Painting of the 20th century - a new language of art - presentation on the Moscow Art Theater. Painting of the 20th century - a new language of art - presentation on the MHK horizontal-ribbon form of windows; flat roof for

Sections: MHK and IZO

Class: 11

Lesson type: combined

Lesson form: lesson - improving knowledge, the formation of a new problem vision.

Goals:

• Formation of aesthetic susceptibility to ideas about historical traditions and values ​​of artistic culture in Russian and foreign painting at the turn of the 19th - 20th centuries.
• Development and formation of the concept of “dialogue between the viewer and the artist” based on the works of V. Kandinsky.
• Education of the emotional sphere of students.

• To reveal and generalize the main directions of artistic trends in painting at the turn of the 19th and 20th centuries;
• To form a holistic, multifaceted, filled with various individual features artistic picture of the era;

Equipment: computer, projector, demonstration board.

Visual range: e pygraph on the board, presentation - slide show on the topic of the lesson.

Slide show: O. Renoir “Swing”, Paul Gauguin ““Vision after the sermon, or the struggle of Jacob with the Angel”, E. Munch “The Scream”, V. Borisov - Musatov “Reservoir”, A. Matisse “Red Room”, S. Dali “ Swans depicted in elephants”, P. Picasso “Avignon girls”, V. Kandinsky “Cow”, “Tables of colors”

Lesson plan:

I. Organizational moment. Presentation of the topic and tasks of the work in the lesson.

II. Main part. Repetition, classification, generalization of the material covered.

III. Acquisition of new knowledge, based on the analysis of the material covered, acquaintance with the movement "Cubism", "Abstractionism".

IV. Summing up the lesson, homework.

During the classes

I want to start the lesson with the words of the artist Henri Matisse: “To create is to express what is in you.”

I. Today our task will be to create a certain portrait of an era in the history of pictorial art, the turn of the 19th and 20th centuries, an era full of creative quests, experiments that completely changed the idea of ​​​​painting and the role of the artist in it. In this era, when a new avant-garde trend in art is born, and, unfortunately, still not fully understood by many, and not deserved, causing denial. At the beginning of the lesson, we will determine the range of questions that we should get an answer to during the lesson.

I hang these questions in front of you on sheets of paper so that, during the lesson, you can always see them and decide for yourself with their answers.

1. What artistic direction can be considered the beginning of the avant-garde?

2. With what artistic current does the breakthrough through visual reality into the world of new reality begin?

3. How does the subject matter of the artist change and why?

4. Why does the term “depict” change to the term “express”?

II. First, let's define how you understand the term "avant-garde", "avant-garde".

Avant-garde, avant-gardism is a generalizing name for currents in the world that arose at the turn of the 19th and 20th centuries. They are characterized by novelty, courage, experimental direction in art.

Let's now walk through the art exhibition, where each work is selected so that it is a milestone in the avant-garde direction.

1. The first painting by the French artist O. Renoir. We are familiar with the work of this artist, and this direction in art. What can you remember?

Impressionism. Painting “Swing”.

Ah, now, I would like you, a little differently, to evaluate this work. Imagine what would change in the artist’s writing technique if the artist wrote on such a subject in a classical manner?

The clothes of a man and a woman would be written out with flowers without spots, grass, leaves would be written out more carefully. The peculiarity of the Impressionist writing is the depiction of the real world through the play of light and shadow, the splitting of color into spectra.

This gives the impression of the work “hastily”, without its detailed study. In this way, the manner of writing the classical direction differs from the impressionists.

One can only add that the decision of the Impressionists to paint as I see, and not as accepted, becomes the starting point for the departure from realism from the plot in painting. And if we look now at the first question posed at the beginning of the lesson, the answer is already clear.

The beginning of the avant-garde movement is impressionism. A trend in which nature is depicted as the eye sees it, and the superiority of the author's vision over the accuracy of reproduction of the visible world is already observed. This is the first small step in a new direction, this is its beginning.

2. Paul Gauguin "Vision after the sermon, or the struggle of Jacob with the Angel."

Let's decide on the artistic direction of this picture.

Paul Gauguin is classified as a post-impressionist painter.

