In the art of the early 20th century. of that time, bold formal experiments coexisted, culminating in the creation of several versions of abstract art, and the use of traditions realistic painting to solve modern visual problems. The founder of the Russian avant-garde is considered to be the “Jack of Diamonds” society, founded by Mikhail Larionov in 1910. The core of the group was Ilya Mashkov, Pyotr Konchalovsky, Aristarkh Lentulov, Robert Falk. The bold name of the group evoked associations not only with a playing card, but also with the patch on the sleeves of convicts. Challenging the traditions of realistic painting, the “Jacks of Diamonds” developed their own painting system, in which the discoveries of Cézanne and the painting techniques of Cubism and Fauvism were combined with oriental ornamentation and motifs of Russian folk art. They were inspired by poetry folk culture, the bright colors of the popular print, the touching naivety of the provincial sign.
The primitivist tendency associated with the discovery of poetry of a deliberately reduced nature has found the most consistent embodiment in creativity Mikhail Larionov(1881 - 1964). The heroes of his works are soldiers, revelers, and hairdressers. Addressing “prosaic, rough, dull” objects, as the artist himself defined them, Larionov used shades of similar tones, the famous “gray manner”. The finest nuances of color, interest in perspective and spatial deformations create in Larionov’s works a feeling of movement, a kind of independent life.
On canvases Ilya Mashkov And Pyotr Konchalovsky the texture of paint thickly applied to the canvas, the expressiveness of color turned into a sovereign, self-sufficient element, and the real motive turned out to be only a pretext for solving purely pictorial problems. The artists of the association rapidly moved towards sonority of color, stability and weight visual image. However, not all artists of that time shared the extremes of formal experiment; many were more impressed by the path of synthesis artistic traditions past and modern pictorial language. One of the striking examples of such a “cultural fusion” can be considered creativity Kuzma Sergeevich Petrov-Vodkin(1878 - 1939). In his works, the weighty materiality of forms is combined with an almost Fauvist brightness of color, and the symbolic significance of the chosen motifs makes us recall Christian subjects and techniques of Russian icon painting. The turning point in creative biography The master became the painting “Bathing of the Red Mine”. Subsequently, the artist decisively abandoned the classical perspective and replaced it with a spherical one, characteristic of icon painting. The master’s painting, built on the harmony of pure colors, acquired a panoramic character and began to resemble ancient Russian frescoes. And the use of Christian iconography for modern subjects only emphasized the eternal nature of human problems.
A different facet of the artistic quest of the Russian avant-garde is represented by creativity Marc Chagall(1887 - 1985). Not being the head or even a participant of any artistic association, Chagall was not an exponent of any movement. The way of life of small Jewish towns, reproduced with striking immediacy, on his canvases is combined with fantastic visions and images European culture, creating a feeling of a fabulous, but surprisingly integral and harmonious world-space. Further fate Russian avant-garde turned out to be associated with the emergence of a new movement called “futurism”. However, with the Italian futurists Russian movement had virtually no common ground. It is no coincidence that the visit of the leader of the Italian futurists, Filippe Tommaso Marinetti, to Moscow went virtually unnoticed in the capital and brought only disappointment to artists and poets of both countries.
Back in 1911, one of the ideologists of the Russian futurists M. Larionov and his constant companion Natalya Goncharova left the “Jack of Diamonds”, declaring their former comrades-in-arms retrogrades, and created a new association “Donkey’s Tail”, which included Kazimir Malevich And Vladimir Tatlin. The name of the group was supposed to recall the scandal at the French Salon of Independents, where a painting was exhibited by a donkey, to whose tail jokers tied a brush. In contrast to “Jack of Diamonds,” with its emphasis on the painting of Cézanne and the Fauves, the masters of “Donkey’s Tail” gave preference to neo-primitivist tendencies. It was thanks to their efforts that the primitives received such high praise in Russia and became one of the directions of the Russian avant-garde with its own history, its own roots. At exhibitions organized by Mikhail Larionov, paintings contemporary artists adjacent to the popular print and folk painting. And at one of the exhibitions, Muscovites saw for the first time paintings by a remarkable Georgian self-taught artist Niko Pirosmani. As befits an artist-provocateur, Larionov never rested on his laurels and in 1912, at the “Target” exhibition, he showed the first “Rayisms,” his own version of abstract art.
