Russian artists of the Silver Age. Russian "Silver Age": fine arts
The play "Uncle Vanya" on the stage of the Moscow Art Theater
Photo from 1899
Chekhov's theatrical debut in 1896 was unsuccessful: the first production of The Seagull was a resounding failure on the stage of the Alexandrinsky Theater in St. Petersburg. For success, he needed him, as well as the new theater needed him. Two years later, Stanislavsky and Nemirovich-Danchenko open the Moscow Public Art Theater, which abandons traditional methods: they are replaced by psychologism, and it also requires new works. In December 1898, The Seagull brought fame to both the theater and Chekhov. Drama-turg becomes a symbol of the Moscow Art Theater: the very next year, Stanislavsky puts on Uncle Vanya, then Three Sisters and The Cherry Orchard. The main female roles are played by Olga Knipper, since 1901 - Chekhov's wife.
Wikimedia Commons
Portrait of V. Y. Bryusov
Drawing by Mikhail Vrubel. 1906
In 1894, the young poet Valery Bryusov published a collection of poems "Russian Symbolists" - a manifesto. In the preface, he writes that the purpose of symbolism is to capture subtle moods, to convey them in vague images, hints. Following the poets, artists also turn to symbolism, primarily Mikhail Vrubel. He will undertake to paint a portrait of Bryusov at the end of his life and will never finish due to illness. Bryusov himself would later say that all his life he strove to be like this portrait.
State Tretyakov Gallery
"Soldiers, brave children, where is your glory?"
Painting by Valentin Serov. 1905
On January 9 (22), 1905, the St. Petersburg workers, who had been on strike for almost a week, went to the Winter Palace with a petition, demanding the convocation of a Constituent Assembly. Unarmed demonstrators were shot, which served as an impetus for the beginning of the first Russian revolution - and this day subsequently went down in history as Bloody Sunday. Valentin Serov watched the dispersal of protesters from the windows of the Academy of Arts in St. Petersburg. After these events, in protest, he resigned from the academy, the president of which was the uncle of the emperor, Grand Duke Vladimir Alexandrovich, who personally suppressed the unrest.
State Russian Museum
"Group portrait of the artists of the society" World of Art ""
Painting by Boris Kustodiev. 1920
Boris Kustodiev decides to paint a portrait of his friends and like-minded people shortly after the founding meeting of the World of Art in 1910. This is already the second composition of the World of Arts: the heyday of the first, “classical”, fell on 1898-1904, when Alexander Benois and Sergei Diaghilev proclaimed the rejection of academicism and the search for inspiration in the subjects of the distant past. Hurrying to capture the "World of Art" for history, Kustodiev first paints individual portraits, and later plans to combine them into a monumental canvas. He manages to create a group portrait after the revolution. In the picture from left to right in the background: Igor Grabar, Nicholas Roerich, Eugene Lansere, Ivan Bilibin, Alexander Benois, Georgy Narbut, Nikolai Milioti, Konstantin Somov, Mstislav Dobuzhinsky; in the foreground: Boris Kustodiev, Anna Ostroumova-Lebedeva, Kuzma Petrov-Vodkin.
State Russian Museum
Costume design for Iskander (Vaclav Nijinsky) for the ballet "Peri"
Drawing by Leon Bakst. 1911
In 1906, the entrepreneur Sergey Diaghilev organized the Russian Seasons for the first time - he brought paintings by Russian artists to Paris. After incredible success, he arranges tours of composers, and in 1909 the turn comes. Costumes and scenery, bright and unusual, are created according to the sketches of the World of Art artists Leon Bakst and Alexandre Benois. Diaghilev addresses young composers and dancers, and the Parisian public enthusiastically receives Mikhail Fokine, Ida Rubinstein and Vaslav Nijinsky. The music for the ballet "Peri" is written by Paul Dukas, the role of Iskander is assigned to Nijinsky, but the production will not take place in this composition due to internal conflicts. Diaghilev's seasons will continue until the entrepreneur's death in 1929, and ballet will become one of the symbols of Russian culture.
Metropolitan Museum of Art
"Self-portrait and portrait of Pyotr Petrovich Konchalovsky"
Painting by Ilya Mashkov. 1910
In 1910, an exhibition called "Jack of Diamonds" opens in Moscow - and instantly. The paintings of Ilya Mashkov, Pyotr Konchalovsky, Aristarkh Lentulov are full of rough, farcical aesthetics, unusual both in form and content. In the center of both the exhibition and the scandal is Mashkov's canvas, where he portrayed himself and Konchalovsky as half-naked wrestlers. On the bookshelf in the upper left corner is a volume with the inscription "Cezanne" - for the "jacks of diamonds" he is the main idol. The following year, an art association of the same name was created, but some of the organizers of the exhibition, including Mikhail Larionov, who came up with the name, are no longer going to join it. Currents during this period replace each other with incredible speed, the artists of the "Donkey's Tail" are at enmity with the "jacks of diamonds", the futurists argue with each other, and opponents are accused of academicism.
State Russian Museum
Costume designs for the opera "Victory over the Sun"
Drawings by Kazimir Malevich. 1913
Since 1910, when Velimir Khlebnikov and David Burliuk published the collection "The Garden of Judges", the Futurists have tirelessly shocked the public, writers and critics. In 1913, they create a work that unites poets, artists, and composers - the opera Victory over the Sun. Aleksey Kruchenykh and Velimir Khlebnikov write the libretto (“the dreamy whistle of the penis will fill the contemplation”), Mikhail Matyushin composes dissonant music, and Kazimir Malevich draws the scenery. The opera declares the main idea of the futurists: the buddlyans (that is, the futurists themselves) defeat the Sun, symbolizing everything familiar, old, all the old aesthetics, which seemed unshakable.
