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 a literature lesson by 11th grade student Yulia Antonova; MKOU "Medvedskaya secondary school No. 17" of the Efremovsky district of the Tula region. Teacher Antonova Nadezhda Nikolaevna

Russian culture is one of the branches of the mighty tree of world universal culture. Artists painfully search for harmony and beauty in a world that is fundamentally alien to both harmony and beauty. This time of “eves”, expectations of changes in public life, gave rise to many movements, 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. At the turn of the century, a new word had to be said by K.A. Korovin, V.A. Serov and M.A. Vrubel.

Konstantin Alekseevich Korovin (1861–1939) Generously gifted by nature, Korovin studied both portraits and still life, but his favorite genre remained landscape. 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 different tasks. His French landscapes, united under the title “Parisian Lights,” are already quite impressionistic writing, with its highest etude culture. Sharp, instant impressions of the life of a big city: quiet streets at different times of the day, objects dissolved in a light-air environment, sculpted with a “trembling”, vibrating stroke, a stream of such strokes, creating the illusion of a curtain of rain or city air, saturated with thousands of different vapors - features , reminiscent of the landscapes of Manet, Pissarro, Monet.

Paris. Boulevard Capucines. 1906 Unlike French artists who recognize only “the light colors of nature, born of the sun,” he sought 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, Tretyakov Gallery They said that for greater colorfulness, Korovin specially bought very expensive paints from the Swedish factory Blex for night landscapes, which were distinguished by excellent quality and brightness. They were, in the artist’s own words, “real peacocks.”

Fish, wine and fruit. 1916 Korovin retains the same features of impressionistic sketches and amazing artistry in all other genres, primarily in portrait and still life, but also in decorative panels, in applied art, in theatrical scenery, which he worked on all his life.

Valentin Aleksandrovich Serov (1865-1911) One of the most important artists and an innovator of Russian painting at the turn of the century was Valentin Aleksandrovich Serov (1865-1911). Serov was brought up among outstanding figures of Russian musical culture (his father was a famous composer, his mother was a pianist), studied with Repin and Chistyakov, studied the best museum collections in Europe, and upon returning from abroad joined the Abramtsevo circle. . In Abramtsevo, two portraits were painted, with 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, Tretyakov Gallery) and “Girl Illuminated by the Sun” (portrait of Masha Simanovich, 1888, 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 a complex light-air environment. The sun's glare falls on the tablecloth, clothes, wall plate, knife. The depicted girl sitting at the table is in organic unity with this entire material world, in harmony with it, full of vital trepidation and inner movement.

Girl illuminated by the sun (Portrait of M. Ya. Simonovich). 1888 The principles of plein air painting were even more evident in the portrait of the artist’s cousin Masha Simanovich, painted directly 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 reflexes that create the illusion of sun rays sliding through the foliage. Serov moves away from the critical realism of his teacher Repin to “poetic realism” (the term of D.V. Sarabyanov).

Peculiarities of creativity The images are permeated with a feeling of the joy of life, a bright sense of being, a bright, victorious youth. This was achieved by “light” impressionistic painting, sculpting the form with a dynamic, free brushstroke, creating the impression of a complex light-air environment. But unlike the impressionists, Serov never dissolves an object in this environment so that it dematerializes; his composition never loses stability. Serov was a deeply thinking artist, constantly looking for new forms of artistic translation of reality. Art Nouveau-inspired 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 Rape of Europa” and “Odysseus and Nausicaa”. It is significant that at the end of his life Serov turned to the ancient world. In the poetic legend, which he interpreted freely, outside the classicist canons, he wants to find harmony, the search for which the artist devoted all his work.

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

"Odysseus and Nausicaa". 1910 Once, during a storm, Odysseus was thrown onto one of the islands in the Mediterranean Sea, where he met Princess Nausicaa, who was washing clothes. The princess ordered to feed and water 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 Aleksandrovich Vrubel (1856-1910) Vrubel’s world is an era 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 theater 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 from Vrubel. His manner of painting with “multi-colored 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 presupposes a transition beyond its external appearances, stands at the origins of not just one direction, but practically all avant-garde searches for Russian art of the 20th century.

