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At the beginning of the 20th century, before the eyes of an astonished public, new art was born, capable of capturing the imagination of the most sophisticated viewers and critics. The Russian avant-garde has become a unique phenomenon in the history of world culture, which today occupies an honorable place in the exhibitions of the largest museums in the world. Russian artists, who brilliantly mastered the traditions of French painting of Fauvism and Cubism, found their own path. Masters of the Russian avant-garde: Vasily Vasilyevich Kandinsky (1866 – 1944) Kazimir Severinovich Malevich (1878 – 1935) Pavel Nikolaevich Filonov (1883 – 1941)
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Wassily Kandinsky The future artist was born in Moscow in 1866 into the family of a successful businessman. Soon after the artist's birth, his family moved to Odessa, where the boy began to grow up and received his first lessons in painting and music. In 1885 he moved to Moscow and entered Moscow University. Paintings at that time did not interest him much, since he wanted to devote his life to legal work. However, 10 years later, in 1895, he decides to give up this direction and plunges headlong into art. This was due to an exhibition at which the artist saw Monet's work "Haystack". By the way, at that time he was already 30. After arriving from abroad, the artist began to actively participate in social and educational activities, but in 1921 Kandinsky V.V. decided not to return to his homeland anymore. This was caused by significant disagreements with the authorities. However, even despite the forced departure, the artist until the end of his days kept in his heart the love for the Russian people and culture, which he expressed on his canvases.
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At the end of the 20s of the 20th century, the artist moved to Murnau, a small town near Munich. Here, in the silence of a rural outback, he creates one of his best works - “Lake”. The painting was painted in the spirit of expressionism. Despite the fact that the canvas was actually created from life, it has nothing in common with real views of the lake. The painter rightly believed that his brush should capture not just individual objects, people, plants, but their aroma and taste, feelings and emotions. It is important not to show, but to make you feel and understand. When painting the picture, deep blue, orange and even green colors were used. A riot of colors extends wherever the human eye can see. The lake occupies the entire canvas of the picture; on the right side of it you can see several small boats. Apparently, they belonged to fishermen or lovers of evening walks. The lake was painted at sunset, because its surface is stained with the sun's rays. The picture is bright, emotional, bewitching.
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Painted on the eve of World War 1 and revolution, this painting is considered a variation on the theme of the Apocalypse. According to art critics, this particular composition personifies the destruction of the world. Despite the apparent multicolor, the main contrast is clearly visible - between black and white. For Kandinsky, these colors symbolize birth and death, respectively. Thus, the composition embodies the struggle between light and darkness. White, spread throughout the entire plan of the picture, prevails over the darkness, pushing it into the upper left corner, symbolizing development and transformation. The artist called the Flood the original motive. Gradually, the original plot was dissolved in colors and moved to an internal, independent, purely pictorial state. In all of Kandinsky’s work, as well as in this composition, there is an undeniable connection with the icon. He often used scenes from the Old and New Testaments as the basis for his paintings. This painting, along with “Composition No. 7,” conceived as an image of the whole world, the cosmos at the moment of disaster, is considered the pinnacle of Kandinsky’s creative evolution.
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Composition 7 You can look at the picture only from the perspective of Kandinsky’s attitude to form and color - only in this case does the composition acquire a huge, deep meaning. The dominant colors of the canvas are red - a symbol of strength, purposeful, immense power; blue is the color of peace, and white is the personification of eternity, pre-primary existence. There is also a yellow color in the work, which the author has always characterized as frivolous and quickly scattered. Art critics and researchers, based on diary entries and studying Kandinsky’s work as a whole, have come to the conclusion that Composition VII combines several themes in its plot and emotional understanding - the Last Judgment, the Flood, the Resurrection from the Dead and the Garden of Eden.
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The painting “Dominant Curve” is one of the most striking and characteristic in the artist’s work. It shows the influence of surrealism. Along with the geometric forms familiar to abstract art, Kandinsky introduces some bright biomorphic objects and images on this canvas. The artist believed that every work of art is a thing in itself that does not require understanding by the audience, and, as if to confirm this idea, he endlessly experimented with form and color. The multi-colored "dominant curve" in this painting is made primarily of red and green paint. To the left of it are large yellow and green circles, absolutely unexpectedly giving something like a dark crimson hue at the junction. In the upper right corner there are ideally shaped black and white circles reminiscent of gramophone records. In the lower right corner there is a cubic blue-and-white staircase. The remaining details of the picture seem to be of biological origin; pink and white roundness similar to crustacean claws; two multi-colored formations resembling a human profile; black and dark green elements that look like plant stems and leaves. The painting is currently in the Guggenheim Museum in New York.