Wikimedia Commons
"The heroic case of Kozma Kryuchkov"
Drawing by Dmitry Moor. Lithograph of the Association of I. D. Sytin. 1914
Cossack Kozma Kryuchkov became the first Russian hero of the World War, after the four of them attacked 27 German cavalrymen on the border and defeated the enemy. All Cossacks were awarded St. George's crosses, and Kryuchkov himself, who killed 11 Germans, remained a symbol of national prowess for a long time: he was constantly written about in the newspapers, his portrait even adorned the wrapper of Heroic sweets. During the World War, he received another St. George Cross and two medals "For Courage", and died in 1919 during the uprising of the Don Cossacks against the Bolsheviks.
Figure caption:
“4 Cossacks - Kozma Kryuchkov, Astakhov, Ivankov, Shchegolkov - drove 27 German cavalrymen ...<…>The picture shows how Kozma the Bogatyr impales the Germans on peaks and seats them like trees. It’s cooler to go home with a wood.”
State Public Historical Library of Russia
Members of the royal family caring for the wounded during the First World War
Photo from the Romanov family album. 1914-1915
From the very beginning of the World War, the royal family has been trying to show that they are experiencing hardships along with their subjects. Emperor Nicholas II appears in public in a modest field uniform, and the Grand Duchesses and Empress Alexandra Feodorovna help the wounded in the hospital as sisters of mercy. State propaganda tirelessly emphasizes the participation of the imperial family in the lives of ordinary soldiers. However, with every year of the war, they talk about the most august persons. The attire of a sister of mercy does not save Alexandra Feodorovna from rumors about her connection with Rasputin and about espionage in favor of Germany.
Beinecke Rare Book & Manuscript Library
Plucked double-headed eagles
Photo from 1917
In March 1917, the Russian monarchy fell - Nicholas II abdicated the throne, power passed to the Provisional Government. The first weeks of life without a tsar passed under the sign of getting rid of the symbols of the regime: portraits of the emperor and his family were burned at the stake, double-headed eagles and crowns were knocked down from fences and buildings.
19.2. Painting and music of the "Silver Age"
19.2.1 Painting: from the "World of Art" to avant-garde. The artists of the "World of Art" were repelled by the academicism and tendentiousness of the Wanderers, and they stood up for innovations in painting. Most of them belonged to hereditary artistic families and saw their mission in spreading high culture in society, preserving artistic traditions and artistic taste. "The World of Art", wrote P.N. Milyukov, "... also repels no less sharply from accusatory tendencies and, in general, from civil ideas in art and from the realistic and positivist worldviews that prevailed in the previous generation." The World of Art group was headed by the artist A.N. Benois, who was its ideologist and theorist. In his “History of Art” in 1902, he wrote: “Frequent exhibitions of foreign artists organized in St. Petersburg and Moscow, the general availability of foreign travel, the prevalence of illustrated publications about art- all this brought us closer to the West. All this contributed to the fact, continues Benois, that the requirements for painting increased immeasurably and revealed lived the low artistic level of our painting. The goal was set– raise the purely picturesque side artistic works over content. At the same time, similar requirements arise in music - to raise the purely sound side above the "program amma" of a piece of music. But criticism of the Wanderers was not limited to criticism of their form, their worldview, their realism, were sharply criticized. The task of the new school was the rejection of realism, the rejection of the topic of the day.
The artists of this group (Benoit, Lansere, Somov) focused on the study of the past of St. Petersburg art and from there they moved on to the study of French art of the 18th century.
Artists of another society turned to the origins of Russian art- "Union of Russian Artists" (1903 - 1923), which included K. F . Yuon (1875 - 1958), F . BUT . Malyavin (1869 - 1940), S. AT . Malyutin (1859 - 1937), A . E . Arkhipov (1862 - 1930) and others. They are characterized by an interest in their native nature and the original features of Russian folk life, decorative picturesqueness, and an appeal to the open air.
N.K. Roerich went his own way (1874– 1947). On his example .N.Milyukov explains the cosmopolitanism of a number of Russian artists of the Silver Age. "Archaeologist by profession,- Milyukov writes about Roerich, - he left the present not in history, but in prehistoric legend. Here, in full open space, he deployed his talent as a colorist. Pre neglect of the line for the sake of paint, paint coating of entire planes without shades- these techniques of impressionism found wide application in Roerich's painting. Milyukov emphasizes that over time Roerich's dominant feature became the element of the mysterious about. Stylization, progressing with some decorators, becomes the basic law for Roerich.
Painting of the Silver Age was multi-style, but impressionism occupied a significant place in it. Under the influence of the Impressionists, K.A. Korovin painted his paintings (1861- 1939) - emotional landscapes ("In Winter"), genre paintings ("At the Balcony") and colorful theatrical scenery. post-impressionists influenced V. E . Borisov - Musatov (1870 - 1905), the original artist ("Pond"), neo-romantic, whose paintings with his favorite elegiac landscape- a park, quiet, mysterious women, as if shadows of the past - are easily recognizable.