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

“The Seated Demon” In a letter to my sister dated May 22, 1890, we read: “For about a month now I have been writing the Demon, that is, not so much the monumental Demon, which I will write over time, but a demonic half-naked, winged, young, sad, pensive figure sits, hugging her knees, against the backdrop of the sunset and looks at the flowering meadow, from which branches stretch out to her, bending under the flowers." This is the painting known as “The 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 break out of ugly reality into the unreal world of dreams, but being plunged into the harsh reality of the earthly. The longing for the music of a whole person is his inner tuning fork. A powerful torso with tensely closed arms seems to be “squeezed” by a narrow elongated rectangle of canvas; the hero's elemental power 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-golden sunset breaks the darkness of the sky. A mosaic of luminous strokes creates an image of a sublimely poetic world. In the 90s, when the artist settled in Moscow, Vrubel’s writing style, full of mystery and almost demonic power, took shape, 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 within. Color combinations do not reflect the reality of color relationships, but have symbolic meaning. He creates his own fantasy world, which bears little resemblance to reality.

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

“Lilac” Beautiful poems were written by Osip Mandelstam after one of the exhibitions: The artist depicted for us the deep swoon of lilacs and the sonorous steps of colors on the canvas, like scabs. He understood the thickness of the oil - His baked summer was warmed by the purple brain Expanded into stuffiness

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

“to awaken the soul with majestic images from the trifles of everyday life.” This Demon has a completely different face than the “Sitting One”: proud, unapproachable. But in his eyes there is melancholy, hopeless loneliness. M.Yu. wrote about his flight in his poem. Lermontov: And all around God’s world was wild and wonderful; but the proud spirit cast a contemptuous eye on the Creation of his God, And nothing was reflected on his high brow... Rejected by God, the Demon floats high above the earth, where there is no place for him, as in heaven. Vrubel left the work unfinished. A new idea was already emerging in his imagination... This tragedy of artistic worldview also determines Vrubel’s portrait characteristics: mental discord, breakdown in his self-portraits, wariness, almost fear, but also majestic strength, monumentality - in the portrait of S. Mamontov (1897, Tretyakov Gallery) , confusion, anxiety - in the fairy-tale image of “The Swan Princess” (1900, Tretyakov Gallery), even in his decorative panels “Spain” (1894, 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 trifles of everyday life.”

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

“Portrait of V.Ya. Bryusov". 1906 not completed Tretyakov Gallery Completely blind, he could draw the silhouette of a horse or someone else without lifting his hand from the paper, but he could not continue by lifting his hand off - 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 severe ones: “He entered with an unsteady, heavy gait, as if dragging his feet... a frail, sick man, in a dirty, wrinkled shirt. He had a reddish face; eyes - like those of a bird of prey; sticking hair instead of a beard. First impression: crazy!” But then Bryusov tells how the artist was transformed during his work. “In life, in all Vrubel’s movements, obvious frustration was noticeable... But as soon as Vrubel’s hand took a coal or a pencil, it acquired extraordinary confidence and firmness. The lines he drew were unmistakable. The creative power survived everything in him. The man died and was destroyed, but 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 like Vrubel depicted. Then beautiful poems appeared: From a life of deceit and fame Your dream draws you Into the vastness of the azure sky Or into the depths of sapphire waters. Inaccessible to us, invisible to us, Between the hosts of crying forces, Seraphim descend to you In the radiance of multi-colored wings. From the towers of the crystal country, Submissive to the fairy-tale fate, The Naiads, faithful to you, look slyly and sadly. And at the hour of the fiery sunset, Between the eternal mountains, you saw How the spirit of greatness and curses Fell into the gaps from a height. And there, in the solemn desert, Only you comprehended to the end The peacock's outstretched wings and the sorrow of the Edenic face! Symbolist poets admired the artist’s work; they understood and were in tune with the interpretation of the Demon and the figurative style of the works. Alexander Blok, a longtime admirer of the artist, speaking at the funeral service, said: “He left us his Demons, as spellcasters against purple evil, against the night. I can only tremble at what Vrubel and his ilk reveal to humanity once a century. We don’t see the worlds they saw.” Mikhail Alexandrovich Vrubel died on April 1(14), 1910, 54 years old. The immediate cause of death was pneumonia.

