Silver Age in Russky Artistic Culture

The silver age in the history of Russian art is the period of the highest lift, which, perhaps, can be compared with the rise of French art of the Epoch of Impressionism. The new style in Russian art appeared in the 80s. XIX century Under the great influence of French impressionism. Its flourishing is marked by the 19th and XX centuries. And by the end of the 10th year. XX century Modern style in Russian art with which the silver century is associated, is inferior to its dominant role in new directions.

For several decades, after its sunset, the art of the Silver Age was perceived as decades and clogless. But closer to the end of the second millennium, the assessment began to change. The fact is that there are two types of the heyday of spiritual culture. For the first characteristic powerful innovations and great achievements. Bright examples of this - Greek classic V-IV centuries. BC. and especially the European Renaissance. The golden age of Russian culture is the XIX century: A.S. Pushkin, N.V. Hogol, A.A.Ivanov, P.I. Thaikovsky, L.N. Tolstoy, F.M.Dostoevsky and many others. The second type is distinguished by the grace and the refinement of the values \u200b\u200bcreated by them, it does not like too bright light and is associated with the moon, and that, in turn, is traditionally identified with silver and femininity (as opposed to courageous sunshine and gold). The art of the Silver Age, obviously refers to the second type.

Silver eyelids in Russian culture - expansion concept. This is not only painting and modern architecture, not only the symbolistic theater that embodied the idea of \u200b\u200bthe synthesis of arts, when the artists and composers were working on the performance along with directors and actors, and especially poetry, which in the history of world literature entered the name " Poetry of the Silver Age. " And among other things, this is the style of the era, this is a lifestyle.

Back in the middle of the XIX century. Representatives of romanticism dreamed of creating a single style that could surround a person with beauty and thereby transform life. The means of art transformed the world - such a task was put in front of the creators of the beautiful Richard Wagner and Pre-Faelites. And at the end of the XIX century. Oscar Wilde argued that "Rather, life imites art, rather than the art of life." There was clear theatricalization of behavior and life, the game began to determine not only the nature of the artistic culture, but also the lifestyle of her creators.

Make a poem from your life - the overall, which was set in front of the heroes of the Silver Age. Poet Vladislav Khodasevich explains it like this: "The symbols first did not want to separate the writer from a person, a literary biography from personal. Symbolism did not want to be only an art school, literary flow. All the time, he rose to become a vital creative method, and in that was his deepest, perhaps, impossible truth; And in this constant desire proceeded, in essence, his whole story. It was a number of attempts, sometimes truly heroic, find an immaculately loyal alloy of life and creativity, a kind of philosopher's art of art. "

There were in this desire and shadow sides. Overly, mannered speech and gesturing, shocking costume, drugs, spiritualism - on the verge of centuries, all these were signs of the chosenness and gave rise to a kind of snobbery.

Literary and artistic bohemia, sharply opposing the masses, was looking for novelty, unusualness, sharpness of experiences. One of the ways to overcome the municipality of life was the occultism in a wide variety of its manifestations. Magic, spiritualism and theosophy attracted non-monomatics symbolists not only as a colorful material for artistic works, but also as real ways to expand their own spiritual horizons. Mastering magical knowledge, they believed, eventually makes a man God, and this path for everyone is absolutely individual.

In Russia, a new generation of literary and artistic intelligentsia appeared; She differed noticeably from the generation of "sixties" not only creative interests; Exterior differences were also plotted. Miriskusniki, Goluborozovets, Symbolists, Aqmeists paid serious attention to the costume and in general appearance. This tendency is called Russian dandyism; It is characteristic of people clearly western orientation.

"It is impossible to imagine K.A. Osov, a recognized master of gallant scenes," writes Yu.B. Damedenko, - thoroughly and lovingly recreated in his paintings "Spirit of the little things of adorable and air", dressed in a dull old-fashioned coat or dark working blouse. He wore SURTUKS special cut, extremely sophisticated ties. " M. Vrubel and V. Borisov-Musatov, L. Bakst, S. Dyagilev and other Miriskuseniki, dressed no less elegantly. This preserved a lot of evidence. But Mikhail Kuzmina is considered to be the king of St. Petersburg Estets of the Silver Age. Belobamenna did not lag behind Many employees of the editors of the magazines "Golden Fleece" and "Scales" also had full right to be called Russian dandy.

The theatricalization of life smoothly flowed into the carnival. In contrast to the pro-Western aeratedy Bohemian, the adherents of the national idea were dressed in rustic, and more often in Pseudo-modeling outfits. Stripping, silk shoes-spindlers, saffiana boots, lapties, etc. I am pleased to use Yesenin, Klyuev, Shalyapin, Gorky. Both Westerners and Slavophiles at the beginning of the century were equally susceptible to the desire to express their aesthetic principles in behavior and thus overcome the gap between life and art.

The silver age in Russia spawned a fair amount of all sorts of circles and assemblies for the elect. The founders of the "world of art" began their way with the organization of a mug of self-education, they called themselves autodidacts. At first meetings, reports were made on topics related to the development of fine art.

