Russian painting of the 20th century presentation. Culture of the first half of the 20th century: rise or fall

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Presentation on the topic: 20th century painting

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STATE BUDGET GENERAL EDUCATIONAL INSTITUTION OF THE NOVOSIBIRSK REGION "SEVERAGE EDUCATIONAL SCHOOL "REGIONAL CENTER OF EDUCATION". SUBJECT: MHC. TOPIC: EXPERIMENTAL AESTHETICS AND EARLY RUSSIAN VANT-GARDE. COMPLETED: STUDENTS OF THE 10th CLASS EGOSHINA ALEN. 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 “leftist” 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 the measure of creative talent and the standard of modernity. What was common was the artists' naive belief in the onset of a special and unusual historical time - the era of miracle technology that could change people's relationships with each other and with the environment. The problem of succession for the supporters of the avant-garde, as it were, did not exist. 19th century realism It seemed to young nihilists a "dilapidated measure" that fettered freedom of expression. The main trends 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 French fauve - wild) is a trend in French painting and music of the late 19th - early 20th 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. The artistic style of the Fauvists was characterized by the spontaneous dynamism of the brushstroke, the desire for the emotional power of artistic expression, bright color, piercing purity and sharp contrasts of color, the intensity of open local color, and the 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 Matisse, who made a complete break with optical color. In his picture, the female nose could well be green, if this gave it expressiveness and composition. Matisse claimed: “I do not paint women; I draw pictures".

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K. S. MALEVICH Malevich was a consistent propagandist of his own theory. Over time, a group of like-minded people UNOVIS (Affirmers of the 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 (French Cubisme) is an 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. CUBISM

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He studied painting at the Penza and Kiev art schools, then at the private studio of D. N. Kardovsky in St. Petersburg. In 1910 he became one of the organizers of the art association "Jack of Diamonds". Ever since pre-revolutionary times, Lentulov has also been actively cooperating with the theater, designing performances at the Chamber Theater (Shakespeare's The Merry Wives of Windsor, 1916), the Bolshoi Theater (Scriabin's Prometheus, 1919) and others. Aristarkh Vasilyevich Lentulov

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In painting he was a Cézannist and generally had a strong attraction to Europe, he spoke excellent French. He also experienced the influence of his father-in-law, V. I. Surikov, with whom he first traveled to study studies in Spain, later they worked throughout Europe. In the early period, the artist sought to express the festivity of color inherent in Russian folk art with the help of Paul Cezanne's constructive color. He became famous thanks to his still lifes, often executed in a style close to analytical cubism. P. P. KONCHALOVSKY Roses, 1955

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In the visual arts, Futurism repelled from Fauvism, borrowing color finds from it, and from Cubism, from which it adopted artistic forms, but rejected cubic analysis (decomposition) as an expression of the essence of the phenomenon and strove for a direct emotional expression of the dynamics of the modern world. The main artistic principles are speed, movement, energy, which some futurists tried to convey with fairly simple techniques. Their painting is characterized by energetic compositions, where the figures are fragmented and intersected by sharp corners, where flickering forms, zigzags, spirals, beveled cones prevail, where movement is transmitted by superimposing successive phases on one image - the so-called principle of simultaneity.

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Khlebnikov is one of the recognized leaders of the Russian avant-garde at the beginning of the 20th century, since he was consciously engaged in building a new art. Many futurists, including Mayakovsky, called him their teacher; assumptions are 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, 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. VELEMIR KHLEBNIKOV

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One of the types of composer technique of the XX century. Composing method (theoretically developed by A. Schoenberg), in which the musical fabric of the work is derived from a 12-tone series of a certain structure, and none of the 12 sounds of the chromatic scale is repeated. A 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 in both at the same time. It arose in the process of the development of atonal music. Various kinds of dodecaphone technique are known. Of these, the methods of Schoenberg and J. M. Hauer have acquired the greatest importance. The essence of the Schoenberg method of dodecaphony is that the melodic voices and consonances that make up this work are produced directly or ultimately from a single source - a selected sequence of all 12 sounds of the chromatic scale, interpreted as a unity. This sequence of sounds is called a series. The representatives of dodecaphony are Arnold Schoenberg, Anton Webern, Alban Berg, J. M. Hauer, Hindemith, Igor Stravinsky, Shostakovich, Pierre Boulez, etc. DODECAPHONIA

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The main directions of development of painting of the 20th century

General characteristics The 20th century is marked by an extraordinary variety of artistic trends in the visual arts, which cannot be united by any one style. Painting of the 20th century is characterized by a variety of styles and trends, the search for new ways in fine arts.