The development of culture in the first half of the 20th century was particularly influenced by: Urbanization. Migration. The difference in everyday life. Attachment disorder. Social upheaval. Scientific and technical progress. Under the influence of these factors, a revision of previous views on the universe and moral values ​​began. Under the influence of these factors, a revision of previous views on the universe and moral values ​​began.

Modernism: this is a general designation for all avant-garde movements in art of the first half of the 20th century; this is a general designation for all avant-garde movements in art of the first half of the 20th century; claimed to be the only true “art of modernity” or “art of the future”; claimed to be the only true “art of modernity” or “art of the future”; is an early stage in the development of avant-garde art. is an early stage in the development of avant-garde art.

Symbolism (from the French Symbolisme - sign) is one of the largest movements in the art of the late 19th and early 20th centuries. Time of origin: 2000 Time of origin: 2000 Place of origin: France. Place of origin: France. Features: Features: - polysemy of images, - polysemy of images, - play of metaphors and associations, - play of metaphors and associations, - mystery, - mystery, - mysticism. - mysticism. He developed in literature, music, painting, and theater arts. He developed in literature, music, painting, and theater arts.

Prominent representatives: In literature: C. Baudelaire (France) M. Maeterlinck (Belgium) V. Bryusov (Russia) A. Blok (Russia) In music: A. Scriabin (Russia) A. Scriabin (Russia) In painting: O. Beardsley (England). M. Ciurlionis (Lithuania) M. Vrubel (Russia) M. Vrubel (Russia) O. Redon (France) O. Redon (France) In dramaturgy: V. Meyerhold (Russia, USSR)

Odilon Redon French symbolist artist. French artist - symbolist. Years of life: Years of life: Features of creativity: Features of creativity: - creativity is divided into “black” and “color” periods; - creativity is divided into “black” and “color” periods; - close intertwining with impressionism and surrealism; - close intertwining with impressionism and surrealism; - mystical and even creepy. - mystical and even creepy.

Mikhail Aleksandrovich Vrubel Russian artist – symbolist, graphic artist, sculptor, decorator, illustrator. Russian artist – symbolist, graphic artist, sculptor, decorator, illustrator. Years of life: Years of life: Features of creativity: Features of creativity: - mysticism; - mysticism; - mystery; - mystery; - mystery. - mystery.

Impressionism (from the French impression - “impression”) is a movement in art. Time of origin: second half of the 19th century. Time of origin: second half of the 19th century. Place of origin: France. Place of origin: France. Most developed in painting. Most developed in painting. Features: Features: - reflection of the real world in motion; - reflection of the real world in motion; - multicolor. - multicolor.

Bright representatives. In painting: C. Monet (France) C. Monet (France) E. Manet (France) E. Manet (France) O. Renoir (France) O. Renoir (France) E. Degas (France) E. Degas (France) ) In music: C. Debussy (France) C. Debussy (France) M. Ravel (France) M. Ravel (France)

Fauvism (from the French fauve “wild”) is a direction in French painting Time of origin: Time of origin: end of the 19th century. – beginning of the 20th century end of the 19th century – beginning of the 20th century Features:Features: - emotionality, - emotionality, - high artistic expressiveness, - high artistic expressiveness, - color intensity, - color intensity, - refusal of chiaroscuro, - refusal of chiaroscuro, - simple outlines. - simple outlines.

Henri Matisse is a prominent representative of Fauvism. France.France. Years of life:Years of life: 1869 – – Artist, sculptor, animator.Artist, sculptor, animator.

Expressionism (from the Latin expressio “expression”) is a movement in European art. Time of origin: 2000 Time of origin: 2000 Place of origin: Germany. Place of origin: Germany. Features: Features: - expression of an emotional state, - expression of an emotional state, - flashiness and grotesqueness, - flashiness and grotesqueness, - anarchy, rebellion. - anarchy, rebellion. Representatives: Representatives: - Otto Dix (Germany) - Otto Dix (Germany) - Ernst Barlach (Germany) - Ernst Barlach (Germany) - Emil Nolde (Germany) - Emil Nolde (Germany)

Abstract Expressionism is a movement of artists who paint quickly and on large canvases. Time of origin: 2000 Time of origin: 2000 Place of origin: Europe, USA. Place of origin: Europe, USA. Features: Features: - non-geometric strokes with large brushes; - non-geometric strokes with large brushes; - dripping (squeezing paint onto canvas, drops of paint); - dripping (squeezing paint onto canvas, drops of paint); - spontaneity; - spontaneity; - improvisation. - improvisation.