However, in general, the language of Russian Cubo-Futurism has not yet undergone a significant update. David Burliuk deliberately freely uses disharmonious colors, challenging artistic culture past. The dynamics of the new technological age are symbolized by the overlapping of lines and shapes in the paintings of Goncharova and Rozanova. The flat, brightly colored, geometrized figures of Malevich’s paintings are similar to rational constructions. Only in 1915, at futurist exhibitions in Moscow and St. Petersburg, works would appear that foreshadowed new stage in the development of the Russian avant-garde. It was then that Larionov included a working fan in one of the painting compositions; Burliuk will attach an old shoe and a bar of soap to the canvas; Tatlin will show the first “picturesque reliefs”, and Mayakovsky will for the first time present to the public an artistic object made from half a top hat and one glove. However, the fate of Russian futurism was short-lived. In 1914, after Pavel Filonov left the association, the Youth Union collapsed. At Diaghilev’s invitation, Larionov and Goncharova went to Paris. In the ranks of Russian avant-garde artists there has been a decisive turn towards non-objective art. At the famous exhibition “0.10”, held in 1915, the main place was no longer occupied by painting, but by abstract collages by O. Rozanova, I. Pugni, I. Klyun and spatial compositions V. Tatlin.
Presentation on the topic: Aesthetics of experiment and the early Russian avant-garde
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Presentation on the topic: Aesthetics of experiment and the early Russian avant-garde
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STATE BUDGETARY EDUCATIONAL INSTITUTION OF THE NOVOSIBIRSK REGION “SECONDARY SCHOOL “REGIONAL CENTER OF EDUCATION”. Subject: MHC. Topic: Aesthetics of experiment and early Russian avant-garde. Completed by: 10th grade students Alena Egoshina. 2010
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Innovation in all areas of art is the main slogan of the avant-garde. Avant-garde is a collective concept of the most “left-wing” experimental creative directions in art " silver age" In avant-garde movements, despite all their diversity, novelty and courage were common, which were considered a measure of creative talent and a standard of modernity. What was common was the artists' naive faith in the advent of a special and unusual historical time - an era of miracle technology capable of changing people's relationships with each other and with environment. The problem of continuity did not seem to exist for supporters of the avant-garde. 19th century realism It seemed to young nihilists a “decrepit standard” that fetters freedom of expression. The main movements and figures of the avant-garde include Fauvism, Cubism, Abstract Art, Suprematism, Futurism, Dadaism, Expressionism, Constructivism, Metaphysical Painting, Surrealism, naive art; dodecaphony and aleatorics in music, concrete poetry, concrete music, kinetic art.
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Fauvism. Fauvism (from the French fauve - wild) - a direction in French painting and music of the late XIX - early XX centuries. At the Paris exhibition of 1905, paintings by artists were shown that left the viewer with a feeling of energy and passion emanating from the paintings; one of the French critics called these painters wild animals. Artistic manner Fauvists were characterized by the spontaneous dynamism of their brushwork and the desire for emotional strength artistic expression, bright color, piercing purity and sharp contrasts of color, intensity of open local color, sharpness of rhythm. The Fauvists were inspired by the post-impressionists Van Gogh and Gauguin, who preferred subjective intense color to the soft and natural color characteristic of the impressionists.
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Albert Matisse. The head of this school is considered to be Matisse, who made a complete break with optical color. In his picture female nose It could well have been green if it gave it expressiveness and composition. Matisse stated: “I do not paint women; I paint pictures."
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K. S. MALEVICH Malevich was a consistent propagandist own theory. Over time, a group of like-minded people UNOVIS (Approvers of New Art) formed around him. The creations of Russian avant-garde artists of the beginning of the century blew up the outdated pro-Western visual consciousness.
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CUBISM Cubism (fr. Cubisme) is an avant-garde movement in the visual arts, primarily in painting, that originated at the beginning of the 20th century and is characterized by the use of emphatically geometrized conventional forms, the desire to “split” real objects into stereometric primitives.
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Aristarkh Vasilievich Lentulov Studied painting in Penza and Kiev art schools, then in the private studio of D. N. Kardovsky in St. Petersburg. In 1910, he became one of the organizers of the artistic association “Jack of Diamonds.” Since pre-revolutionary times, Lentulov has also actively collaborated with the theater, designing performances in Chamber Theater(“The Merry Wives of Windsor” by Shakespeare, 1916), Bolshoi Theater(“Prometheus” by Scriabin, 1919) and others.
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P. P. KONCHALOVSKY In painting he was a Cézanne painter and in general felt a strong attraction to Europe, he spoke excellent French. He was also influenced by his father-in-law, V.I. Surikov, with whom he first went to sketch in Spain; later they worked throughout Europe. IN early period the artist sought to express the festivity of color characteristic of Russian folk art with the help of the constructive color of Paul Cézanne. He became famous for his still lifes, often executed in a style close to analytical cubism.
