Complex political and historical events of the end of the 19th century. caused a variety of forms of culture development. Based on the best traditions of the previous period, Russian culture has gained new trends demanding to comprehend moral and social problems. It was necessary to search for new methods and artistic techniques.

By the beginning of the 20th century. Russia remained a country with a low level of literacy (38-39%, according to the Census of 1913). The degree of literacy was unequal depending on the regions, men were literate women, urban residents formed by representatives of the peasantry. The education system included three steps: initial (church-parish, folk schools), secondary (gymnasium, real schools), Higher (universities, institutes).

The development of primary education began to occur on the initiative of the democratic part of society. Schools of a new type began to occur - cultural and educational work courses, educational communities and folk houses.

The growing need for specialists has led to the development of higher and technical education, the number of higher educational institutions has increased - by 1912, 16 universities operated. Private education received distribution (University of Shanyavsky, 1908-1918), 30 higher educational institutions for women were opened. By the number of literature published, Russia went to the leading place in the world. In 1913, 874 newspapers and 1263 magazines were published. There was a network of scientific, special, commercial and educational libraries. The largest publishers were A.S. Suvorin in St. Petersburg and I.D. Sotin in Moscow.

At the turn of the centuries, traditional and new areas of science developed. In physics I.E. Zhukovsky became the founder of hydro and aerodynamics, K.E. Tsiolkovsky developed the theoretical foundations of the airplane. Such outstanding scientists working as physiologists I.P. Pavlov, I.M. Sechenov, I.I. Mechnikov, Botany K.A. Timiryazev, I.V. Michurin, physicist P.N. Lebedev, Inventor Radiocommunication A.S. Popov, Philosophers N.A. Berdyaev, S.N. Bulgakov, V.S. Solovyov, P.A. Florensky, historians V.O. Klyuchevsky, P.N. Milyukov.

The dominant in Russian literature was a realistic direction. Continuing the dramatic traditions of their predecessors, outstanding writers opened at the turn of the centuries: L.N. Tolstoy, I.A. Bunin, V.V. Veresaev, A.I. Kuprin, A.M. Gorky, A.P. Chekhov.

This period was the silver age of Russian poetry, which acquired new forms and developed in many directions (modern, symbolism, futurism, aestheticism). Pleiad of talented poets reflected in their works a deep social crisis of Russian society (V. Bryusov, K. Balmont, F. Sologub, D. Merezhkovsky, A. Block, A. White, N. Gumilev, A. Akhmatova, O. Mandelstam, and . Northerner, N. Aseev, B. Pasternak, B. Mayakovsky).

The largest reformer of the Russian Theater K.S. Stanislavsky together with V.I. Nemirovich-Danchenko in 1898 founded the Moscow Art Theater, the theatrical scene enriched innovative techniques. Their activities marked the beginning of a new stage in the development of scenic realism. In realistic style, worked on the stage of the St. Petersburg Drama Theater, created in 1904. V.F. Commissioner. Musical traditions on the stage of the Bolshoi and Mariinsky theaters continued by representatives of the Russian vocal school: F.I. Shalyapin, L.V. Sobinov, N.V. Nezhdanova. It was the time to create by Russian composers (S.V. Rakhmaninov, I.F. Stravinsky, N.A. Rimsky-Korsakov) of outstanding works.

In the visual arts, talented artists (I.E. Repin, V.M. Surikov V.M. Vasnetsov) continued to develop realistic traditions. Friendly worked late "Mobile" C.A. Korovin, N.A. Kasatkin, landscape players A.K. Kindji, V.D. Polenov, Batalist V.V. Vereshchagin.

Architects continued to create in the style of Modern, paying particular attention to the functional purpose of the designed buildings (F. Shechtel - Yaroslavl Station, A.V. Shushev - Kazan station, V.M. Vasnetsov - Tretyakov Gallery).

abstract

According to cultural studies

on this topic

"Russian culture of the late 19-

early 20th century "

Grishin Sergey

1. Introduction.

2. Painting of the late XIX - early XX century: difficulties and contradictions.

4.Clutter: Search for a new hero.

5. Symbolism in literature at the turn of the century.

6. Trade in literature.

7.Music: Changing priorities.

8. The heyday of theaters.

9.Connect

1. Introduction.

End of the XIX - The beginning of the 20th century was marked by a deep crisis that covered the entire European culture, which was a consequence of disappointment in previous ideals and a feeling of approaching the death of an existing socio-political system.

But the same crisis gave rise to the Great Epoch - the era of the Russian cultural renaissance of the beginning of the century - one of the most sophisticated epochs in the history of Russian culture. It was the era of creative lifting of poetry and philosophy after the decline period. It was at the same time the epoch of the emergence of new shower, new sensitivity. The souls were revealed for all kinds of mystical trends, and positive and negative. We have never been so strong with us all kinds of gloom and mixing. At the same time, the Russian souls captured the premonitions of impending disasters. The poets saw not only the coming dawns, but something terrible, impending on Russia and the world ... Religious philosophers penetrated apocalyptic sentiment. The prophecies about the closest end of the world may have really mean not the approach of the end of the world, but the approach of the end of the old, imperial Russia. Our cultural renaissance occurred in the pre-revolutionary era, in an atmosphere of an impending huge war and a huge revolution. There was nothing more stable. Historical bodies melted. Not only Russia, but the whole world passed into a liquid state ... During these years, many gifts were sent. It was the era of awakening in Russia of an independent philosophical thought, the heyday of poetry and exacerbation of aesthetic sensitivity, religious concern and the search, interest in mysticism and the occultism. New souls appeared, new sources of creative life were opened, saw new dawns, combined the feelings of sunset and death with a feeling of sunrise and hopefully for the transformation of life. "

In the era of cultural renaissance, there was a "explosion" in all areas of culture: not only in poetry, but also in music; Not only in visual art, but also in the theater ... Russia of that time gave the world a huge number of new names, ideas, masterpieces. There were magazines, various circles and societies were created, disputes and discussions were arranged, new directions arose in all areas of culture.

2. Painting of the endXIX. - StartXX century: difficulties and contradictions.

End of the XIX - early XX century - an important period in the development of Russian art. It coincides with the stage of the liberation movement in Russia, which called the proletarian. It was the time of fierce class battles, three revolutions - GG, the February bourgeois-democratic and great October socialist revolution, the time of the crash of the old world. The surrounding life, the events of this extraordinary time determined the fate of the art: it has undergone many difficulties in its development and contradictions. New ways to the art of the future, the Socialist world opened the work of M. Gorky. His Roman "Mother", written in 1906, became an example of a talented incarnation in the artistic work of the principles of party and nationality, which were first clearly defined in the article "Party Organization and Party Literature" (1905).

What was the overall picture of the development of Russian art during this period? More fruitfully worked the leading masters of realism - ,.

In the 1890s, their traditions were developed in a number of works of the younger generation of mobile artists, for example, Abram Efimovich Arkhipov (GG.), Whose work is also associated with the life of the people, with the life of peasants. His paintings are true and simple, early - lyrics ("on the Ode River", 1890; "Inverse", 1896), in the late, brightly picturesque, lively cheerful cheerfulness ("Girl with a jug", 1927; all three in GTG). In the 1890s, archups wrote a picture of "Bratka", telling about the exhaustive female work, serving a bright accurate document by autocracy (timing).

Sergey Alekseevich Korovin () and Nikolay Alekseevich Kasatkin () are also included to the younger generation of mobile phone. Ten years worked Korovin over his central picture "On the World" (1893, GTG). He reflected in it complex processes of the stratification of the peasantry in the modern capitalized village. The most important parties to Russia's life managed to reveal in his work and Casatkin. He raised a completely new topic associated with the strengthening role of the proletariat. In miners depicted in his famous painting "Harkeys. Change "(1895, GTG), the powerful force is guessed, which in the near future will destroy the rotting system of Tsarist Russia and will build a new, socialist society.

But in the art of the 1890s, another trend was also discovered. Many artists sought to find now in their lives, first of all, her poetic parties, therefore, even in genre paintings, they included landscapes. Often turned to ancient Russian history. These trends in art are clearly traced in the work of such artists, as, and.

The favorite genre of Andrei Petrovich Ryabushkin () was the historic genre, but he wrote and paintings from the modern peasant life. However, the artist was observed only by individuals of the people's life: rites, holidays. In them, he saw the manifestation of the original Russian, national character ("Moscow street of the XVII century", 1896, MRM). Most characters are not only for genre, but also for historical paintings were written by Ryabushkin from the peasants - the artist spent almost all his life in the village. Ryabushkin brought some characteristic features of the Old Russian painting, as if emphasizing these historical accuracy of images ("Wedding Train in Moscow (XVII century)", 1901, GTG).

Another major artist of this time is Boris Mikhailovich Kustodiev () depicts fairs with multi-colored spoons and piles of motley goods, Russian carnival with riding on the top three, scenes from merchant life.

In the early work of Mikhail Vasilyevich Nesterov, the lyrical parties of his dating are most fully revealed. The landscape was always a big role in his paintings: the artist sought to find an even beautiful nature in silence. He loved to portray tight-vent birches, fragile herbs and meadow colors. His heroes are slender rates - inhabitants of monasteries, or good old people who are peace and peace in nature. Deep sympathy of washearted paintings dedicated to the fate of the Russian woman ("on the mountains", 1896, the Museum of Russian Art, Kiev; "Great Hall", TRM).

By this time, the creativity of the landscape and animalist Alexei Stepanovich Stepanov (). The artist sincerely loved animals and perfectly knew not only the appearance, but also the character of every beast, his skills and habits, as well as the specific features of various types of hunting. The best paintings of the artist are devoted to Russian nature, imbued with lyrism and poetry - "cranes fly" (1891), "Losi" (1889; both in GTG), "Wolves" (1910, Private Assembly, Moscow).

The art of Viktor Elpidifforovich Borisov-Musatova () was also imbued with deep lyrical poetry. His pensive women - inhabitants of old-suite parks are beautiful and poetic - and his whole harmonic, similar to music painting ("Pond", 1902, GTG).

In the 80-90s of the 19th century, the creativity of the outstanding Russian artists Konstantin Alekseevich Korovina (), Valentina Alexandrovich Serov and Mikhail Alexandrovich Vrubel is formed. In their art, artistic achievements of the era reflected with the greatest fit.

The korovin was equally brightly revealed both in the easel painting, primarily in the landscape and in theatrical-decaration art. The charm of Korovinsky art lies in his warmth, sunshine, in the ability of the master directly and lived their artistic impressions, in generosity his palette, in the colorful wealth of his painting ("at the balcony" ,; "Winter", 1894-; both in GTG).