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The paintings of Kazimir Malevich are known to millions, but only a few understand them. Some of the artist’s paintings frighten and irritate with their simplicity, while others delight and fascinate with their depth and secret meanings. Malevich created for a select few, but did not leave anyone indifferent. Kazimir Severinovich Malevich was born in 1879 in Kyiv. He came from a family of ethnic Poles. The family was large. Casimir was the eldest of 14 children. The family spoke exclusively Polish, and communicated with neighbors in Ukrainian. In 1905, Malevich left for Moscow. He tried to enter the Moscow School of Painting, but he was not enrolled in the course. In 1906, he made a second attempt to enter school, failed again and returned home. In 1907, the whole family moved to Moscow. Kazimir began attending art classes. In 1910–1914, a period of recognition of Malevich’s neo-primitivist creativity began. He took part in a large number of Moscow exhibitions (for example, “Jack of Diamonds”), and exhibited in a Munich gallery.
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The famous painting divided not only the artist’s life, but also the history of art into two periods. On the one hand, you don’t have to be a great artist to draw a black square on a white background. Yes, anyone can do this! But here’s the mystery: “Black Square” is the most famous painting in the world. Already 100 years have passed since it was written, and disputes and heated discussions do not stop. Why is this happening? What is the true meaning and value of Malevich’s “Black Square”?
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1. “Black Square” is a dark rectangle Let’s start with the fact that “Black Square” is not black at all and not square at all: none of the sides of the quadrangle is parallel to any other side or to any of the sides of the square frame that frames the picture . And the dark color is the result of mixing various colors, among which there was no black. It is believed that this was not the author’s negligence, but a principled position, the desire to create a dynamic, mobile form.
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2. “Black Square” is a failed painting For the futuristic exhibition “0.10”, which opened in St. Petersburg on December 19, 1915, Malevich had to paint several paintings. Time was already running out, and the artist either did not have time to finish the painting for the exhibition, or was not happy with the result and rashly covered it up, painting a black square. At that moment, one of his friends came into the studio and, seeing the painting, shouted: “Brilliant!” After which Malevich decided to take advantage of the opportunity and came up with some higher meaning for his “Black Square”. Hence the effect of cracked paint on the surface. There is no mysticism, the picture just didn’t work out.
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3. “Black Square” is a multi-colored cube Kazimir Malevich has repeatedly stated that the picture was created by him under the influence of the unconscious, a certain “cosmic consciousness”. Some argue that only the square in the “Black Square” is seen by people with underdeveloped imagination. If, when considering this picture, you go beyond the traditional perception, beyond the visible, you will understand that in front of you is not a black square, but a multi-colored cube. The secret meaning embedded in the “Black Square” can then be formulated as follows: the world around us, only at the first, superficial glance, looks flat and black and white. If a person perceives the world in volume and in all its colors, his life will change dramatically. Millions of people, who, according to them, were instinctively attracted to this picture, subconsciously felt the volume and multi-colored “Black Square”. Black color absorbs all other colors, so it is quite difficult to see a multi-colored cube in a black square. And to see the white behind the black, the truth behind the lies, life behind death is many times more difficult. But the one who manages to do this will discover a great philosophical formula.
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At the same time, the “Black Circle” and “Black Cross” were created and exhibited at the same exhibition, representing the three main elements of the Suprematist system. Later, two more Suprematist squares were created - red and white.
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As for the meaning of the picture, Ksana Blank dared to compare the Suprematism of Kazimir Malevich and the work of Leo Tolstoy. In one of Tolstoy's stories there is a description of a room where the main character is overcome by melancholy. The room looks like this. The walls of the room are whitewashed. The space itself had a square shape, which greatly influenced the person. There was only one window, on which a red curtain was hung. Thus, the red square is believed to symbolize melancholy. Earlier, Malevich explained the meaning of his first “Black Square”. It consisted in the fact that the square was a certain feeling for the author, and the white background acted as an emptiness hiding behind this feeling. In this regard, Ksana Blank came to the conclusion that the painting “Red Square” symbolizes the fear of the arrival of inevitable death and the fear of emptiness in a person’s life.
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In 1916, he organized the Supremus society, where he promoted the ideas of moving away from cubism and futurism to Suprematism. After the revolution, he, as they say, “got into the flow” and began to work a lot on the development of Soviet art. By this time, the artist was already living in Petrograd, working with V. Meyerhold and V. Mayakovsky, teaching at the People's Art School, which was directed by M. Chagall. Malevich created the UNOVIS society (many of Malevich’s students faithfully followed him from Petrograd to Moscow and back) and even called his daughter Una. In the 20s, he worked as director of various museums and institutes in Petrograd, conducted scientific and teaching work, exhibited in Berlin and Warsaw, opened several exhibitions in leading museums in Petrograd and Moscow, taught in Kyiv, where a workshop was opened especially for him.
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K.S. Malevich. Peasant woman. 1928 – 1932 State Russian Museum, St. Petersburg.
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Kazimir Malevich created “The Peasant Woman” in the 1928-1930s. He remained true to his traditions: voluminous geometric shapes in dazzling shades, disproportionate body parts, minimalistic backgrounds, people completely devoid of individuality. . The artist depicts his character with a black oval in place of the head, arms hanging limply and powerlessly, a white robe indicates that this is a woman. The figure stands on contrasting stripes of a colored field. There are no other bodies in the background: here the author also remained true to his style. However, the distinctive feature of “The Peasant Woman” is the outline of her dress. Comparing a black and white woman with the general multicolor, one can indicate that her image is gloomy. The painting symbolizes the way of life of peasants - working people. Their slave labor, endless worries and torment from a difficult life - this is what such paintings depict. Malevich depersonalizes his heroes, shows their mass character, sameness, insignificance and pettiness of human life.