The most famous and at the same time very mysterious meeting in St. Petersburg began the beginning of the century

vyacheslav Ivanov - in the legendary tower. One of the deepest thinkers of the Russian symbolism of Vyach.Ivanov was fond of F. Nitsche philosophy and was a deep connoisseur of ancient culture; He especially interested in Dionysian Mysteries (his main work on this topic "Dionysis and Pradional International" was published only in 1923). Ivanova's apartment, located on the top floor of the corner house in a Tavrichesky street, over which the tower rummaged, became the place of collection of the artistic and literary elite of symbolism. Here were often K.Sovov, M. Dobuzhinsky, A.Blok, Z.Gippiius, F. Sologub, Sun. Meyerhold, S. Sudekin. Many rumors surrounded Ivanov's tower. It is reliably known that Dionysian players with the clutter and dressing in the ancient clothes were arranged in it. Here they took the spiritic sessions, the performances were played - impromptu, but the main reports were reports and discussions on various philosophical, religious, aesthetic issues. Vyach.Ivanov and his like-minded people preached the coming revelation of the Holy Spirit; It was assumed that a new religion would soon arise - the Third Testament (the first - the Old Testament - from the Father's God; the second - the New Testament is from God-Son; the third is from the Holy Spirit). Naturally, the Orthodox Church condemned such ideas.

This kind of circles and societies were perhaps in all cultural centers of the Russian Empire; Somewhat later they became an integral part of the life of Russian emigration.

Another sign of the theatricalization of the life of the silver century is the emergence of a set of literary and art cabaret. In St. Petersburg, the theaters-cabaret "Stray Dog" and "Total Comedians", in Moscow - "Bat Mouse" were most popular.

Organized in 1908 by Nikita Baliyev Cabaret "Bat" became especially famous in 1915, when he settled in the basement of the famous skyscraper - Nyrnusea houses in a large Nestrovsky alley. Artist Sergei Sudietikin painted the foyer, on his own sketch made a curtain. This theater-cabaret rose directly from the funny cabbage of Mkhat, where Nikita Baliyev started acting career. The repertoire of the "bat" consisted of theatrical miniatures, operetta and quite serious performances. The inventive audience at the tables over time was replaced by the audience in the ranks of the chairs. The artistic world of Moscow rested and entertained and entertained. In 1920, Baliyev with the best part of the troupe emigrated.

So, a single style, originating in Russia and who became synonymous with the concept of the Silver Age, was truly universal, for - let it reach not only all the areas of creativity, but also directly the life of the people of Fin de Siecle. Such is every big style.

Vrubel
1856 –1910

"Six-colored Seraphim" is one of the last works of Vrubel. He wrote her in the hospital, in a serious mental state. In his last picturesque works, Vrubel moves away from realism in the image of the shapes and space. It produces a completely special, characteristic of the mosaic mosaic, which enhances the decorativeness of the plastic solution. A feeling of vibration of spiritual light is created, permeating the whole picture.

Six-colored Seraphim, apparently inspired by the famous poem A.S. Pushkin "Prophet". The picture is perceived in one row with the "demon" and brings to later - the "head of the prophet" and "the vision of the Prophet of Ezekiel."

Serov
1865 –1911

Among Miriskusnikov Valentin Serov was closer to the realistic tradition. Perhaps he was the most significant of the Russian portrait of the silver century. He created portraits-paintings, where the character is presented in active interaction with the living environment.

This principle corresponds to one of the best works of the last period - the portrait of the princess Olga Konstantinovna Orlova. Here everything is built on symmetry and contrasts given, however, in a certain harmony. So, the head and the corps portrayed are transmitted very volume, and the legs are given silhouette, almost flat. The triangle in which the figure is inscribed, relies on the sharp corner; Frame paintings are aggressively aimed at the head of the model. However, the calm, absolutely confident expression of the face framed by a huge hat, as if stopping the sharp movements of the objects of a rich interior. Apparently, serov quite ironically belonged to portrayed.

Roerich
1874 –1947

Nikolay Roerich was not only an artist, but also a historian. Known and his interest in archeology. This was reflected in his art. Especially interested in the artist Slavic pagan antiquity and early Christianity. Roerich is close to the spiritual world of people of the distant past and their ability to seem to dissolve in the world of nature.

The picture "Alexander Nevsky is striking Birger's Yarla" - very successful stylization under ancient miniature. The defining role in the image is played by contour lines and local color spots.

Bakst
1866 –1924

Lion Bakst is greater than other Miriski, approached the European version of the modern. It is clearly visible in his work "Dinner". Flexible contour, generalized interpretation of the shape, color lubility, and flatness of the image indicate the effect on the Bakx of such Western artists as Edward Munch, Andres Tsorn and others.

Borisov Musatov
1870 –1905

In all the paintings, Borisov-Musatova finds an expression a romantic dream of beautiful harmony, absolutely alien to the modern world. He was a true lyricist, thinly feeling a nature that sensates a man's jelly with nature.

"The reservoir", perhaps the most perfect work of the artist. All major motifs of his creativity are present here: Ancient Park, "Turgenev Girls", a common static composition, a quiet color, an increased "tapestry" decorativeness ... In the images of the Heroine "Ponds", the sister and the wife of the artist are imprisoned.