Directions in the fine arts Fauvism (Henri Matisse); Cubism (Pablo Picasso); Surrealism (Salvador Dali); Abstractionism (Wasily Kandinsky); Suprematism (Kazimir Malevich); Analyticism (Pavel Filonov).

Fauvism One of the first artistic movements of the 20th century was Fauvism (wildness). Fauvism is characterized by a plane of images, thick lines, a combination of yellow and green colors. Initially, Fauvism was considered an alien art, only later researchers found in them a kind of creative method.

A. Matisse "Dance", 1910. The plot of the painting Matisse was inspired by the folk dances he saw. Another version - "Dance" - was written under the influence of Greek vase painting. The main expressive means of the canvas is a combination of brevity of pictorial means with its huge size. "Dance" is written in just three colors. The sky is depicted in blue, the dancers' bodies in pink, and the hill is depicted in green. The painting depicts a dance, a round dance of five naked people on a hilltop.

Cubism Picasso Cubism is an artistic movement based on pyramidal structures, geometric bodies. Cubism went through several stages of its development: - analytical cubism; - synthetic cubism; The main figures of cubism are Georges Braque, Pablo Picasso.

Georges Braque (1882 - 1963) Violin and Palette, 1910. J. Braque was a representative of analytical cubism. In 1908 he organized an exhibition in Paris. His main technique was the imposition of one image on another - the versatility of the picture. Deciphering the author's intention is very difficult for viewers.

Pablo Picasso (1881 - 1973) Picasso's painting Les Maidens of Avignon, which challenged a dissolute society, caused true outrage.

Still life with a straw chair, 1912 The painting belongs to synthetic cubism, using various objects from real life.

P. Picasso "Portrait of Vollard", 1910

Surrealism Surrealism is super-reality. It officially arose in 1924. In the work of the surrealists, fantasies, dreams, dreams and memories acquired special significance. Surrealist paintings combined reality with unreality. The main techniques of the surrealists are the grotesque, irony, paradox. Representatives - Max Ernst, Rene Magritte, Salvador Dali.

Max Ernst. Oedipus the King, 1922.

Rene Magritte The Therapist, 1937

Salvador Dali, The Persistence of Memory, 1931

Abstractionism Abstractionism belongs to the Russian avant-garde. The main principle of abstractionism is the knowledge of space and the abstractness of what is written. The representative of abstract art is Wassily Kandinsky (1866 - 1944).

Abstractionism

V. Kandinsky "Composition 6", 1913

V. Kandinsky. "Dominant Curve", 1936

Suprematism Suprematism is the highest degree of art. The founder and, perhaps, the only one of its figures was Kazimir Malevich. The main components of Suprematism are color and geometric shapes. Suprematism is complex in its understanding and its perception depends entirely on the imagination of a person.

Suprematism by Malevich "Harvesting the Rye", 1912

"Black Square", 1913

"Peasant Woman", 1932

Questions and tasks Divide into groups. 1. Formulate the basic principles of your direction. 2.Try to create a painting work that suits your direction. 3. Prepare a coherent answer about the subject of your painting.

Andrey Onufrievich BembelAndrey Bembel was born on October 17, 1905 in the city of Velizh, Vitebsk
province, where he received his primary education in a male gymnasium.
From 1924 to 1927 he studied at the Vitebsk Art College with Kerzin
M.A. , then in 1931 he graduated from the Leningrad Academy of Arts.
Since 1947 he has been teaching, one of the organizers and the first
teachers of the Minsk Art College. Since 1953 - in Belorussky
theater and art institute. Chairman of the Union of Artists of the BSSR.

Zair Isaakovich Azgur

Alexey Konstantinovich Glebov

Sergei Ivanovich Selikhanov

WORKS

Vladimir Ivanovich Zhbanov

Most famous works

Ivan Yakimovich Misko

Works in the field of easel and monumental sculpture. The main theme of his works is astronautics and its heroes.