At the very end of the 1890s, a new artistic society "The World of Art" is being formed in Russia, and, and, which provided a big influence on the artistic life of the country. The main core is the artists, E. E Lancer, -lebedeva. The activity of this group was very versatile. Artists led an active creative work, published the art magazine "The World of Art", organized interesting art exhibitions with the participation of many outstanding masters. Miriskuseniki, as the artists of the "World of Art" called, sought to introduce their audience and readers to the achievements of national and world art. Their activities contributed to the widespread in the Russian society of artistic culture. But at the same time she had their own minuses. Miriskuseniki was looking for in life only the beauty and implementation of the ideals of the artist saw only in the eternal charm of art. Their creativity was devoid of combat spirit and social analysis, characteristic of mobile phone, under the banner of which the most progressive and most revolutionary artists went.

Alexander Nikolaevich Benois () is rightly considered an ideologist of the "World Peace". He was a widely educated person and possessed great knowledge in the field of art. He was mainly engaged in graphics and worked a lot for the theater. Like his comrades, Benois developed in his work the themes from the past epochs. He was a poet of Versailles, his creative fantasy lights up when he visited the parks and palaces of St. Petersburg suburbs again and again. In his historical compositions, inhabited by small, as if non-living figures of people, he carefully and lovingly reproduced monuments of art and individual details of the life ("Parade under Petr1", 1907, MRM).

The bright representative of the "World of Art" was Konstantin Andreyevich Somov (). He received wide fame as a master of romantic landscape and gallant scenes. His ordinary heroes - as if those who came from the distant old ladies in high candid wigs and lush crinolines and sophisticated Tomny Cavalers in satin camsoles. Somov perfectly owned the drawing. This was particularly affected in his portraits. The artist created the gallery of portraits of representatives of the artistic intelligentsia, including poets and (1907, 1909; both in GTG).

In the russian life of Russia of the beginning of the century, the art grouping "Union of Russian Artists" also played a significant role. It included artists, L. in, Turzhansky, and others. The main genre in the work of these artists was a landscape. They were successors of landscape painting of the second half of 19 months.

3. Architecture: modernism and neoclassicism.

Architecture as a type of art to the greatest extent depends on socio-economic relations. Therefore, in Russia in the conditions of monopolistic development of capitalism, it has become a concentration of acute contradictions, which led to the elemental development of cities, which caused damage to urban planning and turned large cities in Monsters of civilization.

High buildings have turned courtyards in the poor and ventilated wells. Greens were supplanted from the city. The grimassating character has acquired a disproportion between the scale of new structures and the old building. At the same time, industrial architectural structures appear - plants, factories, train stations, passengers, banks, cinema. For their construction, the latest planning and structural solutions were used, reinforced concrete and metal structures were actively used, allowing to create rooms in which large masses of people are at the same time.

What about styles at this time?! On a retrospective electric background, new flows arose - modern and neoclassicism. The first manifestations of modernity refer to the last decade of the 19th century, neoclassicism is formed in the 1900s

Modern in Russia is not fundamentally different from the West. However, a clearly trained trend towards the mixing of modernists with historical styles: reneensa, baroque, rococo, as well as ancient Russian architectural forms (Yaroslavl station in Moscow). In St. Petersburg, variations of the Scandinavian Modern was common.

In Moscow, the main representative of Modern style was the architect Fedor Osipovich Sheh, he built the building of Mkhata and the mansion of Ryabushinsky () - the works are the most typical for clean modern. His Yaroslavl railway station is a sample of stylically mixed architecture. In the mansion of Ryabushinsky, the architect departs from the traditional specified construction schemes and uses the principle of free asymmetry. Each of the facades is compensated in its own way. The building is a weathered in the free development of volumes, and its protrusions resembles a plant that is a root, this corresponds to the modern principle - to give an architectural building an organic form. On the other hand, the mansion is quite monolithic and the principle of bourgeois housing is responsible: "My house is my fortress."

The variekter facades combines a wide mosaic frieze with a stylized image of the irises (a flora ornament is characteristic of modern style). Characteristic for modernity are window stained glass windows. In them and in the design of the building prevailing the whimsical-capricious types of lines. These motifs reach apogee in the interior of the building. Furniture and decorative decoration made in the projects of Shechor. The alternation of gloomy and light spaces, an abundance of materials giving a bizarre game of reflections of light (marble, glass, polished tree), painted light of window stained glass windows, asymitrical location of doorways, which change the direction of the luminous flux - all this reality transforms into a romantic world.

In the course of the development of the style of Shechor, rationalistic trends appear. The trading house of the Moscow merchant society into little Cherkasy Lane (1909), the building of the Typography "Morning of Russia" (1907) can be called pre-consistent. The basic effect is the glazed surfaces of huge windows, rounded corners that give the building with ductility.

The most significant Musters of Modern in St. Petersburg were (, Hotel Astoria. Azov-Don Bank) (Mertex Building on Nevsky Prospekt).

Neoclassicism was a purely Russian phenomenon and had the greatest distribution in St. Petersburg in 1910. This direction sets its goal to revive the traditions of Russian classicism Kazakov, Voronikhina, Zakharov, Rossi, Stasov, the Liberty of the second half of 18 and the first third of 19V. Leaders of neoclassicism were (; mansion on the stone island in St. Petersburg) V. Shukuk (residential buildings), A. Tamanyan, I. Zholtovsky (mansion in Moscow). They created many outstanding structures that are characterized by the harmonicity of compositions, refinement of parts. Neoclassicism is closed by the work of Alexander Viktorovich Shuseva (). But he applied to the heritage of the national Russian architecture of the centuries (sometimes this style is called the unaware style). Chushev, Marfa Mariinsky Abode and Kazan Station in Moscow were built. With all the advantages of neoclassicism was a special kind in the highest form of retrospectivism.

Despite the quality of architectural structures of this time, it should be noted that Russian architecture and the interior could not be freed from the main defects of eclecticism, a special new development path was not found.

These directions were gained more or less development after the October Revolution.

4.Clutter: Search for a new hero.

The paths of development of the Russian sculpture of the late 19th-bent 20th century were largely determined by its bonds with the art of mobileians. This explains its democracy and meaningability.

Sculptors are actively involved in searching for a new, modern hero. Materials become more diverse: not only marble and bronze are applied, as before, but also stone, wood, majolica, even clay. Attempts are made to introduce color into sculpture. At this time, the shiny Pleiad of sculptors is working - ,.

On the art of Anna Semenovna Golubina () lying the seal of her time. It is emphasized spiritualized and always deeply and consistently democratic. Golubina is a convinced revolutionary. Her sculptures "Rab" (1905, GTG), "Going" (1903, Timing), Portrait of Karl Marx (1905, GTG) - Natural response to the advanced ideas of modernity. Golubina - a large master of psychological sculptural portrait. And here it remains loyal, with the same creative rise working on portraits and a great writer ("Lion Tolstoy", 1927, timing), and a simple woman ("Marya", 1905. GTG).

The sculptural creativity of Sergei Timofeevich Konenkova () is characteristic of the special wealth and variety of stylistic and genre forms.

His work "Samson, bursting bonds" (1902) inspired by Titanic images Michelangelo. "Worker 1905, Ivan Churkin" (1906) is the personification of an intolerable will, hardened in the fire of class battles.

After a trip to Greece in 1912, like V. Serov, he is fond of an ancient archaic. Images of pagan ancient Greek mythology are intertwined with the images of the Old Slavic mythology. Abramtsevsky ideas of folkllerism also embodied in such works as "greatness", "Striboga", "Starichk" and others. "Beggar brethren" (1917) was perceived as leaving in the past Russia. Cut from wood shapes of two beggars of honeycomb worshipers, crumpled, cored, cooked in rags, are simultaneously realistic and fantastic.

The traditions of classical breeding revived Ivan Timofeevich Matveyev (), a student of Trubetsky in the Moscow School. He developed a minimum of the main plastic topics in the motifs of the naked figure. The most fully plastic principles of Matveyev sculpture are revealed in the images of young men and boys ("Sitting Boy", 1909, "Sleeping Boys", 1907, "Youth", 1911, and a number of statues intended for one of the park ensembles in Crimea). Antique light bends of boys figures in Matveyev are combined with specific accuracy of poses and movements resembling Borisov-Musatov's canvas. Matveyev in his works embodied the contemporary thirst for harmony into modern artistic forms.

5. Symbolism in literature at the turn of the century.

"Symbolism" - direction in European and Russian art, which emerged at the turn of the XX century, focused mainly on artistic terms through Symbol "Things in yourself" and ideas outside sensual perception. In an effort to break through the visible reality to the "hidden realities", an ushitre-time ideal essence of the world, his "non-rented" beauty, the symbolists expressed longing for the spiritual freedom, the tragic premonition of world socio-historical shifts, confidence in the age-old cultural values \u200b\u200bas a unification of the beginning.

The culture of Russian symbolism, as well as the style of thinking of poets and writers who have formed this direction, arose and developed at the intersection and mutual addition, externally opposing, and in fact firmly related and explaining one other lines of philosophical and aesthetic attitude to reality. It was a feeling of an unprecedented novelty of everything that brought with him the borders of the centuries, accompanied by a feeling of disadvantage and instability.

At first, symbolic poetry was formed as a poetry of a romantic and individualistic, separated from the multi-bearing "Streets", who closed his personal experiences and impressions in the world.

Those truths and criteria that were discovered and formulated in the XIX century, now have no longer satisfied. A new concept was required that would correspond to a new time. We must pay tribute to the symbols - they did not joined any of the stereotypes created in the XIX century. Nekrasov was dear to them, like Pushkin, Fet - like Nekrasov. And the point here is not in illegibility and omnivorous symbolists. The case is in the latitude of views, and most importantly, in understanding that any major person in art has the right to look at the world and on art. No matter what sights of their creator, the importance of the works of art does not lose anything from that. The main thing that artists of the symbolic direction could not be adopted are complacency and peacekeeping, lack of trepidation and burning.

A similar attitude towards the artist and his creations was also associated with the understanding of what now, at the moment, on the outcome of the 90s of the XIX century, there is an entry into a new - alarming and unfavorable world. The artist must penetrate this novelty, and this dysfunction, to get their creativity, ultimately - to sacrifice himself a sacrifice, sacrificing events that are not yet visible, but which are the same inevitability as the movement of time.