In his masterpiece, Borisov-Musatov managed to portray the timeless state. The generalized-neutral name "reservoir" causes the image of universal harmonious natural human unity - non-dedication, and the image itself turns into a sign requiring silent contemplation.

The silver century of Russian culture turned out to be surprisingly short. It lasted about a quarter of a century: 1898-1922. The initial date coincides with the year of the establishment of the Unification of the World of Art, the foundations of the Moscow Art Theater (MHT), where the "Chaika" was set by A.P. Chekhov, and the ultimate - with the year of expulsion from the already Soviet Russia of a large group of philosophers and thinkers. The brevity of the period does not diminish its significance. On the contrary, over time, this significance is even increasing. It lies in the fact that Russian culture is not all, but only part of it - the first to realize the harmfulness of the development, whose value reference points are one-sided rationalism, definition and confusion. The Western world came to such awareness much later.

The silver age includes first of all two main spiritual phenomena: the Russian religious revival of the beginning of the XX century., Also known as the name "Friendly", I. Russian modernismpushing mainly and acmeism. It belongs to such poets as M. Tsveyev, S. Yesenin and B. Pasternak, who were not included in these currents. The artistic association "The World of Art" (1898-1924) should also be attributed to the artistic association, the creators of which were A. N. Benois and S. P. Dyagilev, which had rebuilt the glory to the organization of the famous "Russian seasons" in Europe and America.

As for, it represents a separate, independent phenomenon. In his spirit and aspirations, he diverges with the silver century. "Tower" Vyach. Ivanov and Tower V. Tatlin are too different to be together. Therefore, the inclusion of the Russian avant-garde into the Silver Age, which makes many authors, is due to the chronology rather than more substantial motives.

Expression and title "silver Age" It is poetic and metaphorical, not strict and not defined. He was invented by the representatives of the Silver Age themselves. At A. Akhmatova, it is present in the famous lines: "And the silver month is bright over the silver century ..." It is used by N. Berdyaev. A. White called one of his novel "Silver Pigeon". The editor of the Apollo magazine S. Makovsky used it to indicate the beginning of the beginning of the XX century.

In the title itself, there is a certain opposition to the previous, golden age, when Russian culture experienced a stormy flourished. She radiated bright, sunlight, lighting them the whole world, hitting it with its power, glitter and splendor. Art then actively invading public life and politics. It fully corresponded to the well-known formula E. Evtushenko: "The poet in Russia is more than the poet." On the contrary, the art of the silver century tends to be only art. The light emitted by them appears lunar, reflected, twilight, mysterious, magical and mystical.

Russian religious renaissance

Russian religious revival of the beginning of the XX century. represent such philosophers and thinkers like ON THE. Berdyaev, S.N. Bulgakov, PB Struve, S.L. Frank, P.A. Florensky, S.N. and E.N. Trubetsky.

The first four, which are central sobbinity figures, passed the difficult path of spiritual evolution. They started like Marxists, materialists and social democrats. By the beginning of the XX century. They made a turn from Marxism and materialism to idealism, significantly limited the possibilities of scientific explanation of the world and switched to the position of liberalism. This was evidenced by their articles published in the collection "Problems of Idealism" (1902).

After the revolution 1905-1907. Their evolution ended and they finally approved as religious thinkers. They expressed his new looks in the collection "Milestones" (1909). S. Bulgakov became a priest.

The concept of Russian religious revival was the fruit of understanding the centuries-old history of Russia and the West. She largely became the continuation and development of Slavophilia. Therefore, it can be defined as a new Slavic movie. She was also the development of ideas and views N.V. Gogol, F.M. Dostoevsky. L.N. Tolstoy and B.c. Solovyov.

N.V. Gogol influenced representatives of the bomochetia, primarily by its book, "chosen places from correspondence with friends," where he reflects on the historical destinies of Russia and calls for Christian self-sufficiency and self-improvement. As for F.M. Dostoevsky, his life itself was an instructive example for supporters of religious revival. The fascination of the revolution was tragic consequences for the writer, so he devoted his creativity to the search for Christian ways to human unity and fraternity. In this he saw the written of the Russian path.

Many ideas and especially the doctrine of non-violence L.N. Tolstoy was also consonant with the views of representatives of the religious renaissance. Teaching Vl. Solovyov on alliance, about Sofia - the world soul and eternal femininity, about the ultimate victory of unity and goodness over the hostric and disintegration constitute the common spiritual basis of the Russian religious rebirth and Russian modernism - especially symbolism.

Exactly Vl. Soloviev Developed the concept of the revival of Russia on the Christian foundations. He devoted his life to the tireless struggle against the hostile relationship of the intelligentsia to the Church, for overcoming the gap between them, called for mutual reconciliation.

Developing the ideas of their predecessors, representatives of the religious revival is very Critically evaluate the western path of development. In their opinion, the West gives an obvious preference to civilization to the detriment of culture. He focused his efforts on the external arrangement of being, on the creation of railways and communications, comfort and vitality. At the same time, the inner world, the man's soul was in oblivion and launch. Hence the triumph of atheism, rationalism and utilitarianism.

It is these parties, as noted by representatives of the bomochetia, were adopted by the Russian revolutionary intelligentsia. In his struggle for the benefit and happiness of the people, his liberation she chose radical funds: revolution, violence, destruction and terror.