Post-Impressionists, they go further. They refuse to claim that only what the eye sees at a given moment exists. Paul Gauguin is actively working on how to understand the laws by which human sensations are created. In other words, to find that boundary between reality and unreality, for example, the image of a person and his sensations. And this is the invisible world, the unreal world. This is clearly visible in the picture. He showed the boundary between reality (the Breton parishioners) and their vision (Jacob and the Angel).

Let's turn to our questions. The second question has just been answered. In the artistic movement of post-impressionism, the real and the fantastic are combined, and already a breakthrough into the “world of new reality” is shown”.

3. E. Munch “Scream”. This picture is already familiar to us. We are also familiar with its direction.

Expressionism, which means expression.

If expression, then what does the artist express in expressionism?

Human emotions, in this case negative: fear, pain, humiliation, hopelessness.

Are human emotions the real world or the world invisible to the human eye? Human emotions, a variety of them, strength can appear to us as some kind of reality? After all, our entire lesson is based on an understanding of reality and unreality.

As a reality, probably not.

To do this, they began to use new techniques, which are based on the deformation of the form. This technique was used by E. Munch when he wanted to convey the feelings of a mortally frightened person on canvas. What kind of world is becoming show expressionism?

Expressionism is the “invisible” world, where the main thing is human emotions.

And how do you explain the term "expression" in relation to expressionism?

Probably, human emotions can only be expressed, not depicted.

Why do they begin to pay attention to such a difficult phenomenon as emotions?

Perhaps they are interested in the inner world of man.

The birthplace of expressionism, if you remember, was Germany in the early 20th century. Violent flowering of technology, industry against the background of the degradation of cultural foundations. The suppression of the individual, never was a person as small as then, the desire of the soul, its cry for help - these are the main emotional dominants of expressionism.

3. V.Borisov - Musatov "Reservoir".

The trend of symbolism, its features: artists push the image of nature into the background, the main thing for them is their idea of ​​​​the world of their fantasies, their invisible world. The concept of “symbol” is introduced as a representative of a new reality. The new reality is only as a representation, as a fantasy, therefore it is allowed to change, it can only remind of a real object. And the symbol does not have to be similar to an object from the real world. It can be conditionally similar, and, consequently, depicted conditionally.

Conclusion: the idea of ​​the contact of two worlds - the visible and the new reality, where the new reality is a symbol of the visible world.

4. A. Matisse "Red Room".

The painting by the French artist Henri Matisse, “Red Room”, at first glance, is unusual. Let's try to understand its features. Unusual colors, planar image. In what direction do you think it is written?

Fauvism. (wild). It is characterized by an open color, lack of volume. The artists continued experiments with color, volume, to the conditional image of an object on the picture plane, abandoned the illusory reproduction of three-dimensional space, focusing on the decorative properties of the surface of the picture.

Everything said is correct. It remains to add a little that the term "Fauvism" appears thanks to the critic Louis Vauxcelles.

5. P. Picasso “Avignon girls”.

What avant-garde direction does it represent?

Remember the words of P. Cezanne: “Everything in nature is molded in the form of a ball, cone and cylinder. We must learn to write on these simple figures. If you learn to master these forms, you will do whatever you want” (MHK, grade 11, author L. Rapatskaya, p. 110). But P. Cezanne had in mind that these basic forms must be kept in mind as the organizing principle of the picture. However, Picasso and his friends took the advice literally. The appearance of the name of this trend is associated with the art critic Louis Vaucelles, who called the new paintings of Braque "cubic quirks".

Therefore, of course, we all understood what kind of course we are talking about now.

What can be said about cubism, about its features of writing?

It is based on experiments with the construction of three-dimensional objects on a plane. Construction of a new art form as a result of a geometric analysis of the object and space. Conclusion students and teacher: Experiments with form.

6. S. Dali “Swans depicted in elephants”. Let's talk about this picture, based on what we know about surrealism. The picture is understandable for its technique of writing. The author is Salvador Dali, the current is surrealism.

Surrealism. Super realism, in which the source of inspiration is in the human subconscious, based on the theory of Z. Freud. A prominent representative is S. Dali. irrational meaning. Every nature (swans, elephants, trees) in the picture is completely real. But their life together on the canvas is a complete absurdity.

Where did we come? In the depicted world of illusions, in the artist's own universe, which he showed us.