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In 1930, Malevich was sent to prison. He was charged with spying for Germany. But investigators and friends in the authorities did everything to ensure that the artist was released within six months. Few people know that in addition to “Black Square”, there is also “Black Circle” and “Black Triangle”, and the master rewrote “Black Square” several times and only the last, fourth version completely satisfied him. In the 30s he worked at the Russian Museum, exhibited a lot, but painted mainly portraits, although he was interested in architecture and sculpture. In 1933 he became seriously ill, and died in 1935. He was buried near the village of Nemchinovka, where he lived and worked for a long time.
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The fate of Pavel Nikolaevich Filonov is truly dramatic. During his life, he did not sell any of his paintings, believing that everything he created should belong only to the people. Ten years before his death, poor and half-starved, the artist continued to paint without interruption. Misunderstood, rejected by his contemporaries, forgotten by some students, unable to exhibit, he still dreamed of donating his paintings to the state. After the siege of Leningrad began, Filonov was on duty in the attic, dropping incendiary bombs from the roof: he was very afraid that the paintings would perish in the fire - that was all he had created in his entire life. According to eyewitnesses, Filonov, wrapped in rags, stood for hours in a windswept attic and peered into the snow flying in the square window. He said: “As long as I stand here, the house and paintings will remain intact. But I'm not wasting my time. I have so many ideas in my head." Filonov died of exhaustion at the very beginning of the siege.
– presentation on the Moscow Art Culture, continuing the theme “Art of the 20th Century”. This is an attempt to give an idea of the diversity of trends in European fine art of the 20th century.
Painting of the 20th century - a new language of art
Illustrations in the presentation “Painting of the 20th century – a new language of art”, will introduce you to some of the main trends in the fine arts of the 20th century. No era has given world artistic culture as many names and creations as the twentieth century. Along with realistic art, which continues to develop despite the calls of avant-garde artists to destroy old art, such trends as Fauvism, expressionism, futurism, cubism, abstract art, surrealism and others " isms". The new language of art was not understood by many, often causing outrage or ridicule. Fundamental changes in the life of society led to the birth of new forms in art.
New language of art
Is there something that unites these numerous directions in painting? The main thing, in my opinion, is the desire to create new forms, the denial of “old art”, the tendency to destroy traditions. In this regard, the manifestos of the Dadaists and Futurists are characteristic, in which they sought to justify the appearance of creations that often shock and cause bewilderment and indignation among art lovers:
Manifesto of Futurism
1909, Italy, Filippo Marinetti
From Italy we proclaim to the whole world this furious, destructive, incendiary manifesto of ours. With this manifesto we are establishing Futurism today, because we want to free our land from the fetid gangrene of professors, archaeologists, talkers and antiquarians...
Museums are cemeteries!.. There is undoubtedly a similarity between them in the gloomy mixture of many bodies, unknown to each other. Museums are public bedrooms where some bodies are doomed to rest forever next to others, hated or unknown. Museums are absurd slaughterhouses of artists and sculptors, mercilessly killing each other with blows of color and line in the arena of walls!…
Raise your head! With our shoulders proudly squared, we stand on top of the world and once again challenge the stars!
Painters of the 20th century do not set themselves the goal of depicting reality; they are convinced that
"The Purpose of Art − not conveying impressions of reality, A an image of its tragic and chaotic essence, hostile to man, passed through the artist’s personality »
This is, for example, the art of the Expressionists, whose work was greatly influenced by political events in Europe in the first half of the 20th century.
Is this art?
“Dada's Cannibal Manifesto”
1918, Paris, Francis Picabia
“...Dada does not smell of anything, he is nothing, nothing, nothing.
Like your hopes: nothing,
like your paradise: nothing,
like your idols: nothing,
like your political men: nothing,
like your heroes: nothing,
like your artists: nothing,
like your religions: nothing"
“Dadaism is great!!!
“Dada is Art! This, in my opinion, is one of those movements that had great fame; not accepted by the majority and, as a consequence, living a stormy and short life.
Dadaism is a monument to a plastic bottle, these are paintings with objects pasted on it... This is a philosophical absurdity, this is a stumbling block, this is a denial of everything classical and accepted by the majority. Dada is everything and nothing. This is and this is not.
Everyone has it, but not everyone accepts it. Probably Dada has a smell: the smell of rebellious gaiety, the smell of the eternal search for the absurd.”
A wonderful film created by the smart people (literally) of the Arzamas Academy will help you understand the art of the 20th century, which is difficult to understand and often not accepted by many:
Sometimes, in search of new forms in art, painters of the 20th century come to deny content that would be understandable to connoisseurs of traditional art, shocking and shocking the viewer, as some Dadaists and surrealists did.