Supporters of religious renaissance saw in the revolution 1905-1907. A serious threat to the future of Russia, they perceived it as the beginning of the national catastrophe. Therefore, they appealed to the radical intelligentsia, with a call to renounce the revolution and violence as the means of the struggle for social justice, to abandon Western atheistic socialism and unique anarchism, recognize the need to approve the religious and philosophical foundations of the worldview, to reconcile with the updated Orthodox Church.

Russia's salvation was seen in the restoration of Christianity as the foundation of the whole culture, in the revival and approval of the ideals and values \u200b\u200bof religious humanism. The path to solving problems of social life for them was lying through personal self-improvement and personal responsibility. Therefore, the main task, they considered the development of an identity teaching. As perpetual ideals and values \u200b\u200bof man, representatives of God examined holiness, beauty, truth and good, understanding them in a religious and philosophical sense. The highest and absolute value was God.

With all its attractiveness, the concept of religious revival was not immaculate and invulnerable. Fairly reproaches the revolutionary intelligentsia for CE Roll towards the external, material conditions of life, representatives of God designed to another extreme, proclaimed the unconditional championship of the spiritual principle.

Forgetting material interests I make a person's way to your happiness no less problematic and utopian. With regard to Russia, the question of socio-economic conditions of life had exceptional sharpness. Meanwhile, the locomotive of the history of Western type has long been on the territory of Russia. By gaining speed, it carried its immense expanses. To stop it or change its direction, treated tremendous efforts and significant changes in the Company's device.

The call for refusal to revolution and violence needed support, in a counter movement by the official authorities and the rule of the elite. Unfortunately, all the steps taken in this regard far did not fully meet the historical requirements. The authorities did not feel the sharp necessity of change, showed unshakable conservatism, they wanted to maintain the Middle Ages at any cost.

In particular, Tsar Nicholas II, being a highly educated person who knows five foreign languages, which had a subtle aesthetic taste, was at the same time in its views a completely medieval man. He was deeply and sincerely convinced that the public device existing in Russia is the best and does not need any serious updating. From here, halfness and inconsistency in conducting inspired reforms. From here, distrust of such reformers like S.Yu. Witte and P.A. Stolypin. The main attention to the royal family focused on the health problem of the heir, to solve which she surrounded themselves very dubious personalities like G. Rasputin. The World War I began to exacerbate the situation.

In general, it can be said that extreme radicalism to a certain extent was generated by extreme conservatism. At the same time, the social base of the opposition to the existing situation of things was very broad. The revolutionary version of the resolution of the muscles and contradictions was divided not only to radically tuned movements and, but also more moderate.

Therefore, the appeal of supporters of the religious revival to get on the Christian path to solving acute life issues did not find the desired support. This newer did not mean that he was not heard and remained glazing blatant in the desert. No, he was heard, but did not support, rejected.

The release of the collection "Milestones" caused great interest. For only one year, he endured five editions. Over the same time, more than 200 responses appeared in the press, five collections were published on the discussion of the issues of "VEX". However, the overwhelming majority of reviews were negative. Not only revolutionaries and left opposition, but many right, including liberals, were opposed to new housekeys. In particular, the leader of the party of Cadets P.N. Milyukov traveled around the country with lectures, which sharply criticized the housekeepers, calling them reactionary.

It should be noted that even in church-orthodox circles of the present and quite wide oncoming movement did not work. The sacred synod first supported those held in 1901-1903. Religious and philosophical meetings, and then forbade them. The church was quite wary of the many new ideas of the participants in religious rebirth, doubted their sincerity, and referred to the criticism in their address undeserved and perceived painfully.

As I noted 3. Hippius, during the meetings, a complete difference was found in the views of representatives of the secular and church world, and some participants in the meetings only assured in their mutual negative estimates. Thus, the reaction of contemporaries showed that the expressants of the religious and philosophical revival were much ahead of their time. However, their undertakes and appeals were not in vain. They contributed to the revival of spiritual life, strengthening the interest of the intelligentsia to the Church and Christianity.

Russian culture of the late XIX - early XX centuries. Received the name of the Silver Age (Termin N. A. Berdyaeva). During this period there was a meeting of two different cultural flows: on the one hand, traditions ranging from the XIX century, on the other hand, the tendency of search for non-traditional forms appears.

Characteristic for this era was that schools that resulted from socio-political topics in art were often considered as opposition representatives (A. Blok and A. White, M. Vrubel, V. Meyerhold). Those who consciously continued the classical traditions were considered as expressives of common-ceratic ideas.

At the turn of the centuries, many art associations appeared in Russia: "The world of art", the Union of Russian artists, etc. There were so-called artistic colonies - Abramtsevo and Talashkino, who gathered under the roof of painters, architects, musicians. The architecture put forward the modern style. The characteristic feature of the culture of the beginning of the XX century was the appearance and rapid spread of urban mass culture. The most striking example of this phenomenon was the unprecedented success of the new type of spectacle - cinema.