Refinement and ambiguity of a man of the turn of the century found their embodiment in the portraits of his contemporaries painted by K.A. Somov, V.A. Serov, K.A. Korovin. The leading artist of the World of Arts, Somov, was the son of the curator of the Hermitage, received an excellent education, having graduated from the Academy of Arts, and visited Europe a lot. He created a series of graphic portraits of his contemporaries– intellectual elites: a. Blok, F. Sologub, M. Kuzmina, V. Ivanova, E. Lansere, M. Dobuzhinsky and others. AT . BUT . Serov - the author of portraits of the actress M. N . Ermolov oh, the writer M. Gorky, K. A. Korovin- portraits of F. AND . Chaliapin, I. AND . Levitan. Portraits created by artists of the Silver Age are not just portraits of real people, they are a gallery of creative people of the era who embodied the ideals of artists in their lives.
M.A. Vrubel (1856 - 1910) began his activity in the 80s of the XI X century. He gravitated toward the symbolic and philosophical generalization of images, often taking on a tragic coloring. Vrubel's contemporaries seemed like a stranger from some other time. His painting was called "magic", and the origins of her magic was that the sophisticated look of the artist "penetrated" to the very depths.
Classic example- late work "Pearl Shell". Forget about the mermaids, which the artist settled in it, - the magic is not so much in them how much is in the way the texture of the shell is conveyed, the wonders of its overflows ... Vrubel argued that the point here is not in colors, but in the complexity of the mother-of-pearl structure- “in the accuracy of the transfer of the drawing of those smallest plans, from which the form is created in our imagination, oh object size and color. Numerous Lilacs were written using the same method of “smallest plans”.- similarities of some kind of amethyst architecture; swan wings with jagged feathers - such a swan is ready to turn into a princess; thorny thickets of burdock - such burdocks are alive, they seem to be talking to each other (picture "Towards the night"). The artist delved into the weaving of stems, spruce branches, the structure of ice crystals that form patterns on glass in winter, similar to ferns, the ornamentation of rocks, the flickering of smoldering lights. And all these phenomena of nature, encountered at every step and, however, so poorly noticed by automated vision, grew under the artist's gaze into an extraordinary fantasy world.
The representatives of the avant-garde were V.V. Kandinsky (1886- 1944), whose abstract compositions are characterized by a combination of colorful spots and broken lines ("Smutn oe"), K.S. Malevich (1878- 1935), the founder of one of the types of abstract art - Suprematism, the author of "Black Square", P. N . Filonov (1883 - 1941), who sought to symbolically express the laws of the processes of world history ("The Feast of Kings"), M. Shag al (1887 - 1985), who created works on folklore and biblical themes, colorful and joyful. ("Me and the Village", "Over Vitebsk", "Wedding"). Despite the pronounced individuality creative manner of each of these artists, characteristic of the all were asociality, a self-sufficient form, the absolutization of the creative "I". Their goal was to penetrate the subconscious- an area that is not yet accessible to knowledge.
M.F. Larionov painted his canvases in a primitivist manner (1881- 1964) and N . WITH . Goncharov (1881 - 1962). They created genre paintings: for Larionov, this is the life of a provincial street and soldier barracks, and for Goncharova, it is a peasant life. The forms of their works are flat and grotesque, stylized as a child's drawing. Larionov is considered founder os both directions in abstractionism- rayonism. In 1913 he published a book called Luchism. Milyukov called these artists "Russian innovators", who not only caught up with the West in their work, but also tried to overtake it.
The processes that unfolded at the turn of the century in painting were equally intense in music and literature.
19.2.2 Music. During this period, such outstanding composers as S.V. Rachmaninov, A.N. Scriabin, I.F. Stravinsky. After leaving Russia in 1917, S.V. Rachmaninov (1873-1943) spent the rest of his life in exile and was very homesick, the theme of which became the main theme in his work. He is the author of remarkable works: four concertos for piano and orchestra, preludes, sketches-pictures, three symphonies, Symphonic Dances for orchestra, operas Aleko, The Miserly Knight, Francesca da Rimini, Liturgies of John Chrysostom, "All-Night Vigil" and romances. His musical works combine melody and sublime emotionality. Rachmaninov one of the greatest pianists in the world.
In the music of another outstanding composer of the Silver Age- BUT . N . Scriabin (1871-1915) there is a transition from realism to impressionism and from impressionism to expressionism. In the work of Scriabin, aspiration to unknown cosmic spheres was manifested. An innovator of musical expressive means, Scriabin developed the idea of light music and for the first time in musical practice introduced the party of light into the symphonic poem Prometheus.
I.F. Stravinsky (1882-1971)– authorballets"Parsley", "Springsacred", "Heat- bird", relatedwithpaganarchaic, Russianfolkloreandritualism. ATRussiaStravinskylivedbefore 1914 G., athen– behindborder. Compositionsis helearnedN.A. Rimsky-Korsakov, until 1911 his musical models were N.A. Rimsky-Korsakov and A.K. Glazunov (1865-1937), author of the ballet Raymonda. At different periods of his life, Stravinsky turned to various musical trends: neo-folklorism, ancient polyphony and dodecaphony. The Italian writer A. Moravia wrote that Stravinsky, Picasso and Joyce "opened the door to the culture of the twentieth century."
In the first decades of the XX century. in Russia they created their own works and classics of the older generation. ON THE. Rimsky-Korsakov during this period wrote three wonderful fairy-tale operas: Koschey the Immortal, The Tale of the Invisible City of Kitezh..., The Golden Cockerel. The philosophical orientation was distinguished by the work of S.I. Taneyev (1856-1915) (cantata "John of Damascus" and "After reading the psalm").