Sections: MHC and ISO
Class: 11
Lesson type: combined
Lesson format: lesson - improving knowledge, forming a new problematic vision.
Goals:
- Formation of aesthetic sensitivity to ideas about historical traditions and values of artistic culture in Russian and foreign painting at the turn of the 19th – 20th centuries.
- Development and formation of the concept of “dialogue between the viewer and the artist” based on the works of V. Kandinsky.
- Education of the emotional sphere of students.
- Reveal and summarize the main directions of artistic movements in painting at the turn of the 19th and 20th centuries;
- To form a holistic, multifaceted artistic picture of the era filled with various individual features;
Equipment: computer, projector, demonstration board.
Visual range: uh pygraph on the board, presentation - slide show on the topic of the lesson.
Slide show: O. Renoir “Swing”, Paul Gauguin ““Vision after the Sermon, or the struggle of Jacob with the Angel”, E. Munch “The Scream”, V. Borisov - Musatov “Pond”, A. Matisse “Red Room”, S. Dali “ Swans depicted in elephants”, P. Picasso “Les Demoiselles d’Avignon”, V. Kandinsky “Cow”, “Tables of color schemes”
Lesson plan:
I. Organizational moment. Reporting the topic and objectives of the lesson.
II. Main part. Repetition, classification, generalization of the material covered.
III. Obtaining new knowledge based on the analysis of the material covered, getting acquainted with the movement of “Cubism”, “Abstract Art”.
IV. Summing up the lesson, homework.
During the classes
I want to start the lesson with the words of the artist Henri Matisse: “To create means to express what is in you.”
I. Today our task will be to create a specific portrait of an era in the history of painting, the turn of the 19th and 20th centuries, an era full of creative quests, experiments that completely changed ideas about painting and the role of the artist in it. In this era, when a new avant-garde direction in art is born, and, unfortunately, it is still not fully understood by many, and is not deserved, causing denial. At the beginning of the lesson, we will decide on the range of questions to which we must get answers during the lesson.
I post these questions in front of you on sheets of paper so that during the lesson you can always see them and determine your own answers.
1. Which artistic movement can be considered the beginning of the avant-garde?
2. With what artistic movement does the breakthrough through visual reality into the world of a new reality begin?
3.How does the artist’s subject matter change and why?
4.Why does the term “depict” change to the term “express”?
II. First, let’s define how you understand the term “avant-garde”, “avant-garde”.
Avant-garde, avant-garde is a general name for movements in the world that arose at the turn of the 19th and 20th centuries. They are characterized by novelty, courage, and an experimental direction in art.
Let us now walk through the art exhibition, where each work is selected in such a way that it is a definite milestone in the avant-garde direction.
1. The first painting by the French artist O. Renoir. We are familiar with the work of this artist, and this direction in art. What can you remember?
Impressionism. Painting “Swing”.
Ah, Now, I would like you to evaluate this work a little differently. Imagine what would change in the artist’s writing technique if an artist wrote on such a subject in a classical manner?
The clothes of the man and woman would be painted with flowers without stains, the grass and leaves would be painted more carefully. The peculiarity of the impressionist writing is to depict the real world through the play of light and shadow, splitting color into spectra.
This gives the impression of work being done “hastily”, without detailed elaboration. This is how the classical style of writing differs from the impressionists.
We can only add that the decisions of the impressionists to paint as I see, and not as is customary, become the starting point of departure from realism and the plot principle in painting. And if we look now at the first question posed at the beginning of the lesson, then the answer is already clear.
The beginning of the avant-garde movement is impressionism. A movement in which nature is depicted as the eye sees it, and the superiority of the author’s vision over the accuracy of the reproduction of the visible world is already observed. This is the first small step in a new direction, this is its beginning.
2. Paul Gauguin “Vision after the Sermon, or the struggle of Jacob with the Angel.”
Let's decide on the artistic direction of this painting.
Paul Gauguin is considered a post-impressionist artist.
Post-Impressionists, they go further. They reject the assertion that only what the eye sees at a given moment exists. Paul Gauguin is actively working on how to understand the laws by which human sensations are created. In other words, to find that boundary between reality and unreality, for example, an image of a person and his feelings. And this is the invisible world, the unreal world. This is clearly visible in the picture. He showed the boundary between reality (the Breton parishioners) and their vision (James and the Angel).
Let's turn to our questions. The answer to the second question has just been answered. The artistic movement of post-impressionism combines the real and the fantastic, and already shows a breakthrough into the “world of new reality””.
3. E. Munch “The Scream”. This picture is already familiar to us. We are also familiar with its direction.
Expressionism, which means expression.
If expression, then what does the artist express exactly in expressionism?
Human emotions, in this case negative: fear, pain, humiliation, hopelessness.
Are human emotions the real world or the world invisible to the human eye? Can human emotions, their variety, strength appear to us as some kind of reality? After all, our entire lesson is based on an understanding of reality and unreality.
As a reality, probably not.
For this purpose, new techniques began to be used, which are based on shape deformation. This technique was used by E. Munch when he wanted to convey on canvas the feelings of a mortally frightened person. What kind of world does expressionism become show?