The growth of the industry gave birth to the demand for educated people. However, the level of education changed slightly: the census of 1897 recorded 21 competent person per 100 inhabitants of the Empire, and in the Baltic States and Central Asia, among women and in the village this level was lower. State allocations to the school increased from 1902 to 1912. more than 2 times. From the beginning of the century, the question of compulsory primary education is raised (on the legislative level it was adopted in 1908). After the revolution 1905-1907. A certain democratization of higher education has occurred: the elections of the deans and rectors were allowed, student organizations begin to form.

The number of medium and higher educational institutions increased quickly: by 1914 there were more than 200. Saratov University (1909) was founded. In total, in the country by 1914 there were about 100 universities with 130 thousand students.

In general, the education system did not comply with the needs of the country. There was no continuity between the various levels of education.

In the field of humanitarian sciences at the beginning of the 20th century. It happens an important fracture. Scientific societies began to unite not only the scientific elite, but also lovers, all those who wish to engage in research activities. The most famous were:

1) geographical;

2) historical;

3) Archaeological and other societies.

The development of natural science was held in close communion with world science.

The biggest phenomenon is the origin of Russian religious and philosophical thought, the attribute of Russian philosophy.

Russian historical school at the beginning of the XX century. won world recognition. Studies of A. A. Chematov on the history of Russian chronicles, V. Klyuchevsky (the Doperer period of Russian history) were widely known in the world. Achievements in historical science are also associated with the names:

1) P. N. Milyukova;

2) N. P. Pavlova-Silvansky;

3) A. S. Lappo-Danilevsky and others.

The modernization of the country demanded a fresh influx of strength to the sphere of natural science knowledge. New technical institutions opened in Russia. World-class scientists were a physicist P. N. Lebedev, mathematics and mechanics N. E. Zhukovsky and S. A. Chaplygin, Chemists N. D. Zelinsky and I. A. Heel. Moscow and St. Petersburg became recognized by the scientific capitals of the world.

At the beginning of the century, the geographical "opening" of Russia continued. Huge unexplored expanses encouraged scientists and travelers to take risky expeditions. V. A. Obuchev, G. Ya Sedova, A. V. Kolchak received wide fame.

In a number of famous scientists of this time costs V. I. Vernadsky(1863-1945) - Encyclopedist, one of the founders of geochemistry, the teachings on the biosphere, which subsequently formed the basis of his ideas about the noosphere, or the sphere of the planetary mind. In 1903, the work of the creator of the theory of rocket movement was published K. E. Tsiolkovsky(1875-1935). Work was essential N. E. Zhukovsky(1847-1921) and I. I. Sikorsky(1889-1972) in aircraft, I. P. Pavlova, I. M. Sechenovand etc.

The development of literature went in line with the traditions of Russian classical literature XIX century, the living personification of which was L. N. Tolstoy. Russian literature began XX century. Presented by the names A. P. Chekhov, M. Gorky, V. G. Korolenko, A. N. Kupina, I. A. Bunin, etc.

Start XX century. It was a flourishing of Russian poetry. New flows were born: Akmeism (A. A. Akhmatova, N. S. Gumilev), symbolism (A. A. Blok, K. D. Balmont, A. White, V. Ya. Bryusov), Futurism (V. V. Khlebnikov, V. V. Mayakovsky) and others.

This period was characterized by such features as:

1) modernist thinking of creators of culture;

2) the strong influence of abstractionism;

3) patronage.

Of great importance in the life of Russian society acquired periodic printing. The liberation (1905) of the press from preliminary censorship contributed to an increase in the number of newspapers (end of the XIX century. - 105 daily newspapers, 1912 - 1131 newspaper in 24 languages), the growth of their erases. The largest publishers - I. D. Sotina, A. S. Suvorin, "Knowledge" - produced cheap editions. Each political course had its own printing bodies.

The theater life was saturated, where the leading positions occupied the Big (Moscow) and Mariinsky (Petersburg) theaters. In 1898, K. S. Stanislavsky and V. N. Nemirovich-Danchenko founded the Moscow Art Theater (originally - MHT), on the stage of which the plays of Chekhov, Gorky, etc. were put on the scene.

At the beginning of the XX century. The attention of the musical public was drawn to the work of such talented Russian composers, as:

1) A. N. Scriabin;

2) N. A. Rimsky-Korsakov;

3) S. V. Rachmaninov;

4) I. F. Stravinsky.

Especially popular among various layers of urban population used appeared at the turn of the XIX-XX centuries. cinema; In 1908, the first Russian gaming picture "Wall of Razin" was released. By 1914, over 300 paintings were issued in the country.

In the visual arts existed a realistic direction - I. E. Repin, a partnership of mobile exhibitions - and avant-garde directions. One of the trends was to appeal to the search for the national original beauty - the work of M. V. Nesterov, N. K. Roerich, and others. Russian impressionism is represented by the works of V. A. Serov, I. E. Grabar (Union of Russian artists), K. A . Korovina, P. V. Kuznetsova ("Blue") IDR.

In the first decades of the XX century. Artists united for the arrangement of joint exhibitions: 1910 - the exhibition "Bubnovsky Valet" - P. P. Konchalovsky, I. I. Mashkov, R. R. Falk, A. V. Lentulov, D. D. Burluk, and others. Among famous artists of this period - K. S. Malevich, M. 3. Chagall, V. E. Tatlin. Contacts with Western art were a major role in the formation of artists, a kind of "pilgrimage to Paris".