III. Teacher: Based on several works of art, we traced the logic of the development of the avant-garde, ranging from impressionism to surrealism. The turn of the 19th and 20th centuries is a time of extraordinary discoveries in the field of art, a time of outstanding experiments, a time of a new understanding of the artist as a person in painting. I want to emphasize that this development was not linear. Each artist chose what was more acceptable to him. After all, artists no longer depicted on canvases, they expressed their ideas, thoughts, fantasies, your universe. The choice of direction completely depended on the idea he had conceived. When P. Picasso was asked in what direction he would paint the next picture, he approximately answered: “In the one that best expresses my idea.” The picture ceased to depict, the picture began to express the idea of ​​the artist. The artist gradually becomes a creator and the creation of a picture is an act of creation. The visible world that the painters of past centuries used to depict was no longer inspiring. Artists began to be inspired by the “other” world, which is not visible, but it always lives inseparably next to us. The world of our feelings, experiences, fantasies. If you think about how expanding the world of images that the painter can transfer to the canvas. After all, what the artist creates is limited only by his personal imagination. Therefore, the role of the artist is changing, he is no longer a copyist of the world, “which was created by the Most High God”, he himself is the creator - the creator of his universes. Malevich said, “I am the beginning of everything, because worlds are created in my mind.” The world that God created is not interesting to them, moreover, they themselves feel like Gods - creators. And if these are worlds created by the creators themselves - the artists, then the laws of the universe there will be only those that the artist himself comes up with. But here, many difficulties appear, first of all, in understanding the idea of ​​the world that the artist created. This, to a greater extent, repels the audience from the avant-garde artists, who are used to seeing a certain literary plot in each picture. Penetrating the idea, understanding its expression in the picture is a difficult but interesting task. I would like to quote one statement: “The picture must be complex. When you look at her, you yourself become more complicated. When you climb a ladder, it is not the ladder that lifts you, but the effort you put in.” Of course, you need to make emotional, intellectual efforts to make the picture clear. But, there is also good interest in this!

But let's think further. Those images in the paintings of the artist, for example, Salvador Dali, which he shows us, will be a reality? After all, how would he create them himself? Did he paint a picture, conveying to the viewer his invisible fantasy world? After all, the image that the artist creates initially in the world of his fantasies, he sees them himself, as if with a pupil inside. And what do we see in his painted picture. Reality or its copy?

A copy, exactly, ko-pi-yu!

they will only be copies, even fantasies of their own worlds, but still copies. But if an artist is a creator, as avant-gardists understand themselves, and the world he creates should only be real, not a copy. But what can the artist himself really create? Let's try to figure it out with one example.

Painting by M. Saryan “Still Life”.

What is shown here?

Grapes, bananas, pears.

If it's grapes, bananas, pears, let's taste them.

Children come to the conclusion that this cannot be done, because. this is just a picture of fruit.

This means that we see only an image, or a copy of real objects. But this does not fit in with the idea of ​​avant-garde artists about their role as creators.

If the image is a copy, then what is real here? See what I'm holding in my hands? (reproduction in a frame). Children must come to the conclusion that:

What is real is what I hold in my hands, a canvas, and paints on it ..., i.e. the picture itself, which can be held, felt like a real object. The true reality is not in the image of the fruit in the picture, but the picture itself.

What else is real in the picture? Besides the canvas, what else do we see?

Children must come to a conclusion

Paints that currently depict fruits.

A new logic of avant-gardism is emerging: “If only colors are real in a picture, then it is necessary to depict the life of these colors on the canvas!”

Therefore, what is the conclusion?

The picture in painting began to be comprehended as a material thing in a real environment. Only paints are material, therefore, what will be depicted on a material thing (picture) is not so important (only paints are important), therefore artists refuse to depict anything other than paints on canvas. But how to understand the idea of ​​the artist? After all, the idea always comes first, and only then everything else ... And again an important understanding is put forward - a dialogue between the viewer and the artist. Let's remember the words: When you climb a ladder, it is not she who lifts you, but the effort that you make. After all, the staircase is our intellectual level, which cannot be expanded without effort. Think about it. The works of the avant-garde are not easy to understand, but this is what attracts them to themselves.

The picture ceases to depict any reality, it has become this reality itself. Therefore, we see a frame, a canvas, paints. “You see what you see” - The picture as a reality.