Expressionism is an “invisible” world, where the main thing is human emotions.
How do you explain the term “expression” in relation to expressionism?
Probably, human emotions can only be expressed, not depicted.
Why do they begin to pay attention to such a complex phenomenon as emotions?
Probably, they become interested in the inner world of a person.
The birthplace of expressionism, if you remember, was Germany at the beginning of the 20th century. The exuberant flourishing of technology and industry against the backdrop of the degradation of cultural foundations. Suppression of personality, man has never been so small as then, the desire of the soul, its cry for help - these are the main emotional dominants of expressionism.
3. V. Borisov - Musatov “Reservoir”.
The symbolism movement, its features: artists push the image of nature into the background, the main thing for them is their idea of the world of their fantasies, their invisible world. The concept of “symbol” is introduced as a representative of the new reality. The new reality is only a representation, a fantasy, therefore it is allowed to change, it can only remind of a real object. And the symbol does not necessarily have to be similar to an object from the real world. It may be conditionally similar, and, consequently, depicted conditionally.
Conclusion: the idea of the contact of two worlds - the visible and the new reality, where the new reality is a symbol of the visible world.
4. A. Matisse “Red Room”.
The painting by the French artist Henri Matisse, “The Red Room,” is unusual at first glance. Let's try to understand its features. Unusual color scheme, flat image. In what direction do you think it was written?
Fauvism. (wild). It is characterized by an open color and lack of volume. The artists continued experiments with color, volume, and the conventional depiction of an object on the picture plane; they abandoned the illusory reproduction of three-dimensional space, focusing on the decorative properties of the painting surface.
Everything said is correct. It remains to add a little that the term “Fauvism” appears thanks to the critic Louis Vauxcelles.
5. P. Picasso “Les Demoiselles d’Avignon”.
What avant-garde movement does she represent?
Remember the words of P. Cezanne: “Everything in nature is molded in the shape of a ball, cone and cylinder. We must learn to write on these simple figures. If you learn to master these forms, you will do whatever you want” (MHC, 11th grade, author L. Rapatskaya, p. 110). But P. Cezanne meant that these basic forms must be kept in mind as the organizing principle of the picture. However, Picasso and his friends took the advice literally. The appearance of the name of this movement is associated with the art critic Louis Vaucelle, who called Braque’s new paintings “cubic oddities.”
Therefore, of course, we all understood what current we are talking about now.
What can be said about cubism, about its writing features?
It is based on experiments with the construction of three-dimensional objects on a plane. Construction of a new artistic form as a result of geometric analysis of the subject and space. Conclusion students and teacher: Experiments with form.
6. S. Dali “Swans depicted in elephants.” Let's talk about this painting based on what we know about surrealism. The painting is clear due to its writing technique. The author is Salvador Dali, the movement is surrealism.
Surrealism. Super realism, in which the source of inspiration is in the human subconscious, based on the theory of S. Freud. A prominent representative is S. Dali. Irrational meaning. Each nature (swans, elephants, trees) in the picture is completely real. But their life together on canvas is complete absurdity.
Where have we come? Into the depicted world of illusions, into the artist’s own Universe, which he showed us.
III. Teacher: Based on several works of art, we have traced the logic of the development of the avant-garde, starting from impressionism to surrealism. The turn of the 19th and 20th centuries was a time of extraordinary discoveries in the field of art, a time of outstanding experiments, a time of new understanding of the artist as an individual in painting. I would like to especially emphasize that this development was not linear. Each artist chose what was more acceptable to him. After all, artists no longer depicted on canvas, they expressed their ideas, thoughts, fantasies, your Universe. The choice of direction depended entirely on the idea he had in mind. When P. Picasso was asked in what direction he would paint the next picture, he approximately answered: “In the one that better expresses my idea.” The painting stopped depicting, the painting began to express the artist’s idea. The artist gradually becomes a creator and the creation of a picture is an act of creation. The visible world, which was previously depicted by painters of past centuries, was no longer inspiring. Artists began to be inspired by the “other” world, which we do not see, but it always integrally lives next to us. The world of our feelings, experiences, fantasies. If you think about how much the world of images a painter can transfer to canvas expands. After all, what an artist creates is limited only by his personal imagination. Therefore, the role of the artist changes, he is no longer a copyist of the world “which the Almighty God created,” he is the creator himself - the creator of his universes. Malevich said “I am the beginning of everything, for worlds are created in my consciousness.” The world that God created is not interesting to them; moreover, they themselves feel like Gods - creators. And if these are worlds created by the creators themselves - the artists, then the laws of the universe there will only be those that the artist himself comes up with. But here many difficulties arise, first of all, in understanding the idea of the world that the artist created. This, to a greater extent, repels viewers from avant-garde artists who are accustomed to seeing a certain literary plot in each picture. Penetrating an idea and understanding its expression in a painting is a difficult but interesting task. I would like to quote one statement: “The picture should be complex. When you look at her, you yourself become more complex. When you climb a ladder, it’s not the ladder that lifts you up, but the effort you put in.” Of course, you need to make emotional and intellectual efforts to make the picture clear. But there is also good interest in this!