A prominent role in the development of Russian art was played by the artistic direction "World of Art", which emerged at the end of the XIX century. In Petersburg. In 1897-1898 S. Dyagilev organized and held three exhibitions in Moscow and, providing financial support, created in December 1899. The World of Art's Magazine, which gave the name.

"The world of art" opened the Finnish and Scandinavian painting, English artists for the Russian public. As a whole literary and artistic association "The World of Art" existed until 1904. The resumption in 1910 of the group could no longer return its former role. Artists A. N. Benua, K. A. Somov, E. E. Lancere, M. V. Dobuzhinsky, L. S. Bakst, and others. An important feature of Miriskusnikov was universalism - they performed as critics, art historians , Theater directors and decorators, writers.

Early works M. V. Nesterova(1862-1942), which considered himself a student of V. G. Perova and V. E. Makovsky, were made on historical stories in a realistic manner. The central work of Nesterova - "Vision of the Pattern of Bartholomew" (1889-1890).

K. A. Korovina(1861-1939) are often called "Russian Impressionist". Indeed, from all Russian artists of the 19th-XX centuries. He most fully learned some of the principles of this direction - the joyful perception of life, the desire for the transfer of fleeting sensations, a thin game of light and color. A large place in the work of Korovin occupied the landscape. The artist wrote and Paris boulevards ("Paris. Kapuchin Boulevard", 1906), and spectacular sea views, and the Middle Russian nature. Korovin worked a lot for the theater, made up performances.

Art V. A. SEROVA(1865-1911) It is difficult to attribute to a specific direction. In his work there is a place and realism, and impressionism. Most of the sulfur became famous as a portraitist, but was also an excellent landscape system. Since 1899, Serov took part in the exhibitions of the Association "World of Art". Under their influence, serov became interested in the historical theme (the era of Peter I). In 1907, he went on a trip to Greece (the paintings "Odyssey and Navitsy", "Abduction of Europe", both of 1910).

Widely known great Russian artist M. A. Vrubel(1856-1910). The originality of his picturesque manner was in an infinite crushing of the shape on the verge. M. A. Vrubel is the author of tile fireplaces with Russian heterities, benches with mermaids, sculptures (Sadko, Snow Maiden, "Berendei", etc.).

Native Saratov V. E. Borisov Musatov(1870-1905) worked a lot on the please (in nature). In her etudes, he tried to capture the air and color game. In 1897 he wrote an Etude "Agava", a "Self-portrait with a sister" appeared in a year. His characters are not specific people, the author himself came up with them and dug in Camisoles, white wigs, dresses with crinolines. The paintings opens the poetic, idealized world of old quiet "noble nests", far from universal confusion of the modern turning age.

In the architecture, a new style was distributed - modern with his own desire to emphasize the appointment of residential and public buildings. He used to use:

1) frescoes;

2) mosaic;

3) stained glass windows;

4) ceramics;

5) sculpture;

6) New designs and materials.

Architect F. O. Shechtel(1859-1926) became the singer of Modern style, with his name, the flowering of the architecture of this style in Russia is connected. For his creative life, he built extraordinarily many: urban mansions and cottages, multi-storey residential buildings, shopping and industrial buildings, banks, printing houses and even baths. In addition, the master issued theatrical performances, illustrated books, wrote icons, designed furniture, created church utensils. In 1902-1904 F. O. Shechtel rebuilt the Yaroslavl railway station in Moscow. The facade was decorated with ceramic panels made in the Brahms workshop, the interior - paintings by Konstantin Korovin.

In the 1st decade of the XX century, during the heyday of modern, in the architecture began to revive interest in the classics. Many masters used elements of a classic order and decor. So there was a special stylistic direction - neoclassicism.

At the turn of the XIX-XX centuries. A new generation of sculptors have been formed, which opposed the realistic direction. Now preference has been given to not careful detail of the shape, and the artistic generalization. Even the attitude towards the surface of the sculpture, which retained traces of the fingers or stacks of the wizard. Testing interest in the peculiarities of the material, they often preferred wood, natural stone, clay and even plasticine. Especially stand out here A. S. Golubanka(1864-1927) and S. T. Konenkov,who have become world famous sculptors.

At the turn of the XIX-XX century, an unprecedented rise of Russian culture occurred. Usually, hearing the phrase "Silver Age", remember the literature, in particular about the poetry of the block, Brysov, Gumilyov, etc. However, not only the literature Slary this period.

He is truly comparable to the "golden age" - century Pushkin.

Borders of the silver century

The boundaries of this period are also determined in different ways.

• Actually, with the beginning of the "silver century" there is practically no discrepancies - this is 1892 (manifests of modernists and the collection of D.Mergekovsky "symbols").
• But the end of this period, the revolution of 1917 is considered, others - 1922 (a year after the death of Gumilyov, the death of the block, a wave of emigration).

Distinctive signs and achievements of the Silver Century

So what is wonderful and interesting is this time?

This age in Russia was marked by a bright manifold in all directions of the cultural life of society.