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FUTURISM In the visual arts, futurism started from Fauvism, borrowing color ideas from it, and from Cubism, from which it adopted art forms, however, he rejected cubic analysis (decomposition) as an expression of the essence of the phenomenon and strived for a direct emotional expression of the dynamics of the modern world. Main artistic principles- speed, movement, energy, which some futurists tried to convey using fairly simple techniques. Their paintings are characterized by energetic compositions, where the figures are fragmented into fragments and intersected by sharp angles, where flashing forms, zigzags, spirals, and beveled cones predominate, where movement is conveyed by superimposing successive phases on one image - the so-called principle of simultaneity.
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VELEMIR KHLEBNIKOV Khlebnikov is one of the recognized leaders of the Russian avant-garde of the early 20th century, as he consciously was engaged in building a new art. Many futurists, including Mayakovsky, called him their teacher; assumptions have been made about the influence of Khlebnikov’s poetic language on the work of Andrei Platonov, Nikolai Aseev, Boris Pasternak. At the same time, Khlebnikov often remained in the shadows, since David Burliuk and Mayakovsky were mainly involved in organizational activities. Khlebnikov had an impact on the Russian and European avant-garde, in including in the field of painting and music. Some researchers generally believe that without it, the perception of the aesthetics and poetics of the avant-garde is inadequate.
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DODECAPHONIA One of the types of compositional techniques of the 20th century. A composition method (theoretically developed by A. Schoenberg), in which the musical fabric of a work is derived from a 12-tone series of a certain structure, and none of the 12 sounds of the chromatic scale is repeated. The series can appear both in a horizontal presentation (in the form of a melody-theme), and in a vertical one (in the form of consonances), or both at the same time. It arose in the process of the development of atonal music. Various types of dodecaphonic technique are known. Of these highest value acquired the methods of Schoenberg and J.M. Hauer. The essence of Schoenberg's dodecaphony method is that the components this work melodic voices and harmonies are produced directly or ultimately from a single primary source - a selected sequence of all 12 sounds of the chromatic scale, treated as a unity. This sequence of sounds is called a series. Representatives of dodecaphony are Arnold Schoenberg, Anton Webern, Alban Berg, J. M. Hauer, Hindemith, Igor Stravinsky, Shostakovich, Pierre Boulez, etc.
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Topic: Aesthetics of experiment and early Russian avant-garde
(MHC, 11th grade)
Goals: development of feelings, emotions, figurative and associative thinking and artistic and creative abilities; education of artistic and aesthetic taste; needs for mastering the values of world culture; mastering knowledge about styles and trends in world artistic culture, their characteristic features; about the peaks artistic creativity in domestic and foreign culture; mastering the ability to analyze works of art and evaluate them artistic features, express your own judgment about them; using acquired knowledge and skills to broaden one’s horizons and consciously shape one’s own cultural environment.
Target. To form an idea of artistic culture Russia XIX- beginning of the 20th century.
Tasks: introduce students to the concept of “avant-garde”, the life and work of avant-garde artists; draw students’ attention to the worldview of avant-garde artists and the features of their painting; help students determine their attitude to avant-garde painting;
cultivate a love for national and world culture.
Lesson progress
I. Organizational moment.
II. Report the topic and objectives of the lesson.
Epigraph of our lesson:
“Unheard of changes, unprecedented revolts...” A. Blok
New form gives birth to new content. Art has always been free from life, and its color has never reflected the color of the flag over the city fortress. V. Shklovsky.
A strange breakdown of picturesque worlds
Was the forerunner of freedom
Freeing from chains
So you walked, art. V. Khlebnikov
3. Learning new material
Comes from the French words “avant”, which translates as “advanced”, and “qarde” - “detachment”. - Conventional designation of European artistic movements of the 20th century, expressed in a radical renewal of all types of art, a modernist initiative in art: cubism, fauvism, futurism, expressionism, abstractionism (beginning of the century), surrealism (twenties-thirties), actionism, pop art ( working with objects), conceptual art, photorealism, kineticism (sixties-seventies), theater of the absurd, electronic music etc..
Avant-garde is a collective concept of experimental creative movements in the art of the “Silver Age”.
The slogan of the avant-garde: "Innovation in all areas of art." The artists' naive faith in the advent of a special and unusual historical time - an era of miracle technology capable of changing people's relationships with each other and with the environment. Avant-garde art is designed for dialogue between artist and viewer.