And now let's see the definition of abstractionism on the screen:

Abstractionism (lat. abstractio - removal, distraction) is a direction of non-figurative art that has abandoned the depiction of forms close to reality in painting and sculpture. One of the goals of abstractionism is to achieve “harmonization”, the creation of certain color combinations and geometric shapes in order to evoke various associations in the contemplator, although some paintings look like a simple dot in the middle of the canvas. Founders: Wassily Kandinsky, Kazimir Malevich, Natalia Goncharova, Mikhail Larionov.

On the screen is a painting by V. Kandinsky “Cow”.

Practical work “Dialogue between viewer and artist”. Table 1 is distributed with a symbolic-psychological dictionary, based on the work “On Spiritual Art” by V. Kandinsky

(The picture causes bewilderment, surprise with its incomprehensibility).

Now we will have to deal with such questions ourselves: “about what?”, And “how?”

But first, a little about the biography of the artist.

Wassily Vasilyevich Kandinsky (December 4 (16), 1866, Moscow - December 13, 1944, France) - an outstanding Russian painter, graphic artist and fine art theorist, one of the founders of abstractionism. He was one of the founders of the Blue Rider group, a Bauhaus teacher.

Born in Moscow, he received his basic musical and artistic education in Odessa when the family moved there in 1871. Parents assumed the profession of a lawyer for their son, Vasily Vasilyevich brilliantly graduated from the Faculty of Law of Moscow State University. At 30, he decided to become an artist; this happened under the influence of the Impressionist exhibition in Moscow in 1895 and the painting “Haystacks” by Claude Monet. In 1896 he moved to Munich, where he met the German Expressionists. After the outbreak of the First World War, he returned to Moscow, but, not agreeing with the attitude towards art in Soviet Russia, in 1921 he again left for Germany. In recent years he lives in France, in the suburbs of Paris.

One of the important questions that worried the artist: “What should the object be replaced with?”. The objective world in the works of the artist is still, to some extent, preserved. There is also always a certain through plot, such a small subtext that needs to be found. But the main thing in the artist's works is his basic elements, which excite, according to the artist, "vibrations of the soul." These are: the synthesis of paint, color, forms that are built according to the laws of composition, where objectivity (a person, a cloud, a tree) he called the real flavor of the composition.

Let's try to apply our keys - hints, first to the picture, where the pictorial element “Cow” is still preserved. Practical work “dialogue between the viewer and the artist” “The cow is considered together”.

Results at the end.

Conclusion: We need to sum up our work and answer the question of the lesson: “What kind of creative quest is characterized by painting at the turn of the 19th - 20th centuries”? Where did this creative quest begin?

The avant-garde direction in art begins with impressionism.

Post-impressionism, symbolism - a movement towards the beginning of the artists' comprehension of the invisible world.

Artists are beginning to be interested in the world of human emotions, fantasies, they create and express their own worlds of new reality on the canvas. Abstract paintings appear. A striking example of abstract painting is the painting of V. Kandinsky.

At first it was said that all theories of your vision are accepted, do not be shy and afraid to say what is wrong. The canvases of V. Kandinsky, how many viewers, so many interpretations. Therefore, we, too, must definitely try.

“Cow".

• - White - Silence, silence, the beginning. But here, not pure white, white - pink. Color is characterized as the beginning of a new force, energy (connection with red).
• But there are still red-orange spots, which further emphasizes the first reasoning.
• Yellow - orange color - earthly, humane, active, healthy person (girl).
• Above is dark blue. Causes a lot of controversy in the interpretation. They come to the conclusion - about human emotions - sadness, (“the girl is sad. The strip is yellow-orange, which means sadness will soon pass). There is a lot of sadness and longing in life.
• Green - peace, with the addition of yellow - sadness is replaced by the joy of youth, the energy of the future life
• The white color of clothes is a symbol of the beginning, rather a new life.
• Black color - death, after which life will come (girl in white).

In the distance, the white walls of buildings, similar to temples (small domes), or monasteries. The combination of black - blue and white, as submission to a single law: dying and rebirth. White color as a symbol of purity, infinity.

These images seem to grow out of a cow. The cow is the source of the law of life and rebirth.

At the end of the work, for comparison, I read out the interpretation of the painting, taken in the magazine Art, No. 1, 2010. The guys were happy with their work.

