisites for the artistic culture of this time began to take shape in late XIX- early XX centuries. Therefore, the art of this period is a turning point, crisis art, expressing the highest tension of the moment and acquiring new ground for its development. At the turn of the century, with the advent of impressionism in the West and the activities of the "World of Art" association in Russia, artistic culture acquires a new functional assignment.

If prior art critical realism saw its task in exposing reality, striving to redesign it, then non-realistic art (and in essence, this is almost all new art of the 20th century) strives to become a means of intuitive or, conversely, intellectual comprehension of reality. Not trying to compete with such newly emerging ways of capturing reality as photography and cinema, and refusing to duplicate outside world phenomena, artists are trying to create a new reality, a new world, enclosed in the framework of the two-dimensional space of the canvas.

For the art of the XX century. characteristic to a greater extent is not an approximation to reality and its criticism (as was typical for critical realism), but detachment from events public life, not sociologism, but philosophy in colors, where artists reflected the ideas of cosmism (works by A. Filonov) and showed the destruction of matter by their own means artistic expressiveness(Suprematism of K. Malevich).

Hence the sometimes manifested unemotional, coldness, rationality of this art, which carries not only an artistic, but also a philosophical load. It was these qualities of his, namely apoliticality, asociality and the lack of a clearly expressed orientation towards imitation of nature, that is, non-objectivity, that made it possible to designate him as an elitist, bourgeois, created for a select minority by an artist in an "ivory tower". The principles of the new art allow for the possibility of distorting reality, separating volumes into separate fragments-planes, which distinguishes, in particular, the works of the Cubists. Sometimes artists (like, for example, the primitivist A. Rousseau) create their own, naive world, which, as it were, reminds a person of the golden age.

In the context of this own, non-objective reality, emotions are evoked by certain color combinations, as well as geometric constructions. It is characteristic that many artists began to work within the framework of objective reality, but gradually abandoned the principles of realism, considering them inappropriate for the times (K. Malevich and V. Kandinsky made this path in their work).

The principle of rejection of reality and traditional methods of its embodiment in a work of art becomes the leading one in architecture, where the modernity of the turn of the century soon gives way to constructivism with its reliance on modern technical achievements, to an international style that unifies cultural differences in architecture, then to organic architecture, as it were. "inscribed" in the natural context, towards the end of the century - deconstructivism and postmodernism.

Another feature of the art of the XX century. is the absence of a common unified style, which would allow to place in a single series of stylistic evolution all the artistic movements that make it up. Many of them in the history of art of the XX century. coexist in parallel without significantly affecting each other's aesthetics. So, Fauvism, or Cubism, is not a consequence of the development of realism at the turn of the century, in the same way, neorealism of the late 40s. does not stem from abstractionism. The artistic life of each of these trends is also different: some of them, having arisen suddenly, without visible prerequisites, quickly exhaust themselves, like, for example, cubism, while others have been steadily existing throughout the century, undergoing only insignificant modifications in various historical and social conditions, like neoclassical.

10.4. The main directions of contemporary Western art

Modernism (fr. modernisme, from moderne - the latest, modern) - the main direction of Western art of the XIX-XX centuries. The first sign of the beginning crisis in the artistic culture of the West was the reproduction - both academic and salon - of the old styles and, above all, the heritage of the Renaissance. However, this appeal to classical models was not determined by historical necessity, but rather, on the contrary, testified to some confusion and the absence of a clearly distinguishable goal of art. In such a situation, the only reference point, reinforced by the prestige of tradition, was, of course, classical art. But this path was not productive enough, and soon the turn to the classics is replaced by its sharp denial. This situation remotely resembles the one that contributed to the formation of the romanticism style, which was the antithesis of enlightenment classicism. At the beginning of the XX century. modernism becomes such a counterpoint to tradition.

The former belief in "eternal truths" is replaced by relativism, according to which there are as many truths as there are opinions, "experiences", "existential situations", and in historical world each era and culture has its own unique "soul", a special "vision", "collective dream", its own closed style, not connected by any common artistic development with other styles equally valuable and simply equal. Modernism has historically developed under the sign of a revolt against the high appreciation of the classical eras, against the beauty of forms and the reality of the image in art.

In the theory of modernism, the reflection of reality is considered an obsolete principle, giving way to its denial. In practice, this is expressed in the disappearance of the pictorial features of art, replaced by a system of signs, as free as possible from visual associations and determined by the artist himself. In poetry, the word loses its meaning, acquiring a new value as a factor of physical - acoustic - impact, in music the specificity of sound is destroyed, and atonal consonances and various everyday noises are endowed with aesthetic value, such basic concepts of musical aesthetics as melody, harmony, timbre, rhythm are transformed etc.