PAINTING

Mikhail Andreevich Savitsky

creation

Danzig MaiVolfovich

Leonid Dmitrievich Shchemelev

ARCHITECTURE

Antonova Yulia Alexandrovna

Research project - presentation on Russian painting of the early 20th century on literature

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Russian painting of the early 20th century. K.A. Korovin, V.A. Serov, M.A. Vrubel Research project for the lesson of literature by 11th grade student Yulia Antonova; MKOU "Medvedskaya secondary school No. 17" of the Efremov district of the Tula region. Teacher Antonova Nadezhda Nikolaevna

Russian culture is one of the branches of the mighty tree of global human culture. Artists painfully seek harmony and beauty in a world that is fundamentally alien to both harmony and 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. In the artistic life of Russia at the beginning of the 20th century, the associations "World of Art" and "Union of Russian Artists" played a significant role. A new word at the turn of the century was to be said by K.A. Korovin, V.A. Serov and M.A. Vrubel.

Konstantin Alekseevich Korovin (1861-1939) Generously gifted by nature, Korovin was engaged in both portraiture and still life, but 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. His French landscapes, united by the title "Parisian Lights", is already a completely impressionistic painting, with its highest culture of etude. Sharp, instantaneous impressions of the life of a big city: quiet streets at different times of the day, objects dissolved in a light-air environment, molded with a “trembling”, vibrating stroke, a stream of such strokes that create the illusion of a curtain of rain or urban air saturated with thousands of different vapors - features reminiscent of the landscapes of Manet, Pissarro, Monet.

Paris. Boulevard des Capucines. 1906 Unlike French artists who recognize only "the bright colors of nature, born of the sun", he strove to choose not daytime, but complex morning and evening lighting, to show "the character of the city, changing throughout the day"

Paris at night. Italian boulevard. 1908, State Tretyakov Gallery It was said that for greater brilliance, Korovin specially bought very expensive paints from the Swedish factory Bleksa for night landscapes, which are distinguished by excellent quality and brightness. They were, in the words of the artist himself, "real peacocks."

Fish, wine and fruits. 1916 Korovin retains the same traits of impressionistic etude, striking artistry in all other genres, primarily in portraiture and still life, but also in decorative panels, in applied art, in theatrical scenery, which he did all his life.

Valentin Aleksandrovich Serov (1865-1911) Valentin Aleksandrovich Serov (1865-1911) was one of the greatest artists, an innovator of Russian painting at the turn of the century. 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. . In Abramtsevo, two portraits were painted, from which the glory of Serov began, who entered art with his own, bright and poetic view of the world. His "Girl with Peaches" (portrait of Verusha Mamontova, 1887, State Tretyakov Gallery) and "Girl Illuminated by the Sun" (portrait of Masha Simanovich, 1888, State Tretyakov Gallery) represent a whole stage in Russian painting.

V. A. Serov “Girl with Peaches” Vera Mamontova sits in a calm pose at the table, peaches are scattered on a white tablecloth in front of her. She herself and all the objects are presented in the most complex light and air environment. Sun glare falls on the tablecloth, on clothes, a wall plate, a knife. The depicted girl sitting at the table is in organic unity with all this material world, in harmony with it, full of vital trembling, inner movement.

A Girl Illuminated by the Sun (Portrait of M. Ya. Simonovich). 1888 The principles of plein air painting were even more pronounced in the portrait of the artist's cousin Masha Simanovich, painted in the open air. The colors here are given in complex interaction with each other, they perfectly convey the atmosphere of a summer day, color reflections that create the illusion of sun rays sliding through the foliage. Serov departs from the critical realism of his teacher Repin to "poetic realism" (D.V. Sarabyanov's term).

Features of creativity The images 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, a sculpted form, a dynamic, free brushstroke, creating 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 its stability. Serov was a deeply thinking artist, constantly looking for new forms of artistic realization of reality. Inspired by Art Nouveau, ideas about flatness and increased decorativeness were reflected not only in historical compositions, but also in his portrait of the dancer Ida Rubinstein, in his sketches for The Abduction of Europa and The Odyssey and Navzicae. It is significant that Serov at the end of his life turns to the ancient world. In the poetic legend, interpreted by him freely, outside the classical canons, he wants to find harmony, the search for which the artist devoted all his work.