But let's think further. Will those images in the paintings of the artist, for example, Salvador Dali, which he shows us, be reality? How could he have created them himself? Did he paint the picture, conveying to the viewer his invisible world of fantasy? After all, the image that the artist initially creates in the world of his fantasies, he sees them himself, as if through the pupil inwards. And what do we see in his painted picture? Reality or its copy?
A copy, exactly, a copy!
these will only be copies, albeit fantasies of their own worlds, but still copies. But if the artist is a creator, as avant-garde artists understand themselves, and the world that he creates should only be real, not a copy. But what can an artist himself really create? Let's try to figure it out using one example.
Painting by M. Saryan “Still Life”.
What is shown here?
Grapes, bananas, pears.
If these are grapes, bananas, pears, let's taste them.
Children come to the conclusion that this cannot be done, because... This is just a picture of fruit.
This means that we see only an image, or a copy of real objects. But this does not fit in with the ideas of avant-garde artists about their role as creators.
If the image is a copy, So what is real here? Look what I'm holding in my hands? (framed reproduction). Children must come to the conclusion for themselves that:
What is real is what I hold in my hands, a canvas, and on it there are paints..., i.e. the picture itself, which can be held, can be felt as a real object. The true reality is not in the depiction of fruit in the picture, but in the picture itself.
What else is real in the picture? Besides the canvas, what else do we see?
Children must come to a conclusion
Paints that currently depict fruits.
A new logic of avant-gardeism is emerging: “If only the colors in a painting are real, then it is necessary to depict the life of these colors on the canvas!”
Therefore, what is the conclusion?
The picture in painting began to be conceptualized as a material thing in a real environment. Only paints are material, therefore, what will be depicted on a material thing (painting) is not so important (only paints are important), so artists refuse to depict anything other than paints on canvas. How can we understand the artist’s idea? After all, the idea always comes first, and then everything else... And again an important understanding is put forward - a dialogue between the viewer and the artist. Let us remember the words: When you climb the stairs, it is not the stairs that lift you up, but the effort that you make.” After all, the ladder is our intellectual level, which cannot be expanded without effort. Think about it. The works of the avant-garde are not easy to understand, but this is what attracts us to them.
The painting ceases to depict any reality; it itself has become this reality. That's why we see the frame, the canvas, the paints. “You see what you see” - The picture is like reality.
Now let's look at the definition of abstractionism on the screen:
Abstractionism (Latin abstractio - removal, distraction) is a direction of non-figurative art that has abandoned the depiction of forms close to reality in painting and sculpture. One of the goals of abstract art is to achieve “harmonization,” creating certain color combinations and geometric shapes to evoke various associations in the viewer, although some paintings look like a simple dot in the middle of the canvas. Founders: Wassily Kandinsky, Kazimir Malevich, Natalya Goncharova, Mikhail Larionov.
On the screen is a painting by V. Kandinsky “Cow”.
Practical work “dialogue between the viewer and the artist.” Table 1 is distributed with a symbolic and psychological dictionary, based on the work “On Spiritual Art” by V. Kandinsky
(The picture causes bewilderment and surprise in its incomprehensibility).
Now we will have to deal with the following questions ourselves: “about what?” and “how?”
But first, a little about the artist’s biography.
Vasily Vasilyevich Kandinsky (December 4 (16), 1866, Moscow - December 13, 1944, France) - an outstanding Russian painter, graphic artist and theorist of fine arts, one of the founders of abstract art. He was one of the founders of the Blue Rider group and a Bauhaus teacher.
Born in Moscow, he received his main musical and artistic education in Odessa, when the family moved there in 1871. Parents intended for their son to become a lawyer; Vasily Vasilyevich brilliantly graduated from the Faculty of Law of Moscow State University. At 30, he decided to become an artist; this happened under the influence of the Impressionist exhibition in Moscow in 1895 and the painting “Haystacks” by Claude Monet. In 1896 he moved to Munich, where he met the German Expressionists. After the outbreak of the First World War, he returned to Moscow, but, disagreeing with the attitude towards art in Soviet Russia, in 1921 he again left for Germany. In recent years he has been living in France, in the suburbs of Paris.
One of the important questions that worried the artist: “What should the object be replaced with?” The objective world in the artist’s works is still, to some extent, preserved. There is also always a certain cross-cutting plot, a small subtext that needs to be found. But the main thing in the artist’s works is its basic elements, which excite, in the artist’s words, “vibrations of the soul.” This is: a synthesis of paint, color, shapes that are built according to the laws of composition, where he called objectivity (a person, a cloud, a tree) the real flavor of the composition.
Let's try to apply our keys - tips, first to the painting, where the visual element “Cow” is still preserved. Practical work “dialogue between the viewer and the artist” “The Cow is considered together.”
The results are at the end.
Conclusion: We need to summarize our work and answer the lesson question: “What creative quests characterize painting at the turn of the 19th – 20th centuries?” Where did these creative quests begin?