Thus, the modernism of the XX century. becomes in a certain sense a revolution of artistic culture. However, quite soon the practice of avant-garde artists began to be firmly assimilated by the cultural life of capitalist society, and the emergence of new trends began to be determined not by the internal logic of the development of art, but by commercial or other, by no means artistic goals. If the "Black Square" by K. Malevich, which the artist himself called the "embryo of all possibilities", was created in 1910 as a declaration of a new direction - Suprematism (from Latin supremus - perfect), embodying an extreme degree of departure from reality both in the field of color and and form, and was an innovative work, then the mass of similar works of the 1930-1940s loses its pioneering value and continues to use already tested artistic methods. Such "art" is supported by advertising that creates the illusion of need and artificial demand for artistic artifacts (for example, to own a trench in the Nevada desert dug by an artist). It is natural that these items, which sometimes do not represent artistic value, have a different value equivalent in the form of prestige, acting as symbols of financial power and evidence of the wealth of the owner. And even such truly rebellious movements of modernism as the movement of the "new left" of the 1960s were integrated by bourgeois art and, according to G. Marcuse, turned into a commodity.

Abstractionism is a trend in the art of the 20th century, refusing to depict real objects and phenomena, which manifested itself in painting, sculpture and graphics. The very term "abstractionism" testifies to the alienation of this art from reality. Abstractionism formulated its positions in the 1910s. as an anarchist challenge to public tastes, in the late 1940s and early 1960s. this direction belonged to the most widespread phenomena Western culture. Abstractionists consider the Impressionists their spiritual mentors. However, the works of the latter, despite some departure from the principles of realism, were not pointless. So, Van Gogh wrote: "If I ... tried to move away from reality and began to create in color like music ... but I care about both the truth and the search for truth. Well, I still prefer to be a shoemaker than a musician, working paints".

There are two main trends in abstractionism.

The first is psychological. Its founder is V. Kandinsky, who managed to convey the lyricism and musicality of his intuitive insights in his works. Here, the main means of expression are not the form of the object and the features of space, but the coloristic features of the latter. V. Kandinsky set as his task the expression in the art of the spiritual and the comprehension of higher intuitive feelings:

"The birth of a genuine work of art is a mystery. If the artist's soul is alive, it does not need the crutches of brain reasoning and theories. It will find itself what to say, while the artist himself may at that moment not be aware of what exactly. The inner voice of the soul will tell him, what form he needs and where to draw it (whether from external or internal "nature"). Every artist, guided by the so-called feeling, knows how suddenly and unexpectedly for himself he can be disgusted by the form he has invented and how "by itself" the first, rejected Becklin says that a true work of art is a great improvisation, that is, that reasoning, construction, preliminary composition should be just preparatory steps leading to the goal. And even this goal may appear before him unexpectedly for him himself."

In natural forms, Kandinsky saw an obstacle to art, and considered realistic art to be unreliable, incapable of expressing the fullness and diversity of experiences of a unique personality - an artist. Kandinsky, following Plato, represented the whole society in the form of a pyramid, the base of which is made up of material people, the top is spiritually rich, and it is crowned by the artist, who directs his gaze not at the world, but at himself.

The second line of development of abstractionism is geometric (or intellectual, logical). Its ancestor is Dutch painter P. Mondrian, who represented in his painting the ratio of planes painted in various ways.

Some currents of abstract art, following the line of development of this direction (Suprematism, Neoplasticism), echoing the searches in architecture and the art industry, created ordered structures from lines, geometric shapes and volumes, others (tachisme), in line with the psychological trend, sought to express the spontaneity, unconsciousness of creativity in the dynamics of spots or volumes. Talented representatives of abstract art (V. Kandinsky, K. Malevich, P. Mondrian, V. Tatlin) enriched the rhythmic dynamics of painting and its palette, but the solution of global issues and existential problems, always facing a person, within the framework of abstractionism proved impossible.