Music of the picture. White color - there are no sounds yet, but the orchestra is ready ... The tuba began to play quietly, with a growing drum rhythm. The cello and double bass enter. The flute plays slowly and sadly, the violin echoes it. A short pause, like a deep breath. The melody is repeated with slight changes, because “you cannot enter the river twice”...

The central position of Kandinsky's concept can be considered the statement about two factors that determine the psychological effect of color: "warmth-cold" and "lightness-darkness". As a result, several possible “sounds” of colors are born.
1. Attitude - yellow - blue. Yellow "moves" towards the viewer, and blue - away from him. Yellow, red orange - ideas of joy, celebration, wealth. If you add blue to yellow (make it colder, because blue is a cold color), the paint will turn greenish. Is born painful sensation of hypersensitivity(like an irritated person being interfered with). Intense yellow paint worries a person, pricks, affects the soul. If you cool yellow, then it affects to a fit of bright madness. The artist compares this color with the insane wastefulness of the colors of the last autumn. Yellow is earthy, it has no depth.

2. Blue. "Sky Paint" - call to the infinite. Movement from the person to the center. Deep blue - peace, lowered to black - sadness. Light blue - indifference, indifference.

Green - yellow and blue colors are paralyzed in it - peace: neither joy nor sadness, passive. If you add green yellow, green is getting younger , more fun. And, on the contrary, together with blue - seriousness, thoughtfulness. When lightening (adding white) or darkening (black), green “retains its elementary character of indifference and peace” (p. 48). White enhances the “indifference” aspect, while black enhances the “calm” aspect.

White for Kandinsky - a symbol of the world, where all colors, all material properties and substances have disappeared. This world stands so high above man that not a single sound comes from there. White is a great silence, a cold, endless wall, a musical pause, a temporary but not final conclusion. This silence is not dead, but full of possibilities and can be understood as "nothing" that precedes beginning and birth.

Black- “nothing” without possibilities, dead nothing, eternal silence without future, complete pause and development. This is followed by the birth of a new world. Black is the end, an extinguished fire, something motionless, like a corpse, the silence of the body after death, the most soundless paint.

White clothes express pure joy and immaculate purity, while black clothes express the greatest, deepest sadness and death. White and black find (like yellow and blue) a balance between themselves in gray. It is also soundless and motionless paint. Kandinsky calls gray “ inconsolable stillness". Especially it concerns dark gray, which acts even more inconsolably and suffocatingly.

Red. Lively, vital, restless color. Expresses courageous maturity, strength, energy, determination, triumph, joy (especially light red)

Cinnabar - evenly flaming passion, self-confident strength, “flames” within itself. A color especially loved by the people. The deepening of red leads to a decrease in its activity. But there remains an inner incandescence, a premonition of future activity.

Violet. Painful sound, something extinguished and sad, and is associated with the sound of the bassoon and flute

Orange - severity of red.

And V. Kandinsky also compared color with the sound of musical instruments. Yellow color is the sound of the trumpet, light blue is the flute, dark blue is the cello, deep blue is the organ, green is the midtones of the violin; red - fanfare; Violet - bassoon and flute;

To use the preview of presentations, create a Google account (account) and sign in: https://accounts.google.com

Slides captions:

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.

Constructivism One of the styles is Constructivism - the Soviet avant-garde method in fine arts, architecture, photography and decorative and applied arts, which was developed in the 1920s and the first half of the 1930s. One of the styles is Constructivism - the Soviet avant-garde method in fine arts, architecture, photography and decorative and applied arts, which was developed in the 1920s and the first half of the 1930s.

Avant-gardism Avant-garde (fr. Avant-garde "advanced detachment") is a generalized name for the trends in European art that arose at the turn of the 19th and 20th centuries, expressed in a polemical-combat form. The avant-garde is characterized by an experimental approach to artistic creativity that goes beyond classical aesthetics, using original, innovative means of expression, emphasized by the symbolism of artistic images. Avant-garde (fr. Avant-garde "advanced detachment") is a generalized name for the trends in European art that arose at the turn of the 19th and 20th centuries, expressed in a polemical-combat form. The avant-garde is characterized by an experimental approach to artistic creativity that goes beyond classical aesthetics, using original, innovative means of expression, emphasized by the symbolism of artistic images. The concept of avant-garde is largely eclectical in its essence. This term refers to a number of schools and trends in art, sometimes having a diametrically opposed ideological basis. The concept of avant-garde is largely eclectical in its essence. This term refers to a number of schools and trends in art, sometimes having a diametrically opposed ideological basis.