Contents 1 Literature 1.1 Poets 1.1.1 A 1.1.2 B 1.1.3 ... Wikipedia
The chronological framework of the Silver Age of Russian culture cannot be established with an accuracy of up to a year. The beginning of this period is usually attributed to the first half of the 1890s, between the manifestos of Nikolai Minsky “In the Light of Conscience” (1890) and Dmitry ... ... Wikipedia
Includes painters of the Russian Empire, the Soviet Union and the Russian Federation who actively worked abroad. Contents 1 XVIII century 2 XIX century 3 XX century 3.1 ... Wikipedia
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Contents 1 Decembrists 2 Revolutionaries 3 Military and Heroes of the Soviet Union ... Wikipedia
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This article is proposed for deletion. An explanation of the reasons and the corresponding discussion can be found on the Wikipedia page: To be deleted / October 19, 2012. Until the discussion process is completed, the article can be ... Wikipedia
Exhibition of works by Leningrad artists dedicated to the 60th anniversary of the Great October Revolution Exhibition catalog Venue ... Wikipedia
Exhibition catalog Venue: L ... Wikipedia
Exhibition catalog Location: Leningrad State Russian Museum Time: 1960 Exhibition of works by Leningrad artists of 1960 ... Wikipedia
Books
- City of the Silver Age, Volodina T.I. The space of the city in Russian fine arts and literature of the Silver Age. The book is the first interdisciplinary study of the topic in modern domestic science…
- City of the Silver Age. City Space in Russian Art and Literature of the Silver Age, Volodina T. I. City Space in Russian Art and Literature of the Silver Age. The book is the first interdisciplinary study of the topic of space in modern domestic science ...
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The "Silver Age" is the junction of two centuries in the history of Russia: XIX and XX. At this time, the following artistic trends appeared: Realism; Modernism
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Realism. V.M. Vasnetsov
Viktor Mikhailovich Vasnetsov 1848-1926 - Russian painter and architect, master of historical and folklore painting. Gamayoun 1897
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Bogatyrs 1898
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Modernism
The main principle of modernism: the idea of the inability of the art of previous eras to fight lack of freedom and inhumanity, the inability to capture all this. The main feature of modernism: the artist directs his will and creativity to fight against cruel reality, erases the boundaries of former ideals.
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Modernism in the visual arts is a cultural layer that encompasses many concepts: impressionism, expressionism, cubism, symbolism, futurism.
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Impressionism
Impressionism (from impression - impression) - a trend in art of the late XIX - early XX centuries. Appeared in France. Representatives sought to capture the real world in its mobility and variability in the most natural and unbiased way, to convey their fleeting impressions.
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V.A. Serov
Valentin Alexandrovich Serov (1865-1911) - Russian painter and graphic artist, portrait master.
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The artist's cousins
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Expressionism
Expressionism (from expressio, “expression”) is a trend in modernism that was most developed in the first decades of the 20th century, mainly in Germany and Austria. Expressionism seeks not so much to reproduce reality as to express the emotional state of the author.
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"Scream" by the Norwegian artist Edvard Munch (1893) - a kind of showcase of expressionist art
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Marc Chagall graphic artist, theater artist, illustrator
Bride with a fan 1911 Me and the village 1911
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Cubism
Cubism (fr. Cubisme) is a modernist trend in the visual arts, primarily in painting, which originated at the beginning of the 20th century and is characterized by the use of emphatically geometrized conditional forms, the desire to “split” real objects into stereometric primitives. Lentulov. Basil the Blessed. ringing
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Lyubov Sergeevna Popova
Portrait of a Philosopher, 1915
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Symbolism
Symbolism (fr. Symbolisme) is one of the largest trends in art that arose in France and reached its greatest development at the turn of the 19th and 20th centuries, first in France, Belgium and Russia. The Symbolists radically changed not only various types of art, but also the very attitude towards it. Symbolists used symbolism, understatement, hints, mystery, mystery.
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M.I. Vrubel
Mikhail Alexandrovich Vrubel (March 5, 1856 - April 1, 1910) - Russian artist of the turn of the XIX-XX centuries, who glorified his name in almost all types and genres of fine art.
In painting, the "Silver Age" continued until the emigration from Russia of a galaxy of outstanding representatives of abstract art (Larionov, Goncharova, Kandinsky, Malevich, Tatlin, etc.).
In this difficult period for the country, for the painters of the turn of the century, other ways of expression, other forms of artistic creativity became characteristic - in contradictory, complicated images and reflecting modernity without illustrativeness and narrative. Artists painfully seek harmony and beauty in a world that is fundamentally alien to both harmony and beauty. That is why many saw their mission in cultivating a sense of beauty. This time of "eves", the expectation of changes in public life, gave rise to many trends, associations, groupings, a clash of different worldviews and tastes. But it also gave rise to the universalism of a whole generation of artists who came forward after the "classical" Wanderers. It is enough to name only the names of V.A. Serov and M.A. Vrubel.
After 1915 Moscow became the capital of innovative art. From 1916 to 1921, it was in Moscow that avant-garde tendencies in painting were formed. The Jack of Diamonds association (Konchalovsky, Kuprin, Falk, Udaltsova, Lentulov, Larionov, Mashkov, etc.), which denied academic and realistic art, and the Supremus circle (Malevich, Rozanova, Klyuv, Popova) are gaining strength. In Moscow and St. Petersburg every now and then new directions, circles and societies appear, new names, concepts and approaches appear:
Departure from realism towards "poetic realism" in the work of V. A. Serov. One of the largest artists, an innovator of Russian painting at the turn of the century, according to G.Yu. Sternin, Valentin Aleksandrovich Serov (1865-1911) appeared. His "Girl with peaches" (portrait of Vera Mamontova) and "Girl illuminated by the sun" (portrait of Masha Simanovich) are a whole stage in Russian painting. Serov was brought up among prominent figures of Russian musical culture (his father is a famous composer, his mother is a pianist), studied with Repin and Chistyakov, studied the best museum collections in Europe and, upon returning from abroad, entered the Abramtsevo circle.