All avant-garde movements have one thing in common:
Novelty,
Courage,
Belief in the advent of the era of miracle technology
Rejection of the norms of the classical image,
Deformation of forms,
Expression.
- Why do you think avant-gardeism is close in meaning to modernism?
(Avant-gardeism is close in meaning to modernism (a collective designation for all the latest movements) and differs from modernism (the style in art of the late 19th - early 20th centuries)
Innovation in all areas of art is the main slogan of the avant-garde. Avant-garde is a collective concept of the most “left-wing” experimental creative trends in the art of the “Silver Age”. In avant-garde movements, despite all their diversity, novelty and courage were common, which were considered a measure of creative talent and a standard of modernity.
What was also common was the artists’ naive belief in the advent of a special and unusual historical time - an era of miracle technology capable of changing people’s relationships with each other and with the environment). The problem of continuity did not seem to exist for supporters of the avant-garde.
In the 10s. XX century artistic experimentation in different types art reaches its apogee, and surprisingly synchronously.
The main reason for the synchronicity lies in the obvious mutual attraction of artists, poets, performers, musicians, in the commonality of creative, and sometimes vital interests. A generation of innovators looked for like-minded people in each other in the difficult task of overthrowing the foundations.
They deny direct representation to art, they deny cognitive functions art. The denial of pictorial functions inevitably follows the denial of the forms themselves, the replacement of a painting or statue with a real object.
Fauvism
Expressionism
Cubism
Futurism
Abstractionism
Suprematism
Primitivism - in art late XIX- XX centuries following the “primitive”, which meant primitive and folk art, cultural traditions backward peoples.
Splint - folk picture, view fine arts, characterized by the fundamental simplicity of the images.
Artistic associations.
1. Union of Moscow Artists “Jack of Diamonds”.
The basis of their painting was the subject as such, in its pure form. Moreover, the subject is stable, taken point-blank, devoid of any understatement or philosophical ambiguity.
-The main representatives and their works of the Union of Moscow Artists “Jack of Diamonds”.
Ilya Ivanovich Mashkov - The world of his paintings is emphatically simplified, “grounded”, the images are static and decorative. In the master’s manner one can feel the influence of Russian popular print and the attributes of primitivist art. Ilya Ivanovich Mashkov (1881-1944) “Camellia”, “Moscow food: bread”, “Still life with magnolias”
Pyotr Petrovich Konchalovsky (1876-1956) “Return from the fair”, “Lilac”, “Dry paints”
Alexander Kuprin (1880-1960) “Poplars”, “Factory”, still lifes, industrial landscapes.
Robert Rafailovich Falk (1886-1958) “Old Ruza”, “Negro”, “Bay in Balaklava”
Aristarkh Vasilievich Lentulov (1882-1943) “Ringing”, “At Iverskaya”, “Self-portrait”, “Cracking of an oil refinery”, “Vegetables”.
2. Group of painters “Donkey’s Tail”.
They turned to primitivism, to the traditions of Russian icon painting and popular prints; part of the group was close to futurism and cubism.
Main representatives and their works:
Mikhail Fedorovich Larionov (1881-1964) - Organized the group “Donkey’s Tail” (N.S. Goncharova, K.S. Malevich, V.E. Tatlin). Larionov developed a style that absorbed elements of signs, popular prints, children's drawing. His characters are taken from provincial towns, soldiers' barracks, street signs, city hairdressers, etc. "Provincial dandy", "Resting Soldier", "Rooster", "Rayism".
Natalya Sergeevna Goncharova (1881-1962) - Her paintings are characterized by simplicity and childish naivety, elevating everyday images above the everyday. “Peasants Picking Apples”, “Sunflowers”, “Fishing”, “Jews. Sabbat."
Marc Chagall (1887-1985) “Me and the Village”, “Fiddler”, “Walk”, “Above the City”, “Holy Family”.
Vladimir Evgrafovich Tatlin (1885-1953) “Sailor”, “Model”, “Counter-relief”, “Project of a monument to the Third International”, “Letatlin”.
3.Russian avant-garde.
Experiments with form (primitivism, cubism) were combined in the work of representatives of the avant-garde with the search for new “rhythms of time.” The desire to recreate the dynamism of an object, its “life” from different angles.