“The Abduction of Europe” It is hard to immediately believe that the portrait of Verusha Mamontova and “The Abduction of Europe” were painted by the same master, Serov is so versatile in his evolution from the impressionistic authenticity of portraits and landscapes of the 80–90s to Art Nouveau in historical motifs and compositions from ancient mythology.

"Odysseus and Nausicaa". 1910. Somehow, during a storm, Odysseus was thrown onto one of the islands in the Mediterranean Sea, where he met Princess Navzikaya, who was washing clothes. The princess ordered to feed and drink the hero, to give him clean clothes, because the return of the hero of the Trojan War to his native island of Ithaca was long and painful.

Mikhail Alexandrovich Vrubel (1856-1910) The world of Vrubel is an epoch in the history of not only Russian, but also world culture. Vrubel left more than 200 works. Among them are portraits, paintings, decorative panels, illustrations, sketches of theatrical curtains, sculptural works, building designs, striking in scope and breadth of creative range. Vrubel, inspired by the monuments of the past, created in many ways in his own way, and often created as an equal to the great masters of the past. Almost all major Russian artists of the 20th century experienced a strong and lasting influence of Vrubel. His manner of writing "colorful cubes" (according to F.I. Chaliapin) was sometimes interpreted as the threshold of cubism. However, Vrubel, who proved with his work that a deep comprehension of nature naturally implies a transition to the other side of its external appearances, stands at the origins of not one particular direction, but almost all avant-garde searches for Russian art of the 20th century.

Demon (sitting). 1890 State Tretyakov Gallery. Having taken up illustrations for The Demon, he soon moved away from direct illustration and already in the same 1890 created his Demon Seated - a work, in fact, plotless, but an eternal image, like the images of Mephistopheles, Faust, Don Giovanni. The image of the Demon is the central image of Vrubel's entire work, its main theme.

“Seated Demon” In a letter to my sister dated May 22, 1890, we read: “For a month now I have been writing the Demon, that is, not exactly the monumental Demon, which I will write over time, but the demonic, half-naked, winged, young, sadly thoughtful figure sits, hugging her knees, against the backdrop of sunset and looks at a flowering meadow, from which branches stretch out to her, bending under flowers. This is the painting known as "Seated Demon" - the first of an extensive demonic suite, including painting, drawings, and sculpture. "Vrubel's Demon" is, first of all, a suffering creature. Suffering in him prevails over evil. Contemporaries saw in his "Demons" a symbol of the fate of an intellectual, a romantic, trying to rebelliously escape from the ugly reality into the unreal world of dreams, but plunged into the rough reality of the earth. Longing for the music of a whole person is his inner tuning fork. A powerful torso with tightly clasped hands is, as it were, "squeezed" by a narrow, elongated rectangle of canvas; the elemental strength of the hero is bound by crystals of fantastic colors; his face conceals greatness and at the same time human defenselessness. The Demon's gaze, turned to the eternal secrets of nature, is directed into the distance, to where the crimson-gold sunset breaks the darkness of the sky. The mosaic laying of luminiferous strokes creates an image of a sublimely poetic world. In the 90s, when the artist settled in Moscow, Vrubel's style of writing, full of mystery and almost demonic power, was formed, which cannot be confused with any other. He sculpts the form like a mosaic, from sharp "faceted" pieces of different colors, as if glowing from the inside. Color combinations do not reflect the reality of the color relationship, but have a symbolic meaning. He creates his own fantasy world that bears little resemblance to reality.

"Lilac" 1900 On the Ukrainian farm, where the artist spent the summer, lilacs were rampant. In order to convey this lilac world on canvas, Vrubel chose a late hour, when night takes over the world. The air seems to thicken, becomes lilac, and large clusters of flowers begin to glow in it as if by themselves. A large canvas, completely filled with these flowers shimmering against the background of black-green foliage, at first seems to be lilac. But the artist's eye discerns a magnificent richness of colors in the lilac cloud: sometimes deep purple, sometimes pale purple, sometimes silver-blue, the flowers seem to come into roll with each other. In the foreground is a girl with flowing hair, as if emerging from the depths of a bush. Maybe the Soul of a lilac appeared to Vrubel?