Prerequisites The prerequisites for the emergence of avant-garde trends in the art and literature of Europe can be considered a general trend towards a rethinking of common European cultural values. The last third of the 19th century was characterized by the emergence of new philosophical works rethinking the moral and cultural aspects of civilization. The prerequisites for the emergence of avant-garde trends in the art and literature of Europe can be considered a general tendency to rethink common European cultural values. The last third of the 19th century was characterized by the emergence of new philosophical works rethinking the moral and cultural aspects of civilization. In addition, the development of scientific and technological progress has only pushed mankind to change the perception of the values ​​of civilization, the place of man in nature and society, aesthetic and moral and ethical values. In addition, the development of scientific and technological progress has only pushed mankind to change the perception of the values ​​of civilization, the place of man in nature and society, aesthetic and moral and ethical values.

Russian music Music of the 20th century is a general designation for a group of trends in the art of the late 19th and early 19th century. 20th century, in particular Modernism, acting under the motto of modernity, innovation. These currents also include Expressionism, Constructivism, Neoclassicism, as well as Dodecaphony, electronic music, etc. Music of the 20th century as a whole - a collective image Music of the 20th century - the general designation of a group of trends in the art of the late 19th and early 19th century. 20th century, in particular Modernism, acting under the motto of modernity, innovation. These currents also include Expressionism, Constructivism, Neoclassicism, as well as Dodecaphony, electronic music, etc. Music of the 20th century as a whole - a collective image

Representatives A striking representative of the modern theater is the Lenkom Theatre. Everyone knows this theater today - from Muscovites and visitors to inveterate theatergoers. Such a theater cannot be ignored, because it is a theater of stars. A prominent representative of modern theater is the Lenkom Theatre. Everyone knows this theater today - from Muscovites and visitors to inveterate theatergoers. Such a theater cannot be ignored, because it is a theater of stars.

Theater of the 20th century New theaters appeared in Moscow. It was there that Sergei Eisenstein, Sergei Yutkevich, Sergei Gerasimov, Tamara Makarova, Boris Barnet, Vladimir Mass and many other future outstanding figures of Soviet art took their first stage steps. New theaters appeared in Moscow. It was there that Sergei Eisenstein, Sergei Yutkevich, Sergei Gerasimov, Tamara Makarova, Boris Barnet, Vladimir Mass and many other future outstanding figures of Soviet art took their first stage steps.

Cinematography Cinematography as an art form differs from others in its synthetic character. It synthesizes the aesthetic properties of literature, theater, fine arts, photography, music, achievements in optics, mechanics, chemistry, physiology. The popularity of cinema lies in its inherent combination and variety of expressive means. Cinema, which originated at the turn of the 19th and 20th centuries, arose under the influence of the needs of society to comprehend its history, life and activity, and developed in line with the culture of the 20th century, therefore its styles and trends correspond to the main styles of art of the 20th century. Cinematography as an art form differs from others in its synthetic character. It synthesizes the aesthetic properties of literature, theater, fine arts, photography, music, achievements in optics, mechanics, chemistry, physiology. The popularity of cinema lies in its inherent combination and variety of expressive means. Cinema, which originated at the turn of the 19th and 20th centuries, arose under the influence of the needs of society to comprehend its history, life and activity, and developed in line with the culture of the 20th century, therefore its styles and trends correspond to the main styles of art of the 20th century.