The images of Vera Mamontova and Masha Simanovich are imbued with a sense of the joy of life, a bright feeling of being, a bright victorious youth. This was achieved by “light” impressionistic painting, for which the “principle of chance” is so characteristic, a sculpted form with a dynamic, free brushstroke that creates the impression of a complex light-air environment. But unlike the Impressionists, Serov never dissolves the object in this environment so that it dematerializes, his composition never loses stability, the masses are always in balance. And most importantly, it does not lose the integral generalized characteristics of the model.
Serov quickly moved into the ranks of the best portrait painters in Russia, shrewdly sharpening the most characteristic features of the model and achieving the utmost liveliness of the light-air and color environment.
In the direction of impressionism, K.A. Korovin. Korovin, under the influence of impressionism, developed a free decorative style. Colorful spectacular theatrical scenery. Already in the early landscapes of Konstantin Alekseevich Korovin (1861-1939) purely pictorial problems are solved - to write gray on white, black on white, gray on gray. A “conceptual” landscape (M.M. Allenov’s term), such as Savrasovsky or Levitanovsky, does not interest him.
For the brilliant colorist Korovin, the world appears as a "riot of colors." Generously gifted by nature, Korovin was engaged in both portraiture and still life, but it would not be a mistake to say that landscape remained his favorite genre. He brought into art the strong realistic traditions of his teachers from the Moscow School of Painting, Sculpture and Architecture - Savrasov and Polenov, but he has a different view of the world, he sets other tasks. Korovin's generous gift for painting brilliantly manifested itself in theatrical and decorative painting. As a theater painter, he worked for the Abramtsevo Theater (and Mamontov was perhaps the first to appreciate him as a theater artist), for the Moscow Art Theater, for the Moscow Private Russian Opera, where his lifelong friendship with Chaliapin began, for the Diaghilev entreprise.
Korovin raised the theatrical scenery and the significance of the artist in the theater to a new level, he made a whole revolution in understanding the role of the artist in the theater and had a great influence on his contemporaries with his colorful, "spectacular" scenery, revealing the very essence of the musical performance.
In the direction of post-impressionism, V.E. Borisov-Musatov. Already in Borisov-Musatov's early plein-air sketches-paintings, there is a feeling of an exciting, inexplicable mystery ("Window"). The main motive through which the “other world” hidden under the haze of colors opens up for the artist is the “noble nests”, decaying old estates (usually he worked in the estates of Sleptsovka and Zubrilovka in the Saratov province). The smooth, “musical” rhythms of the paintings again and again reproduce the favorite themes of Borisov-Musatov: these are the corners of the park and female figures (the artist’s sister and wife), which seem to be images of human souls wandering in the otherworldly realm of sleep. In most of his works, the master preferred watercolor, tempera or pastel to oil, achieving a special, “melting” lightness of the brushstroke.
From picture to picture (“Tapestry”, “Pond”, “Ghosts”) the feeling of the “other world” is growing; in the "Requiem", written in memory of the deceased sister, we already see a whole multi-figured sacrament, where the deceased is accompanied by her "astral twins". At the same time, the master also creates pure, deserted landscapes, full of the finest lyricism (“Halnut Bush”, “Autumn Song”). He gravitates towards the large, monumental style of wall painting, but all ideas of this kind (for example, a cycle of sketches on the theme of the seasons, 1904-1905) fail to be realized in architecture.
The dreamy temperament of the artist (“I live in a world of dreams and fantasies among birch groves dozing off in the deep sleep of autumn fogs,” he writes to A.N. Benois in 1905 from Tarusa) does not deprive his work of a sense of historicity. The poetics of estate life is filled with him (just as in the literature of that time - in the works of A.P. Chekhov, I.A. Bunin, A. Bely, etc.) with a premonition of approaching fatal, catastrophic milestones. The early death of the master strengthened the perception of his images as a lyrical requiem dedicated to old Russia. Borisov-Musatov was the direct predecessor of the Blue Rose artists, who were united, in particular, by a deep respect for his heritage.
In the direction of "picturesque symbolism" M.A. Vrubel. The artist's craving for monumental art, which went beyond the easel painting, intensified over the years; a powerful outburst of this thrust were the giant panels "Mikula Selyaninovich" and "Princess of Dreams". However, it was easel painting, albeit acquiring the character of a panel, that remained the main channel of his search. The coloristic luxury of such canvases as "Girl against the backdrop of a Persian carpet", "Venice", "Spain" does not obscure the anxiety lurking behind the external magnificence. Sometimes the gaping of dark chaos is moderated by folklore elements: in the paintings "Pan", "The Swan Princess", "Toward the Night" mythological themes are inseparable from the poetry of native nature. The lyrical revelation of the landscape, as if enveloping the viewer with its colorful haze, is especially impressive in Lilac. More analytical and nervously tense are Vrubel's portraits of K.D. and M.I. Artsybushevs, as well as S.I. Mamontov.