"Actually, symbolism has never been a school of art, - wrote A. White, - and he was a tendency to a new world interest, refracting in his own way and art ... And new forms of art considered we did not change one forms alone, but as a distinct sign Changes in the internal perception of the world. "

In 1900, K. Balmont acts in Paris with a lecture, which gives a demonstrative title: "Elementary words about symbolic poetry." Balmont believes that the empty place has already filled out - a new direction emerged: symbolic poetrywhich is a sign of time. No about the "spirit of desolation" is not yet necessary to speak. In the report, Balmont tried to outline the state of modern poetry. He talks about the realism and about symbolism as quite equal manirome manners. Equal, but different in their own essence. This, he says, two "different builds of art perception." "Realists are captured, as a suit, concrete life, behind which they do not see anything, are symbolists, detached from real reality, see only their dream in it, they look at life - from the window." So the path of the artist-symbolist is planned: "From the immediate images that are beautiful in its own existence, to the spiritual ideality, which gives them a double force in them.

Such a look at art required a decisive restructuring of all artistic thinking. It was now not the real conformity of phenomena, but the compliance of associative, and the objective significance of associations was not considered obligatory. A. White wrote: "The characteristic feature of the symbolism in art is the desire to use the reality manner as a means of transmitting the consciousness of the consciousness experienced. The dependence of the form of visibility on the conditions of the perceive consciousness transfers the center of gravity in art from the image to the method of its perception ... The image, as a model of the consciousness of consciousness, is a symbol. The method of symbolization of experiences with images and is symbolism. "

Thus, the first plan put forward poetic allegory as the main method of creativity, when the word, without losing its usual meaning, becomes additionally potential, the most distinct, revealing its genuine "essence" of the value.

The transformation of the artistic image in the "model of the consciousness of consciousness", that is, the symbol, demanded the transfer of reader's attention from what was expressed, on what was meant. The artistic image was at the same time allegory.

The appeal to the implied meanings and the imaginary world, which gave the point of support in search of ideal means of expression, possessed by a well-known attractive force. She served as the basis for the basis of the convergence of poets of symbolism from VL. Solovyov, who persists some of them a seeker of new ways of spiritual transformation of life. The presentation of the events of historical significance, feeling the beat of the dreaming forces of the story and not know how to give them interpretation, the poets of symbolism turned out to be in the mercy of mystico-eschatological * theories. Then there was a meeting with Vl. Solovyov.

Of course, symbolism relied on the experience of decadent art of the 80s, but it was a qualitatively different phenomenon. And he did not coincide in everything with decadence.

Arriving in the 90s under the sign of searches for new means of poetic image, symbolism at the beginning of the new century and gained the soil in the vague expectations of the nursing historical changes. The acquisition of this soil served as the basis for its further existence and development, but in another direction. Poetry symbolism remained in principle and emphasized individualistic, but it received a problem that was already based on the perception of a particular era. At the soil of anxious expectation, there is now an exacerbation of the perception of reality, which included the consciousness and creativity of poets in the form of certain mysterious and disturbing "time signs". Such a "sign" could be any phenomenon, any historical or purely household fact ("signs" of nature - dawns and sunsets; various kinds of meetings, which were attached to mystical meaning; "signs" of spiritual state - twins; "signs" of history - Scythians, Gunns , Mongols, universal destruction; "signs" of the Bible, who played a particularly important role - Christ, new revival, white color as a symbol of cleansing the nature of future changes, etc.). The cultural heritage of the past was also mastered. From it, the facts were selected that could have a "prophetic" character. With these facts, written and oral performances were widely equipped.

By the nature of its internal relations, the poetry of symbolism developed at the time in the direction of an increasingly deep transformation of direct life impressions, their mysterious understanding, the purpose of which was not the establishment of real connections and dependencies, and the comprehension of the "sweat" meaning of things. This feature was at the heart of the creative method of poets symbolism, their poetics, if we take these categories in conditional and common traits for all the flow.

Nine-day years - the time of flourishing, updates and deepening symbolist lyrics. No other direction in poetry could have competed in these years with symbolism or by the number of collections issued, nor for the influence of the reading public.

The symbolism was an inhomogeneous phenomenon that united in its ranks of poets, which adhere to the most dispensable views. Some of them very soon realized the futility of poetic subjectivism, the other time it took. Some of them were powered by addiction to the secret "esoteric" * language, others avoided it. The School of Russian Symbolists was essentially enough to a multiple association, especially since they were usually high-detached people endowed with bright individuality.

Briefly about those people who stood at the sources of symbolism, and about those poets, this area is most pronounced in whose work.

Some of the symbols, such as, Nikolai Minsk, Dmitry Merezhkovsky, began their creative path as representatives of civil poetry, and then began to focus on the ideas of "governments" and "religious community". N. Minsk, after 1884, disappointed in the people's ideology and became a theorist and practice of decadent poetry, preacher of ideas of Nietzsche and individualism. In the period of the revolution of 1905, civil motives have emerged in verses of Minsk. In 1905, N. Minsky published the newspaper "New Life", which became the legal body of the Bolsheviks. Meriazhkovsky "On the reasons for the decline and new currents of modern Russian literature" (1893) was an aesthetic declaration of the Russian decadence. In his novels and plays written in historical material and developing the concept of uncoolency, Merezhkovsky tried to comprehend the world history as the eternal struggle of the "Religions of the Spirit" and "Religions of the flesh." Merezhkovsky - author of the study "L. Tolstoy and Dostoevsky "(1901-02), which caused great interest in contemporaries.

Others - for example, Valery Bryusov, Konstantin Balmont (they were sometimes called "senior symbols") - considered symbolism as a new stage in the progressive development of art, which came to replace realism, and largely proceeded from the concept of "art for art". Bruce is inherent in historical and cultural issues, rationalism, completion of images, declamation system. In verses K. Balmont - the cult I, the game of flippers, the opposition of the "Iron Venus" of the primeevally holistic "sunny" beginning; musicality.

And finally, the third is the so-called "younger" symbolists (Alexander Blok, Andrey White, Vyacheslav Ivanov) - were adherents of philosophical and religious understanding of the world in the spirit of the teachings of the philosopher VL. Solovyov. If in the first poetic collection of A. Bloka "Poems about the beautiful lady" (1903) there are often ecstatic * songs that the poet turned to his excellent lady, then in the collection "Inadequate joy" (1907) the block clearly goes to the realism, stating in Preface to the collection: "Inadequate joy" is my form of the coming world. " For early poetry, A. White is characterized by mystical motives, the grotesque perception of reality ("symphonies"), a formal experimentation. Poetry Vyach. Ivanov is focused on the cultural and philosophical issues of antiquity and the Middle Ages; The concept of creativity is religious and aesthetic.

The symbolists constantly argued with each other, trying to prove the wrongness of their judgments about this literary direction. So, V. Bryusov considered him as a means of creating fundamentally new art; K. Balmont saw in it the way of comprehension of the innermost, unsolved depths of the human soul; Vyach. Ivanov believed that symbolism would help to overcome the gap between the artist and the people, and A. White was convinced that this is the basis on which new art will be created, capable of transforming a human person.

One of the leading places in Russian literature on the right is Alexander Block. Block - world-scale lig. The contribution of it to Russian poetry is unusually rich. The lyrical image of Russia, passionate confession about the bright and tragic love, the magnificent rhythms of Italian poems, piercingly outlined by the face of St. Petersburg, the "cracker" villages - all this with a latitude and penetration of the genius contained a block in his work.

The first book of the block "poems about the beautiful lady" came out in 1904. The block lyrics of the pore is painted into prayer-mystical tones: the real world is opposed to the real world, which is oppressed only in secret signs and revelations, the ghostly, "otherworld" world. The poet was under the strong influence of the teachings of the VL. Solovyov about the "end of the world" and "world soul". In Russian poetry, the block ranked his place as a bright representative of symbolism, although his further creativity overthrew all the symbolic frameworks and canons.

In the second collection of poems "Inadequate joy" (1906), the poet opened up new ways, which only outlined in his first book.

Andrei White sought to penetrate the cause of a sharp fracture in the poet's muse, it seemed that he had just been "in the elusive and gentle lines" of the "approach of the ever-feminine start of life." He saw her in the proximity of the bloc to nature, to the ground: "Inadequate joy" expresses deeper by the essence of A. Blok ... The second collection of poems of the block is more interesting, the first. As surprisingly combined, the finest demonism here with the simple sadness of the poor Nature of Russian, always the same, always sobbing shoes, always through the tears of frightening us ruffles of ravines ... It is terrible, the Nature is rustic. And the block understands it like no one ... "

The third collection "Earth in the snow" (1908) was taken by criticism in the bayonets. Critics did not want or failed to understand the logic of the new Block's book.

The fourth night clock collection came out in 1911, very modest circulation. By the time of his release by the block, the feeling of alienation from the literature was increasingly mastered and until 1916 he did not release a single book of poems.

Difficult and intricate relations, launched for almost two decades, have developed between A. Blok and A. White.

The first poems of the block made a huge impression on the White: "To understand the impressions of these poems, it is necessary to clearly imagine that time: for us, the signs of dawn, we are luminous, the whole air sounded, exactly strings A. a.; And it seemed that the block wrote only that the air was coronted; The pink-gold and tense atmosphere of the epoch really precipitated by words. " White helped release the first book of the block (bypassing the Moscow censorship). In turn, the block supported white. So he played a decisive role in the appearance of the main novel of the White Peterburg, he publicly gave a high assessment and "Petersburg" and "Silver Blue".

Along with this, their relationships and correspondence reached hostility; Permanent reproaches and charges, dislike, stinging injections, imposing discussions poisoned the life of both.

However, despite the complexity and confusion of the relationships of creative and personal, both poet continued to respect, love and appreciate the work and identity of each other, which once again confirmed the speech by White to death.

After the revolutionary events of 1905 in the ranks of the symbolists, the contradictions were even more increased, which in the end led this direction to the crisis.

It is impossible, however, not to note that Russian symbolists have made a significant contribution to the development of domestic culture. The most talented of them in their own way reflected the tragedy of the position of a person who did not manage to find their place in the world, shaking the grand social conflicts, tried to find new ways for artistic understanding of the world. They belong to serious discoveries in the field of poetics, rhythmic reorganization of verse, strengthening the musical start in it.

6. Trade in literature.

"Song-solsed poetry dropped the" superweight "meanings of symbolism, but there remained an increased ability of the word to cause unnamed representations, associations to replace missing. In a symistry inheritance, tense associativity turned out to be viable. "

At the beginning of the second decade of the 20th century, two new poetic flows appeared - acmeism and futurism.