Surrealism. By the beginning of the 1920s. pre-war modernism has exhausted itself as creative activity. Unlike the modernism of the pre-war years, suffering from its internal pain, the new irrational movements - surrealism, Dadaism, expressionism - themselves sought to hurt people, instilling in them the idea that the whole world is fatally unhappy, incoherent and meaningless. The irrational tendencies of art concentrated in surrealism, which emerged as an art movement in European painting 1925-1926

The most typical surrealist canvases were created by the Belgian R. Magritte and the Catalan S. Dali. These pictures are irrational combinations of purely objective fragments of reality, perceived in their natural form or paradoxically deformed. The image of a human figure with filing cabinets in the stomach (S. Dali, "Anthropomorphic closet"), shoes with human fingers or a hunter sucked in by a brick wall (R. Magritte, "Red Model") contain the artist's programmatic attitude to the world and to to your creativity. The feeling of bizarreness, the unexpectedness of the phenomena of this world gives rise in such art to the idea of ​​its unknowability, of the absurdity of being, which appears to the artist in a frighteningly nightmarish or amusingly phantasmagoric guise. The theoretical justification for the new movement in artistic culture belongs to the French poet and psychiatrist Andre Breton. His "First Manifesto" (1924) outlines the hallmarks and objectives of surrealism: "Surrealism is pure psychological automatism, by means of which - in words, drawing or in any other way - an attempt is made to express the actual movement of thought. It is a record of thinking that takes place outside any control by the mind and beyond any aesthetic or moral considerations.Surrealism is based on the belief in the ultimate reality of certain previously ignored forms of association, in the omnipotence of sleep, in the non-purposeful game of thinking.Its goal is the final destruction of all other psychological mechanisms in order to put in their place the solution to the most important problems of life.

The development of surrealism was greatly influenced by the work of Z. Freud and his concept of psychoanalysis, where the psyche is interpreted as subordinate to the unknowable, irrational, eternal forces that are beyond consciousness. The deep foundation of the psyche, influencing the real, conscious life of a person, according to Z. Freud, becomes the unconscious. And in his opinion, the unconscious appears with the greatest immediacy in dreams and art, and it is in them that the true path of knowing the "natural essence" of man opens.

The development of surrealism proceeded rapidly: by the turn of the 1920-1930s. it penetrates the painting of other European countries - England, Sweden, Czechoslovakia. In the 1930s reaches Latin America, Australia, Japan, and manifests itself not only in painting, but also in sculpture.

Pop art art. The name pop art (from the English popular art - public art) was introduced by L. Eloway in 1965. The trend itself arose in the 50s. 20th century in the USA and England. Initially, the role of pop art was limited to the task of replacing abstractionism, which was never accepted by the general population, with something understandable by the general public. the masses art. Pop art proclaimed itself a new realism, as it widely used real household items and their copies, photographs, dummies. Pop art idealized the world of material things, which, through the organization of a certain context for their perception, was endowed with an artistic and aesthetic status. But such mastery of the subject did not acquire the significance of an artistic discovery. Let us turn to historical comparisons of the artistic development of the world of things.

This world, represented, for example, by the Flemish still life, not only glorifies the generosity and richness of nature, but also combines with the language of traditional allegories of the four elements, seasons and five senses. Dutch still life, reflecting the unique properties and individuality of things related to each other hidden meaning, proclaims the frailty of earthly existence and the immortality of art. The Age of Enlightenment in his works, in particular, in the genre under consideration, glorifies an active and active person and objects - as products of his creative work.

In pop art, the thing is aestheticized as an object of mass consumption, and the work becomes the materialized dream of the consumer. And it seems that the desire to find the epic in everyday objects and everyday views (as the pop artist R. Hamilton expressed the goal of his work) in reality becomes the statement of a person-acquirer, for whom the beauty of a thing is replaced by its utilitarian utility, creative potential - by financial opportunities, and spiritual aspirations - a thirst for material consumption.

Among the varieties of pop art, op art is distinguished, characterized by the widespread use of optical effects, color spots, e-art with moving structures and ocr-art with objects surrounding the viewer. However, the varieties of pop art do not differ from each other in meaning. This style is similar to design style goods on display or advertising. The advertising aesthetics of pop art is the direct fetishization of a thing or the demonstration of an old thing, which should be replaced by a new one. Pop art is perfect for a consumer-oriented "crowd man" brought up on advertising and mass communication.

Review questions

1. How is the crisis of Western culture of the 20th century assessed? in the works of Western and Russian thinkers?
2. What are the principles of scientism and anti-scientism?
3. What are the principles of Eurocentrism and what explains the crisis of Eurocentrism in the 20th century?
4. As the philosophers of the XIX-XX centuries assessed. mass phenomenon?
5. What are the basic principles of Russian cosmism?
6. What is the principle of the dehumanization of art according to J. Ortega y Gasset?
7. What are the global problems of our time, what are the ways to overcome them?
8. Give a description of the main trends of modernism: abstract art, cubism, surrealism, expressionism, pop art, etc.