Jackson Pollock (USA) is a prominent representative of abstract expressionism. “Alchemy” J. Pollock creates.

Surrealism (from the French Surrealisme - “super-realism”) is a movement in the art of the 20th century, which proclaimed the source of art to be the sphere of the subconscious. Time of origin: early 1920s. Time of origin: early 1920s. Place of origin: France. Place of origin: France. Features: Features: - a paradoxical combination of forms, - a paradoxical combination of forms, - the intrinsic value of the entertainment of phenomena, - the intrinsic value of the entertainment of phenomena, - alogism of compositions, - alogism of compositions, - contrasting combination of the ordinary and the miraculous. - a contrasting combination of the ordinary and the miraculous.

Bright representatives. In literature: A. Breton (France) B. Poplavsky (Russia) In cinema: L. Buñuel (France) J. Cocteau (France) Jan Svankmajer (Czech Republic) In painting: S. Dali (Spain) S. Dali (Spain) M .Ernst (Germany) R.Magritte (Belgium) R.Magritte (Belgium) M.Chagall (Russia) Photo: F.Halsman (Latvia, Germany)

Rene Magritte. Years of life: Years of life: 1898 – – Features of creativity: Features of creativity: - equanimity of style, - equanimity of style, - objects do not lose their objectivity, - objects do not lose their objectivity, - his work is a struggle with deceptive self-evidence. - his work is a struggle against deceptive self-evidence.

Salvador Dali is the brightest representative of surrealist art. Spain, France. Spain, France. Years of life: 1904 – Years of life: 1904 – 1989.

(Avant-garde, “advanced detachment”) is the general name of movements in European art that arose at the turn of the 19th – 20th centuries, expressed in a polemical and combative form. (Avant-garde, “advanced detachment”) is the general name of movements in European art that arose at the turn of the 19th – 20th centuries, expressed in a polemical and combative form. Its time frame: years. Its time frame: years.

About t French. Cube – “cube”. Time of origin: beginning of the 20th century. Features: - the world is expressed in the form of geometric signs and structures; - x is characterized by a distorted appearance of real objects and phenomena; - decomposition of complex forms into simple ones. Most of all he manifested himself in painting.

List of sources of illustrations: onlinedisa.ru onlinedisa.ru edudic.ru edudic.ru Images.yandex.ru Images.yandex.ru ru.wikipedia.org ru.wikipedia.org smalbay.ru smalbay.ru

Pablo Picasso. Pablo Picasso Spain. Spain. Artist, sculptor, graphic artist, ceramist, designer. Artist, sculptor, graphic artist, ceramist, designer. Founder of Cubism. Founder of Cubism.

P. Picasso “Guernica”. 1937 The reason for creating the painting was the event of April 1937, when German and Italian aircraft bombed and destroyed the small Basque town of Guernica. aircraft bombed and destroyed the small Basque town of Guernica.

From French Dada - “the incoherent babble of a newborn” Time of origin: 1916 (World War I) Features: Features: - irrationality. - irrationality. - denial of recognized canons in art. - denial of recognized canons in art. - cynicism. - cynicism. - lack of system. - lack of system. - destruction of aesthetics. - destruction of aesthetics. In the 20s he merged with surrealism. In the 20s he merged with surrealism.

Dada song. this song of a Dadaist with the heart of a true Dada, the knocking in the engine is not a problem, because the engine and he is Dada Count heavy autonomous rode in the elevator unharmed, he tore off his huge little finger and sent the elevator to Rome for this, the trouble in the heart is no longer Dada water is always needed water is always needed rinse your brains rinse brains dada dada pay off debts pay off debts What are the signs, What are the signs that are characteristic of Dadaism, can Dadaism be seen in this see in this song? song?