Aqmeyists (from the Greek word "acme" - the blooming time, the highest degree of something) called on to clear the poetry from philosophy and all kinds of "methodological" hobbies, from the use of foggy hints and symbols, proclaiming the return to the material world and accepting it as he There is: With his joys, vices, evil and injustice, demonstratively refusing to solve social problems and claiming the principle of "art for art". However, the creativity of such talented poets-aquesists, like N. Gumilev, S. Gorodetsky, A. Akhmatova, M. Kuzmin, O. Mandelstam, went beyond the framework of the theoretical principles proclaimed. Each of them contributed to the poetry, only his characteristic motives and moods, its poetic images.

With other views on art in general, futurists were in particular for poetry. They declared themselves opponents of a modern bourgeois society, a crushing person, and the defenders of the "natural" person, his right to free, individual development. But these statements were often reduced to the abstract declaration of individualism, freedom from moral and cultural traditions.

Unlike the aqmeists, who, although they opposed the symbolism, but nevertheless considered themselves to be a certain extent of its successors, futurists proclaimed a full refusal from any literary traditions and first of all from the classical heritage, arguing that it is hopelessly outdated. In his shrinkable and boldly written manifestes, they glorified a new life developing under the influence of science and technical progress, rejecting everything that was "before," declared their desire to remake the world, which, from their point of view, poetry should be promoted. Futurists sought to evict the word, tie his sound directly with the subject it indicates. This, in their opinion, was to lead to the reconstruction of the natural and creation of a new, widely available language capable of destroying verbal obstacles, separating people.

Futurism united different groups, among which were the most famous: Cubal feasts (V. Mayakovsky, V. Kamensky, D. Burluk, V. Khlebnikov), EgoFuraturists (I. Northerner), Centrifuge Group (N. Aseev, B. Pasternak and Dr.).

In the conditions of the revolutionary lift and the crisis, the autocracy of the aquesisis and futurism turned out to be non-visual and by the end of the 1910s ceased to exist.

Among the new trends arising in Russian poetry during this period, the group of the so-called "peasant" poets - N. Klyuyev, A. Shiryaevets, S. Klychkov, P. Oreshin began to occupy a noticeable place. For some time, S. Yesenin was close to them, subsequently released on an independent and wide creative way. Contemporaries saw nuggets in them, reflecting the concerns and troubles of the Russian peasantry. The generality of some poetic techniques, widespread use of religious symbols and folk motives also united them.

Among the poets of the late XIX - the beginning of the 20th century were also such, whose work did not fit into existing flows and groups. Such, for example, I. Bunin, striving to continue the traditions of Russian classical poetry; I. Annensky, in something close to the symbolists and at the same time distant from them, who sought their way in a huge poetic sea; Sasha Black, who called himself a "chronic" satyrik, brilliantly owned by the "anti-systhetic" means of indemnity of the meshness and sortiers; M. Tsvetaeva with her "poetic responsiveness to the new air sound."

For Russian literary flows of the beginning of the 20th century, Renaissance turn to religion and Christianity is characteristic. Russian poets could not resist the aesthetism, in different ways they tried to overcome individualism. The first in this direction was Merezhkovsky, then the leading representatives of the Russian symbolism began to contralate the cattom of individualism, the mysticism of aesthetism. Vyach. Ivanov and A. White were theoretics of mystically painted symbolism. It happened rapprochement with the course, released from Marxism and idealism.

Vyacheslav Ivanov was one of the most remarkable people of that era: the best Russian Hellenist, the poet, a scientist philologist, a specialist in the Greek religion, a thinker, theologian and philosopher, publicist. Its "environments" on the "tower" (so called Ivanov's apartment) attended the most gifted and remarkable people of that era: poets, philosophers, scientists, artists, actors, and even politicians. There were the most sophisticated conversations on the themes of literary, philosophical, mystical, occult, religious, as well as public in the prospect of the struggle of mineososisants. The "tower" was carried out the sophisticated conversations of the most gifted cultural elite, and the revolution was raised at the bottom. It was two broken world.

Along with the currents in the literature, new flows appeared in philosophy. The search for traditions for the Russian philosophical thought of Slavophiles began, at VL. Solovyov, Dostoevsky. In the Salon of Merezhkovsky in St. Petersburg, religious and philosophical meetings were organized, in which both representatives of literature, sick of religious concerns and representatives of the traditionally-Orthodox church hierarchy, participated. This is how these meetings of N. Berdyaev described: "V. Rozanova prevailed. V. Ternavitsev, Hiliast, who wrote the book about the Apocalypse also, was also of great importance. They spoke about the attitude of Christianity to culture. In the center there was a topic about the flesh, about the field ... In the atmosphere of the Merialekovsky salon there was something superficial, spilled in the air, some unhealthy magic, which probably happens in a sectarian circle, in sects is not rationalistic and non-gospel type. .. Meriazhkovsky always claimed to speak from some "we" and wanted to involve people in this "we" who came into contact with them. To this, "we" belonged to D. Philosophers, one time almost entered it A. White. This is "we" they called the mystery of three. So the new Church of the Holy Spirit was to be found, in which the mystery of the flesh will be revealed. "

In the philosophy of Vasily Rozanova "flesh" and "Paul" meant a refund to the pre-Christianity, to Yudaism and paganism. His religious mindset was combined with the criticism of Christian asceticism, the apotheosis of the family and gender, in the elements of which Rozanov saw the basis of life. His life is triumphantly not through the resurrection to eternal life, but through childbirth, that is, the personality campaign for many new innovations in which the life of the genus continues. Rozanov preached the religion of eternal birthday. Christianity for him religion of death.

In the teachings of Vladimir Solovyov about the union, Christian Platonism is intertwined with the ideas of new European idealism, especially naturally scientific evolutionism and inertodoxal mystics (the doctrine of the "world soul", etc.). The collapse of the utopian ideal of worldwide theocracy led to strengthening eschatological (about the limbs of peace and man) sentiment. Vl. Solovyov had a great influence on Russian religious philosophy and symbolism.

Pavel Florensky was developing the doctrine of Sofia (wisdom of God) as the basis of meaningfulness and integrity of the universe. He was the initiator of a new type of Orthodox aicult, the aicularity is not scholastic, and experienced. Florensky was Platonically interpreted by Plato in his own way, later became a priest.

Sergey Bulgakov is one of the main figures of the religious and philosophical society "Memory of Vladimir Solovyov". From legal Marxism, which he tried to connect with neocantianism, moved to religious philosophy, then to Orthodox theology, became a priest.

And, of course, the magnist of magistrate is Nikolai Berdyaev. A man who strived for criticism and overcoming any forms of dogmatism, wherever they appear, a Christian humanist, who called himself a "believer freestyle". The man of tragic fate, expelled from his homeland, and all his life suffered from her soul. A person whose heritage, until recently, has been studied around the world, but not only in Russia. The great philosopher, which is waiting for his homeland.

Let us dwell in more detail on two currents associated with mystical and religious searches.

"The same course was represented by Orthodox religious philosophy, little, however acceptable for the official church. This is primarily S. Bulgakov, P. Florensky and grouping around them. Another course was represented by religious mysticism and occult. White, Vyach. Ivanov ... and even A. Blok, despite the fact that he was not inclined to any ideologies, young people who were grouping around the publishing house "Musaget", Anthroposophists *. The one flow introduced the reference to the system of Orthodox dogmatics. Another course was captured by the philantal of alogical. The cosmic indifference characteristic of the whole era was there and here. With the exception of S. Bulgakov, for these currents did not stand in the center of Christ and the Gospel. P. Florensky, despite all his desire to be ultraaritus, was all in cosmic grace. Religious revival was Christian-like, Christian topics were discussed and Christian terminology was used. But there was a strong element of the pagan rebirth, the spirit of Ellinsky was stronger than the Biblical Messianic Spirit. At a certain moment, there was a mixture of different spiritual flows. The epoch was syncretic, she reminded the search for the Mystery and Neoplatonism of the Ellinistic and German romanticism of the beginning of the XIX century. There was no real religious revival, but there was spiritual tension, religious excitement and a quest. There was a new problem of religious consciousness, connected with the currents of the XIX century (Khomyakov, Dostoevsky, Vl. Soloviev). But the official church remains outside of this problem. The religious reform did not happen in the church. "

Much of the creative lift of that time included in the further development of Russian culture and now there is a heritage of all Russian cultural people. But then was intoxicating creativity, novelty, tension, struggle, challenge.

In conclusion, the words of N. Berdyaev want to describe all the horror, the entire tragedy of the situation, in which the creators of spiritual culture were, the color of the nation, the best minds not only in Russia, but also the world.

"The misfortune of the cultural renaissance of the beginning of the 20th century was that in it the cultural elite was isolated in a small circle and torn off from the wide social flows of that time. It had the fatal consequences in the character, which took the Russian revolution ... The Russian people of that time lived in different floors and even in different centuries. Cultural Renaissance has not had any wide social radiation .... Many supporters and expressants of the cultural renaissance remained left, sympathized with the revolution, but there was cooling to social issues, there was an absorption of the new problems of philosophical, aesthetic, religious, mystical nature, which remained alien to people , actively participating in social movement ... The intelligentsia committed a suicide act. In Russia, before the revolution, there were two races. And the wines were on both sides, that is, on Renaissance figures, on their social and moral indifference ...

The split, characteristic of Russian history, split, growing the entire XIX century, the abyss, which unfolded between the upper sophisticated cultural layer and wide circles, folk and intelligent, led to the fact that the Russian Cultural Renaissance fell into this discontinued abyss. The revolution began to destroy this cultural renaissance and pursue cultural creators ... The figures of Russian spiritual culture in a significant part were forced to move abroad. In part, it was the payroll for the social indifference of the creators of spiritual culture. "

7.Music: Changing priorities.

In the late 19th and early 20th century (until 1917) - a period of no less rich, but much more complex. It is not separated from the previous one with a sharp fracture: at this time continue to create M. A Balakirev, the best, vertex writings of Tchaikovsky and Roman-Korsakov belong to the 90s of 19V. and the first decade of 20B. But the garbage and Borodin have already gone away, and in 1893. - Tchaikovsky. Pupils, heirs and continuents of traditions come to replace them: S. Tamin, A. Glazunov, S. Rachmaninov. New times are felt in their work, new tastes. There were changes in genre priorities. So, Opera, which occupied more than 100 years, the main place in Russian music went to the background. And the role of ballet, on the contrary, has grown. Tchaikovsky - the creation of wonderful ballets continued Alexander Konstantinovich Glazunov () - the author of the wonderful "Raymond" (1897), the "young shelter-peasant" (1898).