Vrubel created his most mature paintings and graphic works at the turn of the century - in the genre of landscape, portrait, book illustration. In the organization and decorative-planar interpretation of the canvas or sheet, in the combination of the real and the fantastic, in the commitment to ornamental, rhythmically complex solutions in his works of this period, the features of modernity are increasingly asserting themselves.
Vrubel brighter than others reflected the contradictions and painful throwing of the turn of the era. On the day of Vrubel's funeral, Benois said: “Vrubel's life, as it will now go down in history, is a wondrous pathetic symphony, that is, the fullest form of artistic existence. Future generations... will look back at the last decades of the 19th century as at the “Vrubel era”... It was in it that our time was expressed in the most beautiful and saddest thing it was capable of.”
Art historians note that genre painting developed in the 90s, but it developed somewhat differently. Thus, the peasant theme is revealed in a new way. The split in the rural community is emphatically and incriminatingly depicted by Sergey Alekseevich Korovin (1858-1908) in the painting “On the World”. Abram Efimovich Arkhipov (1862-1930) was able to show the hopelessness of existence in hard exhausting work in the film "Washerwomen". He achieved this to a large extent thanks to new pictorial discoveries, to a new understanding of the possibilities of color and light. Lack of understanding, a well-found expressive detail make even more tragic the picture of Sergei Vasilyevich Ivanov (1864-1910) “On the Road. Death of a migrant. Shafts sticking out, as if raised in a cry, dramatize the action much more than the dead man depicted in the foreground or the woman howling over him. Ivanov owns one of the works dedicated to the revolution of 1905 - "Execution". The impressionistic technique of “partial composition”, as if by chance snatched a frame, is preserved here: only a line of houses, a line of soldiers, a group of demonstrators are outlined, and in the foreground, in a square illuminated by the sun, the figure of a dog killed and running from shots. Ivanov is characterized by sharp light and shade contrasts, an expressive contour of objects, and a well-known flatness of the image. His tongue is lapidary.
In the 90s of the XIX century. an artist enters art, who makes the worker the protagonist of his works. In 1894, a painting by N.A. Kasatkina (1859-1930) "Miner", in 1895 - "Coal miners. Change".
At the turn of the century, a slightly different path of development than that of Surikov is outlined in the historical theme. So, for example, Andrey Petrovich Ryabushkin works more in the historical genre than in the purely historical genre. “Russian women of the 17th century in the church”, “Wedding train in Moscow. XVII century”, “They are coming. (The people of Moscow during the entry of a foreign embassy into Moscow at the end of the 17th century)”, “Moskovskaya street of the 17th century on a holiday” and so on are everyday scenes from the life of Moscow in the 17th century. Ryabushkin was especially attracted to this century, with its gingerbread elegance, polychrome, patterned. The artist aesthetically admires the bygone world of the 17th century.
Apollinary Mikhailovich Vasnetsov (1856-1933) pays even more attention to the landscape in his historical compositions. His favorite subject is also the 17th century, but not everyday scenes, but the architecture of Moscow. A street in Kitay-Gorod. Beginning of the 17th century. Painting “Moscow at the end of the 17th century. At Dawn at the Resurrection Gates” may have been inspired by the introduction to Mussorgsky’s opera “Khovanshchina”, scenery sketches for which Vasnetsov performed shortly before.
A new type of painting, in which folklore artistic traditions were mastered in a completely special way and translated into the language of modern art, was created by Philip Andreevich Malyavin (1869-1940), who in his youth was engaged in icon painting in the Athos Monastery, and then studied at the Academy of Arts under Repin. His images of "women" and "girls" have a certain symbolic meaning - healthy soil Russia. His paintings are always expressive, and although these are, as a rule, easel works, they receive a monumental and decorative interpretation under the artist's brush. “Laughter”, “Whirlwind” is a realistic depiction of peasant girls, laughing contagiously loudly or rushing uncontrollably in a round dance. Malyavin combined in his painting expressive decorativeism with realistic fidelity to nature.
Mikhail Vasilyevich Nesterov (1862-1942) addressed the theme of Ancient Russia, like a number of masters before him, but the image of Russia appears in the artist’s paintings as a kind of ideal, almost enchanted world, in harmony with nature, but disappeared forever like the legendary city of Kitezh . This keen sense of nature, delight in the world, in front of every tree and blade of grass is especially pronounced in one of Nesterov's most famous works of the pre-revolutionary period - "The Vision of the Youth Bartholomew." Before turning to the image of Sergius of Radonezh, Nesterov had already expressed interest in the theme of Ancient Russia with such works as "Christ's Bride", "The Hermit", creating images of high spirituality and quiet contemplation. He dedicated several more works to Sergius of Radonezh himself, "The Youth of St. Sergius", the triptych "Works of St. Sergius", "Sergius of Radonezh".
In the artist's desire for a flat interpretation of the composition, elegance, ornamentality, refined sophistication of plastic rhythms, the undoubted influence of Art Nouveau manifested itself.
An exceptionally important place in the development of abstract painting belongs to the brilliant Russian artist, poet and art theorist V.V. Kandinsky (1866-1944). In 1910 he created the first abstract work and wrote a treatise entitled "On the Spiritual in Art" (published in 1912 in German, fragments of the Russian version were read by N.I. Kulbin in December 1911 at the All-Russian Congress of Artists in St. Petersburg). Having put forward its spiritual content as the fundamental foundation of art, Kandinsky believed that the innermost meaning can be most fully expressed in compositions organized on the basis of rhythm, the psychophysical effect of color, contrasts of dynamics and statics.