from lat. Supremus - “highest”, a type of abstract art. from lat. Supremus - “highest”, a type of abstract art. Origin: 1910s. Origin: 1910s. Features: Features: -combination of multi-colored planes from the simplest geometric shapes. - a combination of multi-colored planes from the simplest geometric shapes. - balanced asymmetry. - balanced asymmetry. - dominance of color over visual meaning. - dominance of color over visual meaning.
Russian, Soviet, avant-garde style in fine arts, architecture, photography, decorative and applied arts. Russian, Soviet, avant-garde style in fine arts, architecture, photography, decorative and applied arts. Time of origin: 1) 1910s. Time of origin: 1) 1910s. 2) s years. 2) s years. Features: -rigor. Features: -rigor. -geometricism. -geometricism. -conciseness. -conciseness. -solidity. -solidity.
Constructivism in literature. Osip Maksimovich Brik (1888 - 1945) - Osip Maksimovich Brik (1888 - 1945) - ideologist of Russian constructivism, ideologist of Russian constructivism, literary critic, playwright, critic, literary critic, playwright, critic, screenwriter. screenwriter. Published in the magazine "Lef", was the editor, together with V. Mayakovsky, of the magazines "Lef" and the magazines "Lef" and "New Lef" "New Lef"

One of the types of compositional techniques of the 20th century. A composition method (theoretically developed by A. Schoenberg), in which the musical fabric of a work is derived from a 12-tone series of a certain structure, and none of the 12 sounds of the chromatic scale is repeated. The series can appear both in a horizontal presentation (in the form of a theme melody), and in a vertical presentation (in the form of consonances), or both at the same time. It arose in the process of the development of atonal music. Various types of dodecaphonic technique are known. Of these, the methods of Schoenberg and J. M. Hauer acquired the most importance. The essence of Schoenberg's method of dodecaphony is that the melodic voices and harmonies that make up a given work are produced directly or ultimately from a single primary source - a selected sequence of all 12 sounds of the chromatic scale, interpreted as a unity. This sequence of sounds is called a series. Representatives of dodecaphony are Arnold Schoenberg, Anton Webern, Alban Berg, J. M. Hauer, Hindemith, Igor Stravinsky, Shostakovich, Pierre Boulez, etc.

Painting in the second half of the 20th century Prepared by
Student group Yu-21
Rybkina Veronica

Painting of the second half of the 20th century is inextricably
associated with the names of the French Andre Fougeron and
Fernand Leger, Italian Renato Guttuso,
American Rockwell Kent, Spaniard Pablo Picasso.
Those that originated before the war retained their influence
surrealism, which sought to combine common
fantastic concept with individual
realistic details, and abstract art,
praising the combination of free lines and colors.

Pablo Ruiz y Picasso
" Musician"
"Dove"

Salvador Dali is the largest representative of surrealism.

"Galatea with Spheres"
"William Tell"

American abstract artist Jackson
Pollock advocated the uncontrollable
mind art, creating several paintings in
in the form of combinations of colorful spots.

In the second half of the 20th century. in the USA and
Great Britain has established a current,
opposed to the abstract
art - pop art.
Portrait of Elizabeth Taylor,
drawn by pop art artist
Andy Warhol

As the main subject and image of pop
art used images of products
consumption. In fact, this is the direction in
art replaced the traditional
fine arts - on
demonstration of certain objects
popular culture or the material world

Proponents of Pop Art intended to return to
reality and reveal the “aesthetic
value" of mass household items. Pop Art
gave rise to many compositions in
urban style.

"Optical art" (op art) is active
connected repeated simples
geometric shapes with illusory
the effect of moving them in space.

Leading
representative of this
directions became
French Victor
Vasarely.

Optical art - art
visual illusions based on
features of visual perception
flat and spatial figures.
Optical illusion from the beginning
present in our visual
perception: the image does not exist
only on canvas, but in reality and in
eyes and the viewer's brain.

Optical illusions
help to detect
some
patterns
visual perception,
so they were given
close attention
psychologists.

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Presentation on the topic: 20th century painting

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STATE BUDGETARY EDUCATIONAL INSTITUTION OF THE NOVOSIBIRSK REGION “SECONDARY SCHOOL “REGIONAL CENTER OF EDUCATION”. SUBJECT: MHC. TOPIC: EXPERIMENTAL AESTHETICS AND THE EARLY RUSSIAN AVANT-GARDE. COMPLETED BY: 10TH CLASS STUDENTS EGOSHIN ALENA. 2010