Symphony and chamber genres received widespread development. Glazunov created eight symphony and symphony poem "Stepan Razin" (1885) 1. Sergey Ivanovich Taneyev () composes symphonies, pianos trio and quintes. And the piano concerts of Rachmaninov (like concerts of Tchaikovsky and a violin concert of Glazunov) belong to the heights of world art.

Among the young generation of musicians were composers of a new type. They wrote music in a new way, sometimes even sharply. These include Scriabin, whose music conquered his strength alone, and frightened their novelty of others, and Stravinsky, whose ballets set during the "Russian seasons" in Paris attracted the attention of all of Europe. During the 1st World War in the Russian horizon, another star S. Prokofiev.

At the beginning of 19V. Through Russian music, as well as all art, the topic of waiting for the great changes, which occurred and affected art.

Sergei Vasilyevich Rahmaninov (). Music quickly won attention and recognition of the public. His Early Works "Elegy", "Barcarol", "Polishinelle" was perceived as a diary of life.

The favorite writer was Chekhov, the symphonic poem "Rock" is written in the stories of Chekhov "on the way".

Only in 1926. He graduated from the 4th piano concert, started back in Russia. Then they appear "three Russian songs for choir with an orchestra," where the delete of despair sounded. Between 1931 and 1934. Rachmaninov worked on two major cycles: for the piano "Variations on the theme of Corelli" (20 variations) and "Rhapsody for piano with an orchestra on the theme of the violin play of Nikolo Paganini", consisting of variations.

The last essay of "Symphonic Secrets" (1940) Rachmaninov dedicated to the Philadelphia orchestra, with which he especially loved to speak.

Alexander Nikolayevich Scriabin (). In the writings of Scriabin, there were detailed literary programs, but the names are quite abstract ("Divine Poem" - 3th Symphony, 1904, "Ecstasy Poem", 1907, "Floa Poem" - "Prometheus", 1910). But Scriabin conceived an even more ambitious work on the synthetic principle - "Mystery". Three symphonies were also written (1900, 1901, 1904), the Opera "Koschey Immortal" (1901), "Ecstasy Poem", "Prometheus" for Piano: 10 Sonatas, Mazurki, Walves, Poles, Etudes, and soL.2 .

Igor Fedorovich Stravinsky (). In the "Fire-Bird" (1910) - this is the topic of a fairy tale about the evil of the Koshee and the fall of his Dark Kingdom, in the "Vienna of Sacred" (1913) - the topic of ancient pagan rites, sacrifices in honor of the spring revival of life, in honor of the Earth-Kormilitsy. Ballet "Petrushka" (1911), one of the most popular, inspired by the walking on Maslenitsa and traditional puppet performances with the participation of parsley, his rival Arap and ballerina (Colombina).

Being in Dali from home, from the Motherland, the Russian theme continued to live in his writings ("Wedding", 1923).

The variety of essays of Stravinsky is noticeably stunned. We highlight the Octery Octery "Tsar Edip" and the ballet "Apollo Musaget" (1928). Stravinsky wrote Opera "Breakfast Hardware" (1951).

Speaking about the music of the late 19th-century., It is impossible not to say about the Music Theater. Public support was provided by ballet and opera art. The ballet artists patronized the most notable specials (Matilda Kmesinskaya and the patronage of the great princes of Romanov). Moreover, the opener-ballet art has become a business card of all Russian art within the framework of the "Russian seasons" in ().

The Moscow Private Opera in his repertoire promoted primarily the works of Russian composers and played an important role in the realistic disclosure of Mussorgsky operas, in the birth of new works of Roman Corsakov. She sang Shalyapin, Rakhmaninov stood for her remote control, her friend and creative support was Roman Korsakov. Here, the performance was created by the stage ensemble, in which the composer also participated, and the orchestra led by the conductor, and the director director, and artists-decorators were accomplisers of creating a whole whole, which was not in the imperial theaters, there everyone worked separately. So, in the private opera Mamontov, outstanding artists worked ("Mermaid" Dargomyzhsky, 1896, "Orpheus" glitch, 1897, "Faust" Guno, 1897, "Boris Godunov" Mussorgsky, 1898, "Orleans" Tchaikovsky, 1899, etc.) , V. Vasnetsov ("Snow Maiden" Rimsky-Korsakov, 1885, "Chalk" Tchaikovsky, 1900), ("Ivan Susanin" Glinka, 1896, "Hovanshchina" Mussorgsky, 1897), ("Tangeister" Wagner, "Alesya" Ipolitov Ivanova , "Caucasian prisoner" Kyui, "Peak Lady" Tchaiks, "Rogneda" A. Serov, "Snow Maiden", "Sadko", "Tale of Tsar Saltan", "Mozart and Salieri", "Tsarist Bride" Roman-Korsakov), V. Serov ("Judith" and "Rogneda"), K. Korovin ("Pskovtyanka", "Faust", "Prince Igor", "Sadko").

8. The heyday of theaters.

This is the most "theatrical" era in the history of Russian literature. Theater played in it, perhaps, the leading role, spreading its influence on other types of arts.

The theater in these years is the public stand, where the most acute questions of our time rose, and at the same time creative laboratory, which is widely opened the door to experiment and creative searches. Large artists, who sought to synthesize different types of creativity, appealed to the theater.

For the Russian theater, this is the era of ups and falls, innovative creative searches and experiments. In this sense, the theater has not lagged behind literature and art.

3. Big Encyclopedic Dictionary, M., 1994

4. Three centuries of Russian poetry, M., 1968

5. "The beginning of the century", M., 1990

6. "Self-knowledge", M., 1990.

7. "Ten poetic books", M., 1980

* ESKATOLOGY - Religious doctrine on the end destinies of peace and man.

* Esoteric - secret, hidden, designed exclusively for dedicated.

* Ecstatic - enthusiastic, inflated, in the state of ecstasy.

* Anthroposophy - super-sensitive knowledge of the world through a self-knowledge of a person as a cosmic creature.

Municipal Establishment

"Ust-Orda Children's School of Art"

Pourochnya plans for the training subject of PRee.

"Music Literature"

additional Prefigation Communities in Music Arts

"Piano", "Folk Tools"

Grade 5 (5-year training course)

for 2017 - 2018 Uch. year

Developer: Dmitrieva love Viktorovna

2017 year

I. fourth

Lesson Plan No. 1

Theme lesson: Russian culture of the late 19th - early 20th century

Purpose:To introduce students to the Russian culture of the late 19th - early 20th century.

Educational:

Schoolchildren have an idea of \u200b\u200bthe essence of the sociocultural phenomenon of the Silver Century;

Show the achievements of Russian art and the artistic value of new directions in art, contribute to the education of the sense of excellent in schoolchildren;

Moral, aesthetic qualities.

Educational:

continue to develop a sense of patriotism among students through the knowledge of a beautiful and cultural inheritance;

- to educate interest and love for Russian culture. Developing:

Expand the horizon, contribute to the expansion of the aesthetic qualities of students.

Methods:

Verbal;

Visual

Prospects;

Comparisons;

Games;

Explanatory-illustrative (conversation, story, showing the instrument);

Partially search;

Vividly - auditory;

Musical generalization.

Form of the lesson: Individual generalizing lesson with elements of the game.

Type of lesson: Disclosure of a new topic

Equipment: Laptop, projector, speakers, piano, board, chalk.

Handout:plates, Color Pencils, Cards

Demonstration material: Multimedia presentation.

Music material:I. Stravinsky ballet "Parsley", T. Krennikov concert for violin with orchestra to major, 1 part.

Visual aids: Works of painting, portraits of composers, cards.

List of methodical and used literature:

Dmitrieva L.V., Lazareva I.A., Kazantseva I.V. The program of the training subject PRIA PRIUP. "Music literature" of an additional prefest educational program in the field of musical art "Piano", "Folk Instruments" for students of 4 - 8 classes. - The term of implementation is 5 years. - Ust-Ordinsky, 2015.

Schornikova M. Music Literature: Russian Music Classic. Fourth year of study. Ed. 2nd, extra. and recreated. - Rostov N / D: Phoenix, 2004.

Kushnir M.B. Audio help for educational institutions. Domestic music. - M.: Music Publishing House Landgraf, 2007.

Tretyakova L.S. "Pages of Russian music", "Russian music of the XIX century".

Sensor E.L. "Music journey."

Tarasov L. "Music in the Music family."

Smirnova E. "Russian Music Literature"

Internet resources:

During the classes

Organizational stage.

End of the XIX and the beginning of the XX century (until 1917) - a period of no less rich, but much more complex. It is not separated from the previous one by any fracture: the best, the vertex works of Tchaikovsky and Roman Corsakov belong to the 90s of the XIX and to the first decay of the 20th century.

In the last quarter of the XIX century, the work of Russian composers was recognized in the entire civilized world. Among the young generation of musicians who have entered the creative life at the end of the past - the beginning of the present century, there were composers and a different type. Such was Scriabin, a slightly late Stravinsky, and during the First World War - Prokofiev. The Balayaevsky circle was played a major role in the musical life of Russia. This circle in the 80-90s was the only music center where the most active musicians seemed to seek new ways to develop art.

Musical culture developed in other countries, for example, in France, in the Czech Republic, in Norway.

In France, the style of musical impressionism and symbolism arises. His creator is the composer Claude Ashil Debussy. The features of impressionism, as one of the leading musical directions of the beginning of the 20th century, found an expression in the writings of M. Irall, F. Pohenka, O.Rarhpigi and even in the work of Russian composers.

In the Czech Republic, music reaches high heyday. The founders of the National Classics in the Czech Republic are Natrich sour cream and Antonin Dvorak.

The founder of the Norwegian classics is Edward Grieg, who influenced the work of not only Scandinavian authors, but also to European music.

The music of the 20th century is distinguished by the extraordinary variety of styles and directions, but the main vector of its development is a departure from the preceding styles and the "decomposition" of the music language to the components of its microstructures.

Musical culture of Russia late Xih - early twentieth century

End of the XIX - The beginning of the 20th century was marked by a deep crisis that covered the entire European culture, which was a consequence of disappointment in previous ideals and a feeling of approaching the death of an existing socio-political system. But the same crisis gave rise to the Great Epoch - the era of the Russian cultural renaissance of the beginning of the century - one "of the most sophisticated epochs in the history of Russian culture. It was the era of creative lifting of poetry and philosophy after the decline period. It was at the same time the epoch of the emergence of new shower, new sensitivity. The souls were revealed for all kinds of mystical trends, and positive and negative. At the same time, the Russian souls captured the premonitions of impending disasters. The poets saw not only the coming dawns, but something terrible, impending on Russia and the world ...