Outstanding representatives In the first decades after its inception, cinema as an art form only gained its popularity. In the 1920s, cinema became not only a popular and fashionable art form, but also a film industry: many film studios and a film distribution network were formed. At this time, the masterpieces of the early, as yet silent films were created - "Battleship Potemkin" by S. Eisenstein, "The Big Parade" by K Vidor with Ch. Chaplin, "Greed" by E. Stroheim. The work of directors D. Vertov, Y. Protazanov, L. Trauberg, V. Pudovkin, G. Kozintsev takes shape precisely at this time. The third decade of the 20th century enters the history of cinema as the beginning of the era of sound cinema, which makes it even more massive. The US dominates the global film industry. Commercial film adaptations of Broadway musicals were very popular during this period. But real works of art are also being created: "New Times" by Ch. Chaplin, "The Grapes of Wrath" by J. Ford, "Our Daily Bread" by K-Vidor. In the USSR, masterpieces of Russian cinema “Merry Fellows”, “Volga-Volga” and “Circus” by G. Aleksandrov, “Chapaev” by the Vasiliev brothers and others are released on the screens. In the first decades after its inception, cinema as an art form only gained its popularity. In the 1920s, cinema became not only a popular and fashionable art form, but also a film industry: many film studios and a film distribution network were formed. At this time, the masterpieces of the early, as yet silent films were created - "Battleship Potemkin" by S. Eisenstein, "The Big Parade" by K Vidor with Ch. Chaplin, "Greed" by E. Stroheim. The work of directors D. Vertov, Y. Protazanov, L. Trauberg, V. Pudovkin, G. Kozintsev takes shape precisely at this time. The third decade of the 20th century enters the history of cinema as the beginning of the era of sound cinema, which makes it even more massive. The US dominates the global film industry. Commercial film adaptations of Broadway musicals were very popular during this period. But real works of art are also being created: "New Times" by Ch. Chaplin, "The Grapes of Wrath" by J. Ford, "Our Daily Bread" by K-Vidor. In the USSR, masterpieces of Russian cinema "Jolly Fellows", "Volga-Volga" and "Circus" by G. Aleksandrov, "Chapaev" by the Vasiliev brothers and others are released on the screens.

slide 2

Description of the slide:

slide 3

Description of the slide:

slide 4

Description of the slide:

slide 5

Description of the slide:

slide 6

Description of the slide:

Slide 7

Description of the slide:

Slide 8

Description of the slide:

Slide 9

Description of the slide:

Slide 10

Description of the slide:

slide 11

Description of the slide:

slide 12

Description of the slide:

slide 13

Description of the slide:

Slide 14

Description of the slide:

slide 15

Description of the slide:

slide 16

Description of the slide:

Slide 17

Description of the slide:

Slide 18

Description of the slide:

Slide 19

Description of the slide:

Slide 20

Description of the slide:

slide 21

Description of the slide:

slide 22

Description of the slide:

slide 23

Description of the slide:

slide 24

Description of the slide:

Slide 25

Description of the slide:

slide 26

Description of the slide:

Slide 27

Description of the slide:

Slide 28

Description of the slide:

Slide 29

Description of the slide:

slide 30

Description of the slide:

Slide 31

Description of the slide:

slide 32

Description of the slide:

Slide 33

Description of the slide:

slide 34

Description of the slide:

Slide 35

Description of the slide:

Description of the slide:

Net-art (Net Art - from the English net - network, art - art) The newest form of art, modern art practices, developing in computer networks, in particular, on the Internet. Its researchers in Russia, contributing to its development, O. Lyalina, A. Shulgin, believe that the essence of Net-art comes down to the creation of communication and creative spaces on the Web, providing complete freedom of network existence to everyone. Therefore, the essence of Net-art. not representation, but communication, and its original art unit is an electronic message. Net-art (Net Art - from the English net - network, art - art) The newest form of art, modern art practices, developing in computer networks, in particular, on the Internet. Its researchers in Russia, contributing to its development, O. Lyalina, A. Shulgin, believe that the essence of Net-art comes down to the creation of communication and creative spaces on the Web, providing complete freedom of network existence to everyone. Therefore, the essence of Net-art. not representation, but communication, and its original art unit is an electronic message.

Description of the slide:

(eng. Op-art - an abbreviated version of optical art - optical art) - an artistic movement of the second half of the 20th century, using various visual illusions based on the features of the perception of flat and spatial figures. The current continues the rationalistic line of technicism (modernism). It goes back to the so-called "geometric" abstract art, which was represented by V. Vasarely (from 1930 to 1997 he worked in France) - the founder of op art. The possibilities of Op-art have found some application in industrial graphics, posters, and design art. (eng. Op-art - an abbreviated version of optical art - optical art) - an artistic movement of the second half of the 20th century, using various visual illusions based on the features of the perception of flat and spatial figures. The current continues the rationalistic line of technicism (modernism). It goes back to the so-called "geometric" abstract art, which was represented by V. Vasarely (from 1930 to 1997 he worked in France) - the founder of op art. The possibilities of Op-art have found some application in industrial graphics, posters, and design art.