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Innovation in all areas of art is the main slogan of the avant-garde. Avant-garde is a collective concept of the most “left-wing” experimental creative movements in the art of the “Silver Age”. In avant-garde movements, despite all their diversity, novelty and courage were common, which were considered a measure of creative talent and a standard of modernity. What was common was the artists' naive belief in the advent of a special and unusual historical time - an era of miracle technology capable of changing people's relationships with each other and with the environment. The problem of continuity did not seem to exist for supporters of the avant-garde. 19th century realism It seemed to young nihilists a “decrepit standard” that fetters freedom of expression. The main movements and figures of the avant-garde include Fauvism, Cubism, Abstract Art, Suprematism, Futurism, Dadaism, Expressionism, Constructivism, Metaphysical Painting, Surrealism, Naive Art; dodecaphony and aleatorics in music, concrete poetry, concrete music, kinetic art.

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Fauvism. Fauvism (from the French fauve - wild) is a movement in French painting and music of the late 19th - early 20th centuries. At the Paris exhibition of 1905, paintings by artists were demonstrated 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 Fauves 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 considered to be Matisse, who made a complete break with optical color. In his painting, a woman’s nose could well be green if this gave it expressiveness and composition. Matisse stated: “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 (Approvers of New Art) formed around him. The creations of Russian avant-garde artists of the beginning of the century blew up the outdated pro-Western visual consciousness.

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Cubism (French Cubisme) is an avant-garde movement in the fine arts, primarily in painting, that originated at the beginning of the 20th century and is characterized by the use of distinctly geometrized conventional 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”. Since pre-revolutionary times, Lentulov has also been actively collaborating with the theater, designing performances at the Chamber Theater (“The Merry Wives of Windsor” by Shakespeare, 1916), the Bolshoi Theater (“Prometheus” by Scriabin, 1919) and others. Aristarkh Vasilievich Lentulov

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In painting he was a Cézanne painter and in general had a strong attraction to Europe, and spoke excellent French. He was also influenced by his father-in-law, V.I. Surikov, with whom he first went to sketch in Spain; later they worked throughout Europe. In the early period, the artist sought to express the festivity of color characteristic of Russian folk art with the help of the constructive color of Paul Cézanne. He became famous for his still lifes, often executed in a style close to analytical cubism. P. P. KONCHALOVSKY Roses, 1955

Slide no. 11

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Slide no. 12

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In the visual arts, futurism was based on Fauvism, borrowing color ideas from it, and from Cubism, from which it adopted artistic forms, but rejected cubic analysis (decomposition) as an expression of the essence of a phenomenon and strived 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 using fairly simple techniques. Their paintings are characterized by energetic compositions, where the figures are fragmented into fragments and intersected by sharp angles, where flashing forms, zigzags, spirals, and beveled cones predominate, where movement is conveyed by superimposing successive phases on one image - the so-called principle of simultaneity.

Slide no. 13

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Slide no. 14

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Khlebnikov is one of the recognized leaders of the Russian avant-garde of the early 20th century, as he consciously was engaged in building a new art. Many futurists, including Mayakovsky, called him their teacher; assumptions have been made about the influence of Khlebnikov’s poetic language on the work of Andrei Platonov, Nikolai Aseev, Boris Pasternak. At the same time, Khlebnikov often remained in the shadows, since David Burliuk and Mayakovsky were mainly involved in organizational activities. Khlebnikov influenced the Russian and European avant-garde, including in the fields 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

Slide no. 15

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One of the types of compositional techniques of the 20th century. A composition method (theoretically developed by A. Schoenberg), in which the musical fabric of a work is derived from a 12-tone series of a certain structure, and none of the 12 sounds of the chromatic scale is repeated. The series can appear both in a horizontal presentation (in the form of a theme melody), and in a vertical presentation (in the form of consonances), or both at the same time. It arose in the process of the development of atonal music. Various types of dodecaphonic technique are known. Of these, the methods of Schoenberg and J. M. Hauer acquired the most importance. The essence of Schoenberg's method of dodecaphony is that the melodic voices and harmonies that make up a given work are produced directly or ultimately from a single primary source - a selected sequence of all 12 sounds of the chromatic scale, interpreted as a unity. This sequence of sounds is called a series. Representatives of dodecaphony are Arnold Schoenberg, Anton Webern, Alban Berg, J. M. Hauer, Hindemith, Igor Stravinsky, Shostakovich, Pierre Boulez, etc. DODECAPHONIA