In the Epoch of the Cultural Renaissance, there was no "explosion" in all areas of culture: not only in poetry, but also in music; Not only in visual art, but also in the theater ... Russia of that time gave the world a huge number of new names, ideas, masterpieces. There were magazines, various circles and societies were created, disputes and discussions were arranged, new directions arose in all areas of culture.

In the XIX century Literature is the leading area of \u200b\u200bRussian culture. Along with it, there is also the brightest uplings of the musical culture of Russia, and the music and literature are in collaboration, which enriches certain artistic images. If, for example, Pushkin in his poem "Ruslan and Lyudmila" gave an organic solution to the idea of \u200b\u200bnational patriotism, finding the relevant national forms, M. Glinka found in the magical and fabulous heroic plot of Pushkina new, potential options - his opera grows from the inside to Multiethnic musical epic.

A significant impact on the development of the musical culture of Russia of the last century was the work of Gogol, inextricably linked with the problem of nation. Gogol's plots formed the basis of the Opera "May Night" and "Night Before Christmas" Roman Corsakov, "Sorochinskaya Fair" Mussorgsky, "Kuznets Vakula" ("Cherevichki") Tchaikovsky, etc.

Roman Korsakov created a whole "fabulous" world of operas: from the "May night" and "Snow Maiden" to "Sadko", for which the world is ideal in its harmoniousness. The plot "Sadko" was built on various versions of Novgorod epic - narrations about the wonderful enrichment of the Huslar, his wanders and adventures. The "Snow Maiden" of Roman Korsakov determines as a teacher opera, calling the "picture of the original and infinite chronicle of Berendeva Kingdom." In operations of this kind of Roman-korsakov uses mythological and philosophical symbolism.

If the opera and occupied the main place in Russian music during the times of Mussorgsky, Borodin and Tchaikovsky, then by the end of the XIX century and the beginning of the XX goes into the background. And the need to make any change exposed the role of ballet.

But other genres, like symphonic, chamber, began to develop widely. The piano creativity of Rachmaninov, who himself was a great popularity, which was his great pianist. Rahmaninov's piano concerts (like Tchaikovsky concerts, and a violin concert of Glazunov) belong to the heights of world art. In the last quarter of the XIX century, the work of Russian composers was recognized in the entire civilized world. Among the young generation of musicians who have entered the creative life at the end of the past - the beginning of the present century, there were composers and a different type. Already the first essays are written very in their own way: acutely, sometimes even bold. Such is Scriabin. Some listeners, the music of Scriabin conquered inspired by force, other outraged by unusual. Stravinsky spoke somewhat later. His ballets, delivered during the "Russian seasons" in Paris, attracted the attention of all of Europe. Finally, during the First World War, another star goes back in Russian - Prokofiev.

Russian theaters are enormous. Small theater in Moscow and Mariinsky in St. Petersburg. A remarkable feature of the culture of this period was the search for a new theater.

Thanks to the activities of Dyagilev (patronage and organizer of exhibitions), the theater receives a new life, and Russian art is wide international recognition. The speeches of the Russian ballet artists organized by the Russian seasons in Paris are among the gradual events in the history of domestic music, painting, opera and ballet art.

The composition of the troupe included M. M. Fokin, A. P. Pavlova, V. F. Nezensky and others. Fokin was a balletmaster and artistic director. Decorated the performances of famous artists A. Benua, N. Roerich. The performances of "Sylphides" (Music Chopin) were shown, Polovtsy dances from the opera "Prince Igor" Borodin, "Firebird" and "Parsley" (Music Stravinsky) and so on. The speeches were the triumph of Russian choreographic art. The artists have proven that the classic ballet can be modern, to worry the viewer.

Listening: I. Stravinsky ballet "Parsley"

The best productions of Fokina were "Petrushka", "Fire-Bird", "Schacherzad", "Dying Swan", in which music painting and choreography were one.

The actor, director, theorist of scenic art, together with V.I. Sirirovich-Danchenko in 1898 created an artedian theater and led them.

It is necessary to mention and organized by Belyaev for many seasons "Russian symphonic concerts", as well as "Russian chamber evenings". Their goal was to acquaint the Russian audience with the works of national music. Led by concerts and evenings N.A. Roman Korsakov and his talented students A.K. Glazunov and A. K. Lyadov. They developed the plan for each coming season, made up programs, were invited by performers ... they were exclusively the works of Russian music: many of them, forgotten, who were rejected earlier by the Russian music society found their first performers here. For example, symphonic fantasy M.P. The Mussorgsky "Night on Bald Mount" was first sounded in the "Russian symphony concerts" in almost twenty years after the creation, and then was repeatedly repeated ("demanding the public", as noted in the programs).

At the turn of the XIX-XX century, interest in old music is being revived. The construction of organs in Russia begins little, the construction of organs in Russia begins. At the beginning of the 20th century, they could literally recalculate on the fingers. Performers appear, acquainting listeners with the organ music of the former eras and centuries: A. K. Glazunov, Starokadsky. This time is an important stage in the history of the violin. A group of virtuoso-composers and performers appear, which reveal the unknown former the violin as a solo tool. There are new wonderful works, among which the prominent place occupies the compositions of Soviet composers. Currently, concerts, Sonats, Pieces of Prokofiev, Khrennikov are known to the whole world. Their wonderful art helps us feel that for amazing this tool is a violin.

At the end of the XIX and at the beginning of the 20th century, and especially in the foreflower decade, through all Russian art, and in particular music, the topic of waiting for the great changes, which should be sent out the old, unfair public device. Not all composers realized the inevitability, the need for the revolution and sympathized with her, but the prejudication tense was felt all or almost everything. Thus, the music of the twentieth century develops the traditions of domestic composers - romantics and composers of the "mighty bunch". At the same time, it continues to be bold searches in the field of form and content.

But Mussorgsky and Borodin have already left the life, and in 1893 and Tchaikovsky. Pupils, heirs and continules of their traditions come to replace them: S. Taneyev, A. Glazunov, S. Rachmaninov. But no matter how close they are their teachers, new tastes are clear in their work. Opera, for more than a century, which occupied the main place in Russian music, is clearly moving into the background. And the role of ballet, on the contrary grows.

Symphony, chamber genres in the work of Glazunov and Taneyev are widely developed. The piano creativity of Rachmaninov, who himself was a great popularity, which was his great pianist. Rahmaninov's piano concerts (like Tchaikovsky concerts, and a violin concert of Glazunov) belong to the heights of world art. In the last quarter of the XIX century, the work of Russian composers was recognized in the entire civilized world.

Among the young generation of musicians who have entered the creative life at the end of the past, the beginning of the present century were composers and other types. Already the first essays are written very in their own way: acutely, sometimes even bold. Such is Scriabin. Some listeners, his music conquered inspired by force, other dismissed unusualness. Stravinsky spoke somewhat later. His ballets, delivered during the "Russian seasons" in Paris, attracted the attention of all of Europe. Finally, during the First World War, another star goes back in Russian - Prokofiev.

A big role in the musical life of Russia of this time was played
Belyaevsky circle, named so named His founder of Mitrofan Petrovich Belyaev - a famous timber industry, owner of a huge state and a passionate music lover, especially Russian. A circle that emerged in the 1980s combined almost all the best musicians of that time; N. A. Rimsky - Korsakov became the ideological center of this musical community. All the available means of Belyaev sought to help those who served Russian music.

Founded by Belyaev New Publishing House For several decades of its existence, a huge number of works of Russian composers issued. Generously paying for the work of composers, Belyaev also organized annual competitions for the best chamber writing, and then the contests named after M. I. Glinka for the best work of Russian music of any genre. Belyaev contributed to the resurrection of semi-forgotten scores of the Great Glinka, whose major essays did not sound anywhere - neither on one opera stage, nor on the symphonic stage.

It is necessary to mention and organized by Belyaev for many seasons "Russian symphonic concerts", as well as "Russian chamber evenings". Their goal was to acquaint the Russian audience with the works of national music. Led by concerts and evenings N.A. Roman-Prisakov and his talented students A.K. Glazunov and A. K. Lyadov. They developed the plan for each coming season, made up programs, were invited by performers ... they were exclusively the works of Russian music: many of them, forgotten, who were rejected earlier by the Russian music society found their first performers here. For example, symphonic fantasy M.P. The Mussorgsky "Night on Bald Mount" was first sounded in the "Russian symphony concerts" in almost twenty years after the creation, and then was repeatedly repeated ("demanding the public", as noted in the programs).

It is difficult to overestimate the role of these concerts. In the years when, such ingenious operas, as "Boris Godunov" and "Hovhanshchina," were imposed veto of royal censorship, when in the most influential, almost the only musical and concert organization (RMO) was the dominance of the Western European repertoire, when opera theaters, hereinafter referred to as the imperial, according to Stasov, "survived the Opera Glinka, Mussorgsky, Borodin, Roman-Corsakov," when censorship forbade Mussorgsky's songs, called "folk pictures", - at that time the only place in Russia, where the whole rejected Official circles Music of Russian composers were "Russian Symphony Concerts".

It is significant that a year after the death of A. P. Borodina, a concert was arranged from his works, most of which sounded then for the first time.

A very remarkable phenomenon in the Russian musical life of the end of the XIX century was the so-called private opera S. I. Mamontov in Moscow. Savva himself, Ivanovich Mamontov, being like Belyaev's rich entrepreneur, organized an opera troupe in Russia. With her, he carried out the first productions of the Russian operas - "Mermaids" A. S. Dargomyzhsky and "Snow Maiden" N. A. Rimsky-Korsakov, who used a significant success at the Moscow public. He also set Opera "Pskovtyanka" N. A. Rimsky-Korsakov. With this Opera, which has not been going anywhere, the theater went on tour to St. Petersburg.

At the turn of the XIX-XX century, interest in old music is being revived. The construction of organs in Russia begins little, the construction of organs in Russia begins. At the beginning of the 20th century, they could literally recalculate on the fingers. Performers appear, acquainting listeners with the organ music of the former eras and centuries: A. K. Glazunov, Starokadsky.

This time is an important stage in the history of the violin. A group of virtuoso-composers and performers appear, which reveal the unknown former the violin as a solo tool. There are new wonderful works, among which the prominent place occupies the compositions of Soviet composers. Currently, concerts, Sonats, Pieces of Prokofiev, Khrennikov are known to the whole world. Their wonderful art helps us feel that for amazing this tool is a violin.