Russian philosophy

Silver century philosophy

Silver century theater

The silver century of Russian culture was reflected in the development of theatrical art. First of all, it is the system of K. Stanislavsky and Nemirovich-Danchenko, but also Alexandrinsky and chamber theaters, theater of V.Komissarzhevskaya.

Painting

Painting and sculpture of the silver century

New directions are characteristic of both painting and sculpture (, "Union of Russian Artists", "Blue Rose" and others, works by P. Trubetsky, A.Golubkina).

The world fame receives opera singers (F. Shajapin, L. Sobinov, A. Nezhdanov), dancers ().

Russian music

Music silver century

Damage symbolism

The main features of this literary flow:

• dvueli.(the world is real and the world of the other),
• special role symbolas not to express a concrete way
• special sound of sound
• mystical and religious motifs and etc.

The names of V. Brysov, A. Bloka, A. Bel and others are well known.

b) Russian aquism

(from Greek. Akme - Top, Top, bloom) - rejection and continuation of Russian symbolism.

Fights of akmeism

• philosophy action
• peace acceptance
• the experience of the subject and substance of this world, denial of mysticism,
• image painting,
• masculinity of the perception of peace and life,
• the weight of the specific value of the word and etc.

The first among the equal was undoubtedly N.Gumilev. As well as S. Rodetsky, M. Zenkevich, A. Aakhmatova, O. Mandelstam.

c) Russian futurism

To some extent was a continuation of European futurism. With its origin, there was no single center (it was represented by four hostile groups of Moscow and St. Petersburg)
Features of this direction:

• faithful to the future
• feeling of future change,
• denial of classic heritage
• urbanism
• searches for new words, word, new language and etc.

V.Hlebnikov, D.Burlyuk, I. Northernik, etc.

Our presentation:

The specifics of this century lies in the fact that the work of Russian artists of this period combined not only the traits of realism, but also:

• romanticism (M.Gorky),
• naturalism (P. Boborukin),
• symbolism (L.andreeva)

Nice was a century !!! Silver Age of the Great Russian Culture!

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Purpose: give students a common idea of \u200b\u200bthe poetry "Silver Century"; determine the basic principles of modernism poetry; reveal the social essence and artistic value of new directions in the art of the late XIX-early XX centuries; improve expressive reading skills; Educating moral ideals, awakening aesthetic experiences and emotions.

Equipment: Textbook, texts of poems, portraits of the poets "Silver Century", Table.

Type of lesson:the lesson is a learning of new knowledge and the formation of skills and skills.

Predicted results:students constitute the abstracts of the teacher's lectures; participate in conversation for the previously studied material; define the basic principles of modernism; expressively read and comment on the poems of the "Silver Century" poets, revealing their artistic peculiarity; Interpretate selected poems.

DURING THE CLASSES

I. Organizational stage

II. Actualization of reference knowledge

Poetic minute

Reading teacher poem B.A. Slutsky.

Walled century

Not machines - motor
called those cars,
easily now with whom -
And then wonderful were.
Aviator Pilot,
Airplane - Airplane,
Even Sveta - photo
called in that century strange
What happened randomly
between twentieth and nineteenth,
nineteen began
And ended in the seventeenth.

• What age does the poet say about? Why does he call for a century of incomplete two decades? What inventions and scientific theories, in addition to those mentioned by B. Slutsk, is this era?
• "Silver Age" ... What thoughts arise in your consciousness when you hear these words? What associations causes the sound of these words?

III. Motivation of educational activities. Message themes and objectives of the lesson.

The word teacher

XX century ... in which images, ideas, authors, literary forms, it imprinted? At the beginning of the twentieth century There is a flourishing of Russian religious philosophical thought. In 1909, a group of philosophers and publicists (P. Struv, N. Berdyaev, S. Bulgakov, S. Franc) released a collection of "Mahi". It includes stabs about the Russian intelligentsia and its choice. The books of the book warned about the defeatibility of the revolutionary path for Russia.

V. Solovyov, N. Berdyaev, S. Bulgakov, V. Rozanov, N.Fadorov had a huge impact on the development of different spheres of culture.

The time of turn of the XIX - XX centuries is called the "silver age" of Russian poetry. This is the period of unprecedented cultural lifting, the heyday of poetry and philosophy, literary and religious sequestos. In poetry there are different directions and schools.

And today at the lesson we will learn about the phenomenon of the "Silver Century", reveal the artistic value of new directions in the art of the late XIX - early XX centuries.

IV. Work on the lesson

1. Lecture of teacher (Students make up theses.)

So, we meet with the whole universe, the new world - the "silver age". There are many new talented poets, many new literary directions. Often called them modernistor decadent.

The word "modern" translated from French means "the newest", "modern". Different currents were presented in Russian modernism: symbolism, acmeism, futurism, etc. Modernists denied social values, opposed realism. Their goal was to create a new poetic culture promoting the spiritual improvement of humanity.

The name "Silver Age" firmly secured over the period of development of Russian art of the end of the XIX - early XX centuries. It was time striking the abundance of the names of artists who opened in the art of truly new ways: A.A. Akhmatova and O.E. Mandelshtam, A.A. Block and V.Ya. Bruisov, D.S. Merezhkovsky and M.Gorky, V.V. Mamakovsky and V.V. Khlebnikov. This list will continue the names of the painters (M.A. Vrubel, M.V. Nesterov, K.A. Korovin, V.A. Serov, K.A. Somov, etc.), composers (A.N. Scriabin, I. F. Stravinsky, S.S. Prokofiev, S.V. Rachmaninov), philosophers (N.A. Berdyaev, V.V. Rozanov, G.P. Fedotov, P.A. Florensky, L.I. Sests).