"Lilacs" Beautiful poems were written by Osip Mandelstam after one of the exhibitions: The artist depicted for us The deep swoon of lilacs And the resounding steps of colors On the canvas, like he laid scabs. He understood the density of oils - His dried-up summer is warmed up by the lilac brain Expanded into stuffiness

"Flying Demon" 1899 Timing. Again and again, Vrubel returned his thoughts to his Demon, planning to write him flying. For this painting, the artist chose a narrow long canvas. The vast expanse of the earth stretched out on it indefinitely. The demon is painted large, his face, shoulders, heavy wings with a silvery sheen are very close. And the earth - the snowy peaks of the mountains, the valleys, the intended strip of the river - is far below. The artist, and the audience with him, looking at her from a height, seem to be hovering next to the Demon.

"to awaken the soul with majestic images from the little things of everyday life." This Demon has a completely different face than the “Seated One”: proud, impregnable. But in his eyes - longing, hopeless loneliness. M.Yu. wrote about his flight in his poem. Lermontov: And the whole world of God was around wild and wonderful; but the proud spirit contemptuously looked over the Creation of his God, And nothing was reflected on his high forehead... Rejected by God, the Demon floats high above the earth, where it has no place, as in heaven. Vrubel left the work unfinished. A new idea arose in his imagination ... This tragedy of the artistic worldview also determines the portrait characteristics of Vrubel: spiritual discord, a breakdown in his self-portraits, alertness, almost fright, but also majestic strength, monumentality - in the portrait of S. Mamontov (1897, State Tretyakov Gallery) , confusion, anxiety - in the fabulous image of "The Swan Princess" (1900, State Tretyakov Gallery), even in his decorative panels "Spain" (1894, State Tretyakov Gallery) and "Venice" (1893, State Russian Museum), festive in design and purpose. Vrubel himself formulated his task - "to awaken the soul with majestic images from the little things of everyday life."

Demon defeated. 1902 State Tretyakov Gallery. The most tragic work of Vrubel. And if in the early canvas we feel the chaos of birth, in which hope lives, then in the defeated Demon, ruin reigns. No richness of colors, no patterns of ornaments hide the tragedy of a broken personality, his broken figure, having fallen from sky-high heights, is already visibly agonizing, infecting the whole world around him with the beauty of the last sunset.

“Portrait of V.Ya. Bryusov". 1906 not finished State Tretyakov Gallery Completely blind, he could draw the silhouette of a horse or someone else without taking his hand off the paper, but taking his hand off he could not continue - he could not see. The last picture he was able to paint was a beautiful portrait of the poet V. Ya. Bryusov. The poet’s impressions of the meeting with Vrubel are divided into the first heavy: “He entered with an unsteady heavy gait, as if dragging his feet ... a frail, sick man, in a dirty crumpled shirt. He had a reddish face; eyes - like those of a bird of prey; sticking out hair instead of a beard. First impression: crazy!” But then Bryusov tells how the artist was transformed while working. “In life, in all the movements of Vrubel, there was a clear disorder ... But as soon as Vrubel's hand took charcoal or a pencil, she acquired extraordinary confidence and firmness. The lines he drew were unmistakable. The creative force survived everything in him. The man died, collapsed, the master continued to live.

V. Bryusov and A. Blok about Vrubel Bryusov was very pleased with the portrait and even joked that he strives to be the same as depicted by Vrubel. Then beautiful verses appeared: From a false and famous life Your dream draws you Into the expanse of azure heaven Or into the depths of sapphire waters. Inaccessible to us, invisible to us, Between hosts of crying forces, Seraphim descend to you In the radiance of multi-colored wings. From the towers of the country of crystal, Submissive to a fabulous fate, Naiads, faithful to you, look slyly and sadly. And at an hour at the fiery sunset You saw between the eternal mountains, How the spirit of greatness and curses Fell into the chasms from on high. And there, in the solemn desert, Only you comprehended to the end of the outstretched wings the brilliance of the peacock And the sorrow of the face of Eden! Symbolist poets admired the artist's work, they understood and consonant with the interpretation of the Demon, the figurative style of the works. Alexander Blok, a longtime admirer of the artist, speaking at the memorial service, said: “He left us his Demons, as spellcasters against purple evil, against the night. I can only tremble before what Vrubel and his ilk reveal to humanity once a century. The worlds that they saw, we do not see. Mikhail Alexandrovich Vrubel died on April 1 (14), 1910, aged 54. The immediate cause of death was pneumonia.