Listening:T.khennikov Concert for violin with orchestra to major, 1 part

At the end of the XIX and at the beginning of the 20th century, and especially in the foreflower decade, through all Russian art, and in particular music, the topic of waiting for the great changes, which should be sent out the old, unfair public device. Not all composers realized the inevitability, the need for the revolution and sympathized with her, but the prejudication tense was felt all or almost everything. Most of the musicians of direct participation in revolutionary events did not take, and therefore the relationship between them was rather weak.

The most prominent patrons of the end of the XIX-BAPTERXXXVV.

Almost all patronage of the late XIX - early XX century were merchants-Old Believers. And Schukin, and frost, and Ryabushinsky, and Tretyakov. After all, the old-supplied world is traditional, deeply connected with true culture - they have learned from the century to century to save and maintain their spiritual heritage, it was laid in family genes.

Consider in detail the most famous patrons of Russia.

S.I. Mammoths. The stratification of Savva Ivanovich was a special kind: he invited his friends - artists in Abramtsevo, often together with families, conveniently located in the main house and outgames. All those who arrived under the leadership of the owner went to nature, onto etudes. All this is very far from the usual examples of charity, when the patron rests itself to the transfer of a certain amount on a good deed. Many members of the members of the Mammoth circle acquired himself, for others found customers.

One of the first artists to Mamontov in Abramtsevo arrived V.D. Polenov. With Mammoth, his spiritual proximity was associated: the passion for antiquity, music, theater. Was in Abramtsev and Vasnetsov, it was his artist to his knowledge of Old Russian art. The warmth of the father's house. Artist V.A. Serov will find exactly in Abramtsev. Savva Ivanovich Mamontov was the only conflict patron of the art of Vrubel. For a very needful artist needed not only an assessment of creativity, but also material support. And Mammoths helped widespread, ordering and buying works of Vrubel. So the Flegel project in Garden-Spasskaya orders Vrubel. In 1896, the artist commissioned Mamontov was a grand panel for the All-Russian exhibition in Nizhny Novgorod: "Mikula Selyaninovich" and "Princess of Gleza". Well known portrait of S.I. Mamontov. The Mammoth Art Circle was a unique association. Also well-known private Mamontov Opera.

Savva Timofeevich Morozov (1862-1905). This patronage donated about 500 true patrons never sought to advertise their activities, rather, on the contrary. Often, making a large charitable action, they hid their names. It is known that Savva Morozov, for example, had great help in the founding of the art theater, but at the same time put the condition so that his name would not be mentioned anywhere. About Savve Timofeevich Morozov Our next story.

It took from the old-supplied merchant family. He graduated from the gymnasium, and then the Physics and Mathematics Faculty of Moscow University and received a chemist diploma. Communicating with D. Mendeleev and he himself wrote research work on dyes. He also studied at the University of Cambridge, where he studied chemistry, and then in Manchester - textile business. He was the director of the Partnership of Nikolskaya Manufactory "Savva Morozova Son and K °". He belonged to cotton fields in Turkestan and several other partnerships where he was a shareholder or director. Charity was constantly engaged in: in his factories, he introduced payment for pregnancy and childbirth to working women, allocated scholarships to young people who studied in the country and abroad. It is known that the workers were more competent and educated. He also helped and needing students of Moscow University.

In 1898, he became part of the partnership for the establishment of the theater in Moscow and regularly contributed great donations to the construction and development of MCATA, initiated the construction of a new theater building. Abroad on his money were ordered the most modern devices for the scene (the lighting equipment in the domestic theater first appeared here). On the building of the MHTT with a bronze bas-relief on the facade in the form of a sinking swimmer Sava Morozov I spent about half a million rubles.

Unfortunately, communication with the revolutionary movement, as well as personal circumstances led by S.T. Morozova to premature death.

In the visual art follow big changes. In the 90s 900th. A number of associations of artists who are sharply elevated and even will be engaged in each other, for they radically disagree on art and aesthetics. The most influential associations become the "world of art" (with the magazine of the same name) and the Union of Russian Artists.

Although the "World of Art" attracted many artists in its ranks and not separated by the aesthetic and ideological views of his leaders S. P. Dyagileev and A. N. Benua, the basis of the association was a group of St. Petersburg artists, sharply opposed Academism and movement interested in contacts with Artists of Western Europe. The consolidation of heterogeneous forces in the "world of art" was possible due to the fact that at this time the movement was weakened by contradictions between the advanced and backward forces within the association, and Academism was experiencing an obvious decline. The fundamental articles of the leaders of the "World Peace" defended ideological positions in the spirit of the non-repayment and self-adhesive aesthetism. The specifics of Miriskusny-honor manifested most clearly in the work of A. N. Benua, K. A. Somov, M. V. Dobzhinsky, L. S. Baksta.

Summing up the lesson.

Homework : M. Shornikova, Lesson 1 Read, answer questions.

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Municipal educational institution of Lyceum No. 5 named after Yu.A. Gagarin

Essay by history

"Russian culture of the late 19th early 20th century"

Work completed:

Student 11 "A" class

Lysova Ekaterina

Work checked:

Stepanchenko I.M.

Volgograd 2014.

Introduction

Culture of Russia late XIX - early XX century. Attached artistic traditions, aesthetic and moral ideals of the "Golden Age" of the previous time. At the turn of the centuries in the spiritual life of Europe and Russia there were trends associated with the Africa of man of the XX century. They demanded a new understanding of social and moral problems. All this led to the search for new visual methods and means. In Russia, there was a period that contemporaries called the "silver age" of Russian culture.

There were two points of view on the development of culture at the turn of the centuries. The point of view of modern scientists is related to the concept formulated by the Russian philosopher Berdyaev, who wrote about the revival of Russian culture at the beginning of the twentieth century. Previously, another point of view was spread, formulated by Russian socialists of that time and adopted in Soviet Science: Russian art of the beginning of the twentieth century. worried not Renaissance, but decay. This view was based on the conclusion about the crisis of bourgeois society and bourgeois culture in the era of imperialism.

consider a variety of artistic directions in the culture of Europe of the XIX century;

explore new directions arising in the European culture of the XIX century; Golden age bourgeois imperialism

deepen knowledge of cultural and historical development;

Literature

Literary development in Russia was difficult, contradictory and violently. A lot of literary directions were born and developed. The power of the literature of critical realism in the face of L.N. Tolstoy, A.P. Chekhov. In the works of these writers, a social protest ("after the ball", Haji Murat, "Resurrection" L.N. Tolstoy), waiting for the cleansing storm ("Cherry Garden" A.P. Chekhov).

The traditions of critical realism continued to be maintained and developed in the work of a large writer I.A. Bunin (1870-1953). The most significant works of this period is the story of the "village" (1910) and "Sukhodol" (1911).

There is a birth and development of proletarian literature, will later be called literature of socialist realism. First of all, this is associated with the creative activity of M. Gorky. His "Town of Okrov", "Life of Matthew Kozhemyakina", the chains of the stories "in Russia" carried a wide vitality of the truth. In 1912, A. Serafimovich's literary path begins (A.S. Popov, 1863-1949). The most significant product of the pre-revolutionary period is the novel "City in the steppe", it shows the formation of the proletarian morality.

From 1912 to 1917. (with breaks) The Poet Demyan Poor (E.A. Codvorov, 1883-1945) worked in the Working Newspaper "True". And in 1914. Edited by M. Gorky, the first "Collection of Proletarian Writers" was published. The poets themselves considered their poetry as an ideological and aesthetic basis on which an innovative and highly artistic literature should arise.

In the foreflower decade (meaning the Great October Revolution of 1917, which ended with the overthrow of the temporary government and establishing the power of the Bolshevik Party) in Russian literature comes the whole pleiad of peasant poets, among whom the figure of Sergei Yesenin (1895 -1925) had the greatest significance. His first collector "Radunitsa" came out in 1916. And had a great success. Essenin verses highly appreciated the royal family, the poet was repeatedly invited to the royal village.

The most interesting thing happened in poetry, here fought and interacted with each other several flows: symbolism, acmeism, futurism, "peasant poetry" and others. At this time, a great many magazines and almanacs went out to the most distinguished taste. It was a new takeoff of Russian poetry, so it is customary to be called "Silver Age."

The phenomenon of European scale was symbolism. Russian symbolism Western philosophical and aesthetic installations prevented through the teaching V.S. Solovyov about "soul of the world" and acquired a national originality. Philosopher idealist and poet V.S. Solovyov represented that the old world of evil and deception on the verge of death that the divine beauty (eternal feminine, soul of the world) comes to the world, which must "save the world", connecting the heavenly (divine) beginning of life with earthly, material, creating "God's kingdom on the ground".

Symbolism was closely associated with public shocks and ideological searches of pre-revolutionary decades. Russian symbolism survived three waves. Performances 80-90g. N. Minsk, D.S. Merezhkovsky, Z.N. Hypius reflected decadent trends of the crisis of liberal and populic ideas. The symbolists challenged "clean", "free" art, the mysterious world of unreal, they were close to the theme of "spontaneous genius". "And I want, but unable to love me

of people. I am someone else's among them, "says D. Merezhkovsky 1." I need something that is not in the world, "Z.Gippiiius ends. The symbolist "The second wave" (1890-1900) V. Brysov claimed: "The day of the end of the universe will come. And only the world of dreams "3. With the "second wave" (V.Ya. Bruce, K.D. Balmont) of the end of 19 V. And especially with the "Third Wave" (I.F. Anensky, V.I. Ivanov, A.A. Block, A. White, etc.) began 20 V. Symbolism in Russia.

It turned into an independent literary and philosophical course, which actively influenced cultural and spiritual life. Publishing centers "Scorpio", "Grief", "Muscheti", Libra magazines, "Golden Fleece" published works of symbolist poets who were tensely experienced the problem of personality and history, their "mysterious" connection with the "eternity". The inner world of the individual was an indicator of the common tragic state of the world, including the "terrible world" of the Russian reality, was doomed to death; And at the same time to the monitoring of a close update.

Most of the symbolist poets responded to the events of the 1st Russian Revolution (1905-1907). The block writes "Raised from the darkness of the cellars ...", "Barka Life", etc., Bryusov - "Murrender Gunna", Sologub - Stoeh's book "Political fairy tales", Bolmond - Collection of "Avenger's song", etc.

In 1909 - 1910. During the period of political reaction, symbolism is experiencing a crisis and disintegration, aesthetic views and ideological sympathies of poets diverged, each went its own way.