-Main representatives and their work:
Wassily Vasilievich Kandinsky (1866-1944) - painting theorist, abstractionist “... the play of colors on the canvas is a manifestation of the original given to a person artistic thinking, which exists regardless of the images of reality, of the objects around us...” “On the spiritual in art” “Houses in Murnau on Obermarkt”, “Klamm Improvisation”, “Composition VI”, “Composition VIII”, “Dominant curve".
Pavel Nikolaevich Filonov (1883-1941) - - Painter and graphic artist, passionate about the idea of “analytical art” of compositions based on the endless kaleidoscopic deployment of depicted images “ Peasant family", "Winner of the City", "Illustration for the book by Velimir Khlebnikov", "Formula of Imperialism", "Formula of Spring".
Kazimir Severinovich Malevich (1878-1935) “Flower Girl”, “Lady at the Tram Stop”, “Cow and Violin”, “Aviator”, “Suprematism”, “Mower”, “Peasant Woman”, “Black Suprematist Square”.
4. Consolidation of what has been learned .
What art is usually called avant-garde?
What did the masters of the Russian avant-garde believe in?
Why was the rejection of tradition necessary for the avant-garde masters?
Have their dreams of “the art of the future” come true?
5. Homework.
Introduction …………………………………………………………………………………..3 Chapter 1. Experiments in modernist movements in the art of the early 20th century. ………………………………………………………….................................. ....................4 Chapter 2.Russian early avant-garde. Artistic associations and their representatives………………………………………………………………………………..7 Conclusion……………………………………………………… ………………………………15 References………………………………………………………………17
Introduction
The brightest examples We find elite subcultures that are of a special, esoteric nature within the same or different social strata in artistic culture, which has very specific directions in foreign and domestic art of the late 19th and early 20th centuries. These include: the community of artists “World of Art”, various associations of symbolists, as well as very popular at that historical moment - avant-garde movements who invent their own language, create their own types of cultural texts and very specific means of expression. Experiments with form were combined in the work of avant-garde representatives with the search for new “rhythms of time”, the desire of which was to recreate the dynamism of an object, its “life” from different angles.
Conclusion
The vanguard that created new art worlds, was born thanks to dialogue, interaction of different cultures, and we are invited to join in this dialogue and co-creation to the modern viewer to understand the significance of the discoveries of Russian artists for world art of the twentieth century. The Russian avant-garde was a continuation and the highest stage of Western modernism and avant-garde, which in turn became a logical continuation of the entire previous evolution Western culture and civilization. It was the Russian avant-garde that was destined to bring to its logical conclusion what Western modernism and the avant-garde had begun. It is marked by unprecedented scale, depth and radicality. This was largely facilitated by the prevailing historical conditions revolutionary Russia, as well as some features of Russian culture, for example such phenomena as cosmism. The Russian avant-garde breaks much more radically with traditional aesthetics and art, creating art that approaches pure, absolute creation. In such art, the artist no longer needs any external model, be it a person, nature or any object. He does not imitate anything, does not copy anything, but shows the ability to create based on certain primary elements, principles, or, like God, from nothing. The Russian avant-garde most fully realized the desire of Western modernism and the avant-garde to experiment and search for something new. This was facilitated by the fact that he unconditionally accepted modern science, whose revolutionary achievements became an inspiring example for him in his own creative quests. He went beyond the limits to the greatest extent artistic style and became a real philosophy of the new world, the path to which he saw in a radical break with the past. He is entirely focused on the future, and his futurism rests on the Enlightenment-derived belief in man’s limitless ability to remake not only art and society, but the entire Universe. For this, the Russian avant-garde was ready to sacrifice itself, to dissolve in the future world unity, in which there would be a synthesis of all arts and their merging with life. In the main and most significant - both theoretical and in practical terms- the Russian avant-garde has exhausted the concept of art as an absolute creation. Therefore, post-war neomodernism of the 50-70s. - with all the numerous movements that arose in it - was no longer able to add anything truly new and original.
References
1.A. Nakov "Russian avant-garde" Moscow. "Art" 1991 2. Goryacheva T.V. Utopias in the art of the Russian avant-garde: futurism and suprematism // Avant-garde in the culture of the twentieth century (1900-1930): Theory. Story. Poetics: In 2 books. / Ed. Yu. N. Girina. - M.: IMLI RAS, 2010 3. Teryokhina V.N. Russian futurism: formation and originality // Avant-garde in the culture of the twentieth century (1900-1930): Theory. Story. Poetics: In 2 books. / Ed. Yu. N. Girina. - M.: IMLI RAS, 2010 4. Malevich K.S. From cubism and futurism to suprematism. New pictorial realism. - M., 1916.