Description of the slide:

(graffiti - in archeology, any drawings or letters scratched on any surface, from Italian graffiare - scratch) This is the designation of subculture works, which are mainly large-format images on the walls of public buildings, structures, transport, made using various kinds of spray guns, aerosol paint cans. (graffiti - in archeology, any drawings or letters scratched on any surface, from Italian graffiare - scratch) This is the designation of subculture works, which are mainly large-format images on the walls of public buildings, structures, transport, made using various kinds of spray guns, aerosol paint cans.

Slide 42

Description of the slide:

slide 43

Description of the slide:

Description of the slide:

(from the English land art - earthen art), a direction in the art of the last third of the 20th century, based on the use of a real landscape as the main artistic material and object. Artists dig trenches, create bizarre heaps of stones, paint rocks, choosing for their actions usually deserted places - pristine and wild landscapes, thereby, as it were, striving to return art to nature. (from the English land art - earthen art), a direction in the art of the last third of the 20th century, based on the use of a real landscape as the main artistic material and object. Artists dig trenches, create bizarre heaps of stones, paint rocks, choosing for their actions usually deserted places - pristine and wild landscapes, thereby, as it were, striving to return art to nature.

Description of the slide:

(minimal art - English: minimal art) - artist. flow emanating from the minimal transformation of the materials used in the process of creativity, simplicity and uniformity of forms, monochrome, creative. artist's self-restraint. (minimal art - English: minimal art) - artist. flow emanating from the minimal transformation of the materials used in the process of creativity, simplicity and uniformity of forms, monochrome, creative. artist's self-restraint. Minimalism is characterized by the rejection of subjectivity, representation, illusionism. Rejecting the classic creativity and tradition. artistic materials, minimalists use industrial and natural materials of simple geometric. shapes and neutral colors (black, gray), small volumes, serial, conveyor methods of industrial production are used.

Slide 48

The art of the 20th century is multifaceted and ambiguous. It shocked, surprised, captivated. To understand it, you first need to at least understand its main directions.

Constructivism is an avant-garde trend in fine arts, photography, and cinema that appeared in the 1920s and 1930s.

It differs from others in the severity of lines, conciseness and solidity of the image.

Avant-gardism is an experimental trend that arose at the turn of the 19th and 20th centuries. It goes beyond classical aesthetics and is distinguished by symbolism.

The concept of "avant-gardism" is eclectic. This includes a number of schools around the world, which can be very different from each other.

The prerequisites for the emergence of avant-garde include the rethinking of the basic life values ​​by the people of Europe, as well as the emergence of new philosophical treatises and the active development of scientific and technological progress.

The music of the 20th century almost completely professed Modernism and Innovation. Modernity, drive, expressionism - that's what drove the creation of new directions.

And if at the beginning of the 20th century the main emphasis was on classical music, then by the end of the 50s people began to lift a heavy curtain and create something that could turn society upside down. On the basis of the musical revolution, the first subcultures began to appear.

The theater also developed rapidly. Musical performances have begun. Despite modern trends, the audience, nevertheless, did not betray the classics. The revival of the theater began at the end of the 20th century after the end of the protracted Cold War.

Cinematography at that time was striking in its syntheticity and generalization. Despite the attempt to synthesize photography, theatre, music, ethnicity, aesthetics and even the exact sciences, in general, only a few paintings, mostly taken after the 80s, deserved attention.

Perhaps the reason for this was the acute political situation, as well as the economic crisis. It is impossible not to recall such figures of cinema of the 20th century as Marlene Dietrich, Marilyn Monroe, Marlon Brando, Clark Gable, Grace Kelly and Charlie Chaplin.

Photography in the 20th century experienced only ups and downs. Initially, the world was conquered by the Polaroid with instant development of photographs. But after Japan took over, by the end of the century people were introduced to the art of color photography, sepia, as well as the first electronic programs for processing frames.

As you can see, the art of the 20th century is ambiguous. On the one hand, its development was strongly hampered by the war and the world political situation. On the other hand, it is the end of the last century that can be called the cradle, the starting point of all modern creative abundance.