Abstract canvases were grouped by the artist into three cycles: "Impressions", "Improvisations" and "Compositions". The rhythm, the emotional sound of color, the vigor of the lines and spots of his pictorial compositions were called upon to express powerful lyrical sensations, similar to the feelings awakened by music, poetry, and views of beautiful landscapes. The carrier of inner experiences in Kandinsky's non-objective compositions was the coloristic and compositional orchestration, carried out by pictorial means - color, dot, line, spot, plane, contrasting collision of colorful spots. Another creator of contemporary art was K.S. Malevich (1878-1935). With him begins the era of Suprematism (from Latin supremus - the highest, last), or the art of geometric abstraction. Coming from a large Polish family, he came to Moscow in 1905 to study painting and sculpture. After the outbreak of World War I, he performed a number of propaganda patriotic popular prints with texts by V. V. Mayakovsky for the Sovremenny Lubok publishing house. In the spring of 1915, the first canvases of an abstract geometric style appeared, which soon received the name "Suprematism". Malevich gave the name "Suprematism" to the invented direction - regular geometric figures painted in pure local colors and immersed in a kind of "white abyss", where the laws of dynamics and statics dominated. The term he composed went back to the Latin root “suprem”, which formed the word “suprematia” in the native language of the artist, Polish, which in translation meant “superiority”, “dominance”, “dominance”. At the first stage of the existence of a new artistic system, Malevich sought to fix the primacy, the dominance of color over all other components of painting with this word. In 1915, Malevich exhibited 39 "non-objective" works in Petrograd, among them "Black Square". In 1931 he created sketches for the murals of the Red Theater in Leningrad, the interior of which was designed according to his design. In 1932-33. headed the experimental laboratory at the Russian Museum. The work of Malevich in the last period of his life gravitated towards the realistic school of Russian painting.
The revolution of 1917 forced painters to transfer their innovative experiments from the closed space of workshops to the open areas of city streets. Freed from the enslavement of the plot and objects, the painters rushed to the discovery of the inner laws of art. The new style was characterized by geometric abstractions from the simplest figures (square, rectangle, circle, triangle).
Abstractionism (from lat - separation) - direction, which first declared itself in the visual arts. Later it spread to almost all kinds of art. The Russian artist Wassily Kandinsky (1866-1944) is considered to be the founder of abstractionism. In 1913, an independent trend arose within abstract art - Suprematism (from Latin disdainful), associated with the name of K. Malevich.
Most representatives of abstractionism gravitated towards extreme subjectivism, even religious mysticism. The separation of abstract art from the national tradition led to the denial of the cognitive and educational function of art, its social orientation. In December 1911, in a report at the All-Russian Congress of Artists, V. Kandinsky not only denied the connection between art and life, but also called the social content in art "poisoned bread." Instead of "sociality", he called for "mental reality" to be made the subject of art. This trend was embodied in its activities by the group "Abstraction - Creativity", which arose in 1929 - 1930. in Paris under the direction of M. Saifor. On the page of the magazine "Circle and Square" - the theoretical organ of the French abstractionists - the abstractness, the non-objectivity of art was absolutized. Moreover, M. Saifor insisted on the creation of a new art - without function, without borders, without homeland. The works of abstractionists had no connection with reality, they were a heap of colored spots, a geometric figure. K. Malevich, for example, generally tried to raise painting to two colors - black and white, drawing black squares on a white background; later he experimented with white alone - by painting white on white, the artist defended the idea of \u200b\u200b"pure feeling". The founders and adherents of non-realistic art left a lot of theorizing, and they never managed to explain why the viewer should see “his dream”, “metamorphosis of himself”, “free himself from the form of nature”, etc. in a heap of non-objective images.
Abstractionism is based on the separation of art from objective reality. The concept of "abstraction" was used by representatives of this trend not in the understanding of an in-depth comprehensive knowledge of objective reality through generalization, but in terms of a complete separation from the object. Instead of objective reality, abstractionists introduced the subjective world of one person - the artist. They absolutized the world of their own experiences and emotions - their "I".
Cubism - avant-garde trend in the visual arts, primarily in painting, which originated at the beginning of the 20th century and is characterized by the use of emphatically geometrized conditional forms, the desire to “split” real objects into stereometric primitives.
Cubofuturism - local trend in the Russian avant-garde (in painting and poetry) of the early 20th century. In the visual arts, cubo-futurism arose on the basis of a rethinking of the pictorial findings of cubism, futurism, and Russian neo-primitivism. The main works were created in the period 1911 - 1915. The most characteristic paintings of cubo-futurism came out from under the brush of K. Malevich, and were also written by Burliuk, Puni, Goncharova, Rozanova, Popova, Udaltsova, Exter. The first cubo-futuristic works by Malevich were exhibited at the famous exhibition of 1913 "Target", at which Larionov's Rayonism also debuted. In appearance, the cubo-futuristic works have something in common with the compositions created at the same time by F. Leger and are semi-objective compositions composed of cylinder-, cone-, flask-, shell-shaped hollow three-dimensional colored forms, often with a metallic sheen. Already in the first such works by Malevich, there is a noticeable tendency to move from natural rhythm to purely mechanical rhythms of the machine world (Plotnik, 1912, Grinder, 1912, Portrait of Klyun, 1913). The Cubo-Futurists were most fully represented at the First Futuristic Exhibition "Tram B" (February 1915, Petrograd) and partly at the "Last Futuristic Exhibition of Paintings" 0.10 "" (December 1915 - January 1916, Petrograd), where Malevich first struck the public with his new invention - Suprematism. Cubo-futurists-artists actively collaborated with futurist poets from the group "Gilea" A. Kruchenykh, V. Khlebnikov, E. Guro. It is no coincidence that their work was also called "abstruse realism", emphasizing the illogicality and absurdity of their later compositions. Malevich, meanwhile, considered the alogism of Cubo-Futurist works to be a specifically Russian characteristic feature that distinguished them from Western Cubists and Futurists. Explaining the meaning of his experimental extremely illogical painting “The Cow and the Violin” (1913), Malevich wrote: “Logic has always put up a barrier to new subconscious movements, and in order to get rid of prejudices, a trend of alogism was put forward.” The illogical works of the Cubo-Futurists actually developed the aesthetics of the absurd, which later formed the basis of such trends as Dadaism and Surrealism in Western Europe. In collaboration with the famous director Tairov, the Cubo-Futurists actively tried to implement the concept of "synthetic theater". In Russia itself, k. became a transitional stage from the artistic searches of the first decade of the 20th century. to such major areas of the Russian avant-garde as Suprematism and Constructivism.