The avant-garde movement in art begins with impressionism.
Post-impressionism, symbolism - a movement towards the beginning of artists' comprehension of the invisible world.
Artists begin to become interested in the world of human emotions and fantasies; they create and express on canvas their own worlds of new reality. Abstract paintings appear. A striking example of abstract painting is considered to be the painting of V. Kandinsky.
Practical work with the work “Cow” by V. Kandinsky
At the beginning it was said that all theories of your vision are accepted, do not be shy and afraid to say what is wrong. The paintings of V. Kandinsky have as many interpretations as there are viewers. Therefore, we should definitely try it too.
“Cow".
- - White - Silence, silence, beginning. But here, it’s not pure white, it’s white and pink. Color is characterized as the beginning of a new force, energy (connection with red).
- But there are also red and orange spots, which further emphasizes the first reasoning.
- Yellow - orange color - earthly, humane, active, healthy person (girl).
- Above is dark blue. Causes a lot of controversy in interpretation. They come to the conclusion about human emotions - sadness, (“the girl is sad. The stripe is yellow-orange, which means the sadness will soon pass). There is a lot of sadness and melancholy in life.
- Green - peace, with the addition of yellow - sadness is replaced by the joy of youth, the energy of the future life
- The white color of clothing is a symbol of the beginning, rather of a new life.
- Black color is death, after which life will come (girl in white).
In the distance are white walls of buildings that look like temples (small domes) or monasteries. The combination of black, blue and white is like submission to a single law: dying and rebirth. White color is a symbol of purity and infinity.
These images seem to grow out of the cow. The cow is the source of the law of life and rebirth.
At the end of the work, for comparison, I read out the interpretation of the painting taken in the magazine “Art” No. 1, 2010. The guys were happy with their work.
Music of the picture. White color - there are no sounds yet, but the orchestra is ready... The tuba began to play quietly, with an increasing drum rhythm. Cello and double bass enter. The flute plays slowly and sadly, followed by the violin. A short pause, like a deep breath. The melody is repeated with slight changes, because “you can’t step into the river twice”...
“THE LANGUAGE OF COLOR” V. Kandinsky
The central tenet of Kandinsky’s concept can be considered the statement about two factors that determine the psychological effect of color: “warmth-cold” and “light-dark”. As a result, several possible “sounds” of paints are born.
1. Attitude - yellow - blue. Yellow “moves” towards the viewer, and blue - away from him. Yellow, red orange – ideas of joy, celebration, wealth. If you add blue to yellow (make it cooler, because blue is a cold color), the paint will turn greenish. Is born painful sensation of increased sensitivity(like an irritated person who is being interfered with). Intense yellow paint disturbs a person, stings, and affects the soul. If you cool yellow, it affects you to the point of a fit of bright madness. The artist compares this color with the insane extravagance of colors of the last autumn. Yellow is an earthy color, it has no depth.
2. Blue. “Heavenly paint” - call to the infinite. Movement from person to center. Deep blue - peace, lowered until black - sadness. Light blue – indifference, indifference.
Green – yellow and blue colors are paralyzed in it – peace: neither joy nor sadness, passive. If added to green yellow, green is getting younger , more fun. And, on the contrary, together with blue - seriousness, thoughtfulness. When lightened (adding white) or darkened (black), green “retains its elemental character of indifference and calm” (p. 48). White enhances the aspect of “indifference”, and black - “peace”.
White for Kandinsky it is a symbol of a world where all colors, all material properties and substances have disappeared. This world stands so high above man that not a single sound comes from there. White is a great silence, a cold, endless wall, a musical pause, a temporary but not final completion. This silence is not dead, but is full of possibilities and can be understood as the “nothingness” that precedes the beginning and birth.
Black- “nothing” without possibilities, dead nothing, eternal silence without a future, complete pause and development. This is followed by the birth of a new world. Black is the end, an extinguished fire, something motionless, like a corpse, the silence of the body after death, the most silent paint.
White robes express pure joy and immaculate purity, while black robes express the greatest, deepest sadness and death. White and black find (like yellow and blue) balance with each other in gray. It is also a silent and motionless paint. Kandinsky calls gray “ inconsolable immobility" Especially it concerns dark gray, which acts even more inconsolably and suffocatingly.
Red. Lively, vital, restless color. Expresses masculine maturity, strength, energy, determination, triumph, joy (especially light red)
Cinnabar is a uniformly flaming passion, self-confident strength that “burns” within itself. A color especially loved by people. The deepening of red leads to a decrease in its activity. But there remains an internal glow, a premonition of future activity.
Violet. A painful sound, something extinguished and sad, and is associated with the sound of the bassoon and pipe
Orange - the seriousness of red.
And V. Kandinsky compared color with the sound of musical instruments. Yellow is the sound of a trumpet, light blue is a flute, dark blue is a cello, deep blue is an organ, green is the mid-tones of a violin; red – fanfare; Violet – bassoon and pipe;
The art of the 20th century is multifaceted and ambiguous. It shocked, surprised, captivated. To understand it, you first need to at least understand its main directions.