The generals of the artists and thinkers were the feeling of the beginning of the new era in the development of mankind ... Today, the "silver age" of Russian culture is called a historically short period at the turn of the XIX - XX centuries, marked by an extraordinary creative approach in poetry, humanitarian sciences, painting, music, theater, theater . For the first time, this name was proposed by N. A. Berdyaev. This period is called "Russian Renaissance". The question of the chronological boundaries of this phenomenon in literature is not completely solved. The era influenced the conditions for the existence of culture in general and literature in particular. There are many flows, groups, groups. In parallel, there were different aesthetic directions. Along with realism, modernism was greatly distributed.

Realism remained the most influential literary direction at the turn of the XIX - XX centuries. Writers of this direction continued the traditions of the Great Russian literature of the XIX century. The brightest of them is I. Bunin, A.Kuprin, I.Shelev, B. Zaitsev, V. Series, M. Gorky.

Modernist flows usually include symbolism, akmeism, futurism.

Symbolism is the first and largest of the modernist flows that emerged in Russia. The beginning of the theoretical self-determination of the Russian symbolism was found by D. S. Merezhkovsky. The new writing agent was to "huge transitional and preparatory work". The main elements of this work D. S. Merezhkovsky called "mystical content, symbols and expansion of artistic impressionability." The central place in this triade of the concepts was reserved symbol. What is the "symbol"? This is a word-sign, which is always wider than the designated, the sign objective or conditional, through which the poet wants to express the essence of the phenomenon.

From the very beginning of its existence, symbolism turned out to be in an inhomogeneous flow: several independent groups took shape in its departure. By the time of formation and on the peculiarities of the worldview position, it is customary to allocate two main groups of poets in Russian symbolism. Adherents of the first group debuting in the 1890s are called "senior symbols" (V.Ya. Bryusov, K.D. Balmont, D.S. Merezhkovsky, Z.N. Hippius, F.Sologub, etc.). In the 1900s. New forces were joined in symbolism, significantly updated the appearance of the flow (A.A. Block, Andrei White, V.I. Ivanov, etc.). The adopted designation of the "second wave" symbolism is "youngworizer". The "seniors" and "younger" symbolists share not so much age as the difference between the maidos and the direction of creativity (Vyach. Ivanov, for example, older V. Brysov by age, but showed himself as a second-generation symbolist).

Symbolism enriched Russian poetic culture with many discoveries. The symbolists gave the poetic word mobility and multi-consciousness, taught Russian poetry to open additional shades and the verge of meaning in the Word. Symbolism tried to create a new philosophy of culture, sought, having passed the painful period of reassessment of values, to develop a new universal worldview. Overcoming the extremes of individualism and subjectivism, symbolists at the dawn XX century. In a new way, they had a question about the public role of the artist, began to search for such forms of art, the comprehension of which could reiterate people.

In the early 1910s There was a new literary course - axism.It was genetically connected with symbolism. Poets N.Gumilev, S. Rodetsky, O. Madelshtam, A. Aakhmatov united in the group "Platzheh Poets". In his work, they opposed the mystical aspirations of the symbolism "Element of Nature"; Declarated the concrete sensual perception of the "real world", the return of the word of its initial meaning.

Axism, as N.S. Gumilyov, there is an attempt to re-open the value of human life, refusing the "chaste" desire of symbolists to know unrecognizable.

Futurism, as well as symbolism, was an international literary phenomenon (from Lat. futurum- "Future") - the general name of the artistic avant-garde movements of the 1910s - early 1920s., First of all in Italy and Russia.

The time of the birth of Russian futurism is 1910, when he saw the light of the first futuristic collection of "Sadok judges". The most influential poets of this flow were D. Berryuk, V.Hlebnikov, V.Makovsky, A.Krucheny, V.Kamensky.

There were several futuristic groups: ego paturistic(I.Severyanin, I. Rignatev, K. Volmov, etc.); an association "Centrifuge" (B. Pasternak, N.Aseev, K. Bolshakov, etc.).

Futurism as a stream in domestic poetry originated by no means in Russia. This phenomenon is entirely introduced from the West, where it originated and was theoretically justified. Futurists preached the destruction of the forms and conventions of art for the sake of merging it with an accelerated life process of the XX century. They are characterized by a worship before action, movement, speed, force and aggression; exalting itself and contempt for weak; The priority of strength, soaking with war and destruction approved. Futurists wrote manifests, held evenings on which these manifestos were read from the scene and only then published. These evenings were usually ended with hot spores with the public, which were in fights. So the course has received its scandalous and very widely known. Futurist poets (V.V. Mayakovsky, V.V. Khlebnikov, V.V. Kamensky) opposed himself to classical poetry, tried to find new poetic rhythms and images, create a poetry of the future.

2. Checking the level of perception of heard: literary (crossword) dictation