Expressionism (from French expression - expression) - direction in art. The first manifestation of expressionism can be found in the artistic experiments of the artists of Russia and Western Europe at the beginning of the 20th century. Future expressionists united around influential art magazines in a kind of society. This is how the first associations of "Cities" (E. Heckel, E. Kirchner, M. Pechstein), "The Blue Rider" (V. Kandinsky, F. Mark, A. Macke), "Sturm" (O. Kokoschka) appeared. Expressionists make an attempt to solve the problem of the meaning of being, the search for human unity, the causes of loneliness, and the like. And any appeal to complex philosophical questions ends with bringing the impossibility for a modern person to free himself from internal disharmony, his own imperfection, and the like. Expressionists are convinced that the world no longer exists outside of one's own "I". Spiritual, moral loneliness is the fate of a person who is allegedly fatally doomed to internal crises from which there is no way out.
Avant-gardism - ( French avantgardisme from avant - advanced and garde - detachment) is a generalized name for experimental movements, schools, concepts, ideas, and creativity of individual artists of the 20th century, pursuing the goal of creating a completely new art that has no connection with the old. Common to the Russian avant-garde was a radical rejection of cultural heritage, a complete denial of continuity in artistic creativity and a combination of destructive and creative principles: the spirit of nihilism and revolutionary aggression with creative energy aimed at creating a fundamentally new thing in art and in other spheres of life. At different stages, these innovative phenomena in Russian art were designated by the terms "modernism", "new art", "futurism", "cubo-futurism", "leftist art", etc.
The cultural and historical framework of the Russian avant-garde is marked by the completion of the previous one and the emergence of a new direction: its formation coincides with the end of the era of the “last Grand Style” - Art Nouveau (in France - Art Nouveau, in Germany - Jugendstil, in Austria - Secession, etc. ), completion - with the approval in our country of "the only correct concept of art" - socialist realism.
Rayism -(rayonismus, from French rayon - ray) - an art school in Russian art of the 1910s, associated with the names of Mikhail Larionov and Natalia Goncharova. In 1913, at the Target exhibition, Rayonism was presented to the general public as a new trend in modern painting. In the same year, a manifesto was published, revealing the principles of Rayonism: the goal of painting is to convey the fourth dimension, where other pictorial laws and techniques rule. The artist must depict not the objects themselves (visible forms), but the color rays reflected from them (the inner essence); convey on the canvas the impressions arising from the meeting in space of intersecting light and energy rays of various objects. According to Larionov, "the perception of not the object itself, but the sum of the rays from it is much closer in nature to the symbolic plane of the picture than the object itself ...". In addition, such an image is as close as possible to how objects “see the eye”. However, the artist must not simply reproduce the rays in the picture in a chaotic manner, but use them to create a form in accordance with his own aesthetic views. Therefore, the paintings of the ray artists were either images with sharp contours, refracted in bundles of oblique lines, or abstract combinations of bundles of multi-colored rays and radiant forms.
Fauvism (from French les fauves - wild (animals))- local direction in painting early. 20th century Appeared after the exhibition "Autumn Salon", held in 1905. The authors of the paintings presented at this exhibition were Henri Matisse, Maurice de Vlaminck, Andre Derain, Albert Marquet, Kees van Dongen, Georges Rouault and some other painters. Critics noted that the classical Renaissance statue, which ended up in the same room as the paintings of all these artists, looked extremely naive, like “Donatello surrounded by wild animals.” The name "wild" was picked up by Matisse, it took root, and soon Russian and German painters who adhered to the new style began to call themselves "Fauves".
Fauvist artists did not recognize any laws previously established by European painting: the imposition of chiaroscuro, perspective, softening or thickening of color, as well as drawing as the fundamental basis for the entire structure of the picture. Henri Matisse, describing the basic principles of the new direction, emphasized the return of Fauvism to beautiful, pure colors: yellow, red, blue, such that excite human feelings down to the very depths. First of all, the Fauve style is characterized by a dynamic, spontaneous brushstroke, emotional strength in artistic expression, the reduction of the most complex forms to rather simple outlines, and the piercing purity of bright color.
One of the most prominent representatives of Fauvism in Russia was Marc Chagall, he brought a special flavor and temperament to this style. Even the work of the Impressionists, around which there was so much controversy quite recently, seemed quite realistic, traditional art against the background of Fauvism. Fauvist innovators imagined and portrayed the world as they wished. And since each of these artists had a bright personality, the worlds they created were completely individual.
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