Constructivism is an avant-garde direction in fine art, photography, and cinema, which appeared in the 20-30s of the last century.
It differs from others in the severity of its lines, laconicism and solidity of the image.
Avant-garde is an experimental movement that emerged at the turn of the 19th and 20th centuries. It goes beyond classical aesthetics and is distinguished by symbolism.
The concept of “avant-garde” is eclectic. This includes a number of schools around the world, which can be very different from each other.
The prerequisites for the emergence of avant-gardeism include the rethinking of the basic life values by the people of Europe, as well as the emergence of new philosophical treatises and the active development of scientific and technological progress.
The music of the 20th century was almost entirely Modernism and Innovation. Modernity, drive, expressionism - this is what drove the creation of new directions.
And if at the beginning of the 20th century the main emphasis was on classical music, then by the end of the 50s people began to lift the heavy curtain and create something that could turn society upside down. Based on the musical revolution, the first subcultures began to emerge.
The theater was also actively developing. Active production of musicals began. Despite modern trends, the audience still did not betray the classics. The revival of the theater began at the end of the 20th century after the end of the protracted Cold War.
Cinema at this time was striking in its syntheticism and generality. Despite the attempt to synthesize photography, theater, music, ethnicity, aesthetics and even the exact sciences, basically only a few films, mostly those shot after the 80s, were worthy of attention.
Perhaps the reason for this was the acute political situation, as well as the economic crisis. It is impossible not to recall such 20th century cinema figures as Marlene Dietrich, Marilyn Monroe, Marlon Brando, Clark Gable, Grace Kelly and Charlie Chaplin.
Photography in the 20th century experienced only ups and downs. Initially, the world was conquered by Polaroid with instant development of photographs. But after Japan took over, by the end of the century people became acquainted with the art of color photography, sepia, and the first electronic programs for processing frames.
As you can see, the art of the 20th century is ambiguous. On the one hand, its development was greatly hampered by the war and the global political situation. On the other hand, it was the end of the last century that can be called the cradle, the starting point of all modern creative abundance.
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Net art (Net Art - from the English net - network, art - art) The newest type of art, modern art practice, developing in computer networks, in particular on the Internet. Its researchers in Russia, who also contribute 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 Internet, providing complete freedom of online existence to everyone. Therefore, the essence of Net art. not representation, but communication, and its unique art unit is an electronic message. Net art (Net Art - from the English net - network, art - art) The newest type of art, modern art practice, developing in computer networks, in particular on the Internet. Its researchers in Russia, who also contribute 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 Internet, providing complete freedom of online existence to everyone. Therefore, the essence of Net art. not representation, but communication, and its unique art unit is an electronic message.
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(English Op-art - shortened version of optical art - optical art) - an artistic movement of the second half of the 20th century, using various visual illusions based on the peculiarities of perception of flat and spatial figures. The movement continues the rationalistic line of technicism (modernism). Goes back to the so-called “geometric” abstractionism, the representative of which 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. (English Op-art - shortened version of optical art - optical art) - an artistic movement of the second half of the 20th century, using various visual illusions based on the peculiarities of perception of flat and spatial figures. The movement continues the rationalistic line of technicism (modernism). Goes back to the so-called “geometric” abstractionism, the representative of which 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.
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(graffiti - in archeology, any drawings or letters scratched on any surface, from Italian graffiare - to scratch) This is how works of the subculture are designated, which are mainly large-format images on the walls of public buildings, structures, vehicles, made using various types of spray guns, aerosol spray paint cans. (graffiti - in archeology, any drawings or letters scratched on any surface, from Italian graffiare - to scratch) This is how works of the subculture are designated, which are mainly large-format images on the walls of public buildings, structures, vehicles, made using various types of spray guns, aerosol spray paint cans.
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(from the English land art - earthen art), a direction in fine art of the last third of the 20th century, based on the use of a real landscape as the main artistic material and object. Artists dig trenches, create bizarre piles of stones, paint rocks, choosing for their works usually deserted places - pristine and wild landscapes, thereby, as if trying to return art to nature. (from the English land art - earthen art), a direction in fine art of the last third of the 20th century, based on the use of a real landscape as the main artistic material and object. Artists dig trenches, create bizarre piles of stones, paint rocks, choosing for their works usually deserted places - pristine and wild landscapes, thereby, as if trying to return art to nature.
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(minimal art - English: minimal art) - artist. a flow that comes from minimal transformation of the materials used in the creative process, simplicity and uniformity of forms, monochrome, creativity. artist's self-restraint. (minimal art - English: minimal art) - artist. a flow that comes from minimal transformation of the materials used in the creative process, simplicity and uniformity of forms, monochrome, creativity. artist's self-restraint. Minimalism is characterized by a rejection of subjectivity, representation, and illusionism. Rejecting the classic techniques of creativity and tradition. artist materials, minimalists use industrial and natural materials of simple geometric shapes. shapes and neutral colors (black, grey), small volumes, serial, conveyor methods of industrial production are used.
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