There were poets-symbols and the October Revolution in different ways. Merezhkovsky and Hippius were emigrated after October 1917. Block, white, Bruce took her as the realization of dreams about changing the forms of culture and life. The last outbreak of the activity of Russian symbolists is associated with the days of the October Revolution, when the group "Scythians" (A.A. Block, A. Boyky, S.A.Senin, etc.) again seeks to connect symbolism and revolution. The top of these searches was the poem of the Twelve Block, which fell at the origins of Soviet poetry.

The symbolism was a bright page in the history of Russian culture. In the literature, he enriched the political possibilities of the verse (meaningful polyphony, the reform of annealing verse, the update of the genres of lyrics, etc.), since the poets sought to convey the unusualness of their worldship "the sounds, among the same rhymes," according to V. Brusov, Complete renunciation from the rules, from the classical measure of creativity, according to K. Balmont (1867-1942).

Disappointed in a symbolic stamp, some of the poets, led by Nikolai Gumilev, create in the fall of 1911. "Poets shop", and a little later, a new course - akmeism (from the Greek AKME - the highest degree, something, blooming force) - the course of Russian poetry 1910g, proclaiming the liberation of poetry from the symbolic "unrecognizable" and return to the material world, accurate value the words.

The views of the poets of the Amers were reflected in numerous theoretical articles, but we are interested in Aidnism in the fact that the work of the largest Russian poets such as N.S.Gumilev (1886-1921), S.M. Porometsky, M.A. Zenkevich, G.V.Ivanov, E.Yu.Kuzminovina-Karavaev, O.E. Möldenshtam (1891-1938), A.A.Akhmatova (1889-1966 The connection of the last two with acmeism was a short). In 1912 among

1. "The history of world art culture" S.V. Filimonova, part 3, Mozyr, 1998, p. 163.

2. "The history of world art culture" S.V. Filimonova, part 3, Mozyr, 1998, p. 163.

3. "The history of world art culture" S.V. Filimonova, part 3, Mozyr, 1998, p. 163.

They were united by the acceptance of the earthly world in its visible concreteness with all the details of the life, the living and direct sensation of nature, culture, as well as increased interest in past literary epochs. The latter allowed Mendelstam to determine acmeism as "longing in world culture." But each poet was deeply individual, deep and interesting. It is difficult to better than gumileva to say about the tragic riddle of Russian history - an evil terrible "Rasputinchina".

Often, creativity went out for the narrow framework of aqmeism, the realistic beginning, patriotic motives became predominant.

Poets-aqmeisthers, passing school symbolism left a trace in the history of poetry, their finds in the field of artistic form used poets in the next decades.

Modernism (avant-garde) in Russian poetry was represented by the works of futurists. In Russia, futurism as a course existed as a course of approximately from 1910 to 1915.

In poetry, the head of the futuristic school was Italian Filippo Tommaso Marinetti, but for Russian futurists he was a weak authority, since his views had a political orientation (protashistant). Russian Futurism wore aesthetic character, in the manifestes of futurists it was about the reform of words, poetry, culture. During the arrival of MarInetti to Russia (January-February 1914) Livshits, Khlebnikov, Mayakovsky sharply opposed him and his views in support of the war. Futurists sought to create the art of the future, declared the denial of traditional culture, cultivated urbanism (aesthetics of machine industrialization and a large city). To do this, they destroyed the natural language in poetry, intertwined the documentary material with fantastics, creating their Bunctary Zauma.

Russian futurism fate is similar to the fate of symbolism. But there were also features. If for symbols, one of the central moments of aesthetics was music (on the poems of Blok, Brysov, Sologub, and especially Balmont, composers of Taneyev and Rachmaninov, Prokofiev and Stravinsky, Gliere and Mayakovsky created numerous romances), then for futurists - line and light. The poetry of Russian futurism was closely connected with avant-garde in painting. It is not by chance that almost all futurist poets are known as good artists - V.Hlebnikov, V.Makovsky, E. Guro, V.Kamensky, A.Krucheny and, of course, brothers burlyuki. At the same time, many anti-garde artists wrote poems and prose, participated in futuristic editions as writers. Painting largely enriched futurism. K. Malevich, V. Kadinsky, N. Thrycharov and M. Alionov almost created what Futurists strive.

The main feature was that under the overall roof of one direction, several groups were united: 1. Cubal feasts (Cubo's prefix goes from the cubism in painting: Sometimes members of this group called themselves "Will"): D.Burlyuk, V.Hlebnikov , V.Kamensky, since 1912 V.M. Markovsky, A.Krucheny, B. Elshitz; 2. In St. Petersburg, the egofulurists (from Lat. Ego - I): V.Inimov, I. Rignateev, V.GNedov, Ivanov, led by the most talented Igor Northerner; 3. In Moscow, the Mezonin-Poetry Group (1913-1914): V.Sherchevich, R. Envnev, S.Tretyakov, B. Loverev DR; 4. A group of poets, concentrated around the publishing house "Centrifuge": S.P. Bobrov, N.N.Asheev, B. Pasternak, K.A. Bolshakov, Bohdar.

Each of these groups believed, as a rule, the expressive of the "true" futurism and led a fierce controversy with other groups, but from time to time, members of different groups came closer or moved from one group to another. The most bright and consistent aesthetics and philosophy of Russian futurism was reflected in the work of Cubal fellow. After the appearance of the manifesto "Society for the public taste" and at the same time Almanacha in December 1912, they were holded about the Cubal feasts, their poems in collections "Dusty Luna", "Zatchka", "Rying Parnass", "Troych", and others began to be discussed.

What stood behind the brave experiments and the evidence of the experiments of futurists?! Futurists tried to endure art outside, in the crowd.

They protested against bourgeois stereotypes.

Reflected the psychology of the city bottoms, an anarchic riot of lipen-proletariat. Hence the cooled vocabulary of the "man of the street", the demonstrative compound of the "high" and "low" plans of the city of the beginning of the XX century.

In the years of the 1st World War, Futurist poets took place every way. Already in 1915, M.Gorky says that "Russian futurism is not. There is only Igor Northerner, Mayakovsky, D.Burlyuk, V.Kamensky. " Oktyabrskaya Revolution Most futurists welcomed as a step towards the new future, to which they sought, but the resumption of the previous group turned out to be impossible. The most politically active part of the pre-revolutionary futurists entered the LEF organized in 1922 (the left front of the arts led by Mayakovsky) and, therefore, to Soviet literature.

With all its internal contradictions, futurism played a certain role in the formation of the largest poets: such as Mayakovsky, Khlebnikov, Pasternak, Aseev, etc., and also brought a lot to poetry: new vocabulary, rhythm, innovative verse rhythm. And the word-lying care of Khlebnikov opened uncharted paths for poetry. The art of many of the "Willly" endured the test of time and is going to join in the XXI century.

Finishing a short conversation about the amazing period in Russian literature, I want to pay attention to the desire for the synthesis of the arts (from symbolists - music and poetry, in futurists - poetry and painting). This desire is brightly traced in theatrical art.

At the end of the XIX-early XX century. In the Russian prose, the flourishing of the main literary direction of the second half of the last century -critical realism continued. New significant works created Tolstoy. Social and socio-psychological problems have found a deep reflection in the work of Chekhov.

However, artistic techniques of critical realism have ceased to satisfy many writers at the turn of the XIX-XX centuries. A deeper interest in personality, its inner world, the search for new visual means and forms - all this caused the emergence of modernism in literature and art. It existed many currents. The desire of art to the transformation of reality by artistic means gave the beginning of Ruskomymolize. His theorist in the mid-1890s. Buses spoke. Another direction - the aqueshemissed by the reaction to symbolism. Gumilev, Akhmatova, Mandelstam, Tsvetaeva, who created new lyrical poetry turned to the world of human feelings. The denial of traditional culture was expressed in the activities of supporters of the "Art of the Future" - Futures (Northerner, Mayakovsky).

However, at the beginning of the XX century. Russia was overwhelmed by a wave of boulevard literature focused on the Meshchansky tastes (base melodrama, detectives, erotica).

on the passage of times, the premonition of the Great Slave was felt literally in everything, Russian culture was blooming. This short, like every bloom, segment of the epoch from the beginning of the 1890s to the middle of the 1910s is customary to be called the Silver Age. This sonorous name was born by analogy with the popular definition of the "golden age of Russian literature" (why the "golden" main topics are citizenship, freedom, patriotism, gradation, relevance).

Literature teacher: But Pushkin harmony is unattainable. Theories, names, directions changed rapidly. "Silver Age" combined various poets, artists, artists, musicians, philosophers in an attempt to find a new alloy of creativity and life.

The content of the speech of the Third Group: It was in culture that he saw the salvation of the world shocked by technical innovations and social explosions. The crisis in the country was reflected in the diversity of literary directions. The poets became the sound - symbolists (definition, content, origin). The first symbolism took the form of decades (definition, content, origin). Used color symbols: black - mourning, death. Blue - privacy, sadness, magic meaning. Yellow - betrayal, treason. Gray - dust, wave color.

All silver time poets associate one thing: they wrote about their beloved, beautiful homeland with her difficulties. They laid the path to modern literature. And all the poets, our contemporaries turn to their work.

History teacher: This "new beauty", these searches of the new form found their reflection in painting K.19 - H.20 century. What are the features of the Russian picturesque school of "Silver Century"?

Teacher from: symbolism as a phenomenon was characteristic of Russia H.20.V. The largest among them are Vrubel, Petrov-Vodkin.

Painting

Conclusion

The historical paradox is that freedom and the multi-line artistic life of those years serve simultaneously and confirm the strength of Russian culture, and the confirmation of the weakness of the distorted consciousness of a part of the educated Russian society. In those specific socio-psychological conditions, the culture could not support public equilibrium, but it is not to blame for this. She left such masterpieces that the world admires today. This sociocultural phenomenon entered the history called the "Silver Century" of Russian Culture.

The history of domestic culture is our spiritual wealth. In the culture, the memory of the people was concluded, through the culture every new generation, engaging in life, feels part of this nation.

Culture develops continuously, and every generation of people is based on what was created by the predecessors.

The time and disregard of the descendants led to the loss of many cultural monuments. But the history of domestic culture suggests that finds and discoveries were also the losses. So, after many centuries, the word about Igor's regiment was returned to our culture, the spiritual meaning of Russian literature was revived. So, the ancient Russian icons opened under several layers of late painting were restored. The domestic non-massist philosophy is still mastered, and coming to our culture literature and the art of Russian abroad 20B.

The history of domestic culture is not limited to the national framework. Representatives of other peoples made a huge contribution to Russian culture, as well as Russians on the origin of the figures gave their strength and talent to the cultural development of the peoples of the USSR and other countries.

Russian culture was formed and developing today as one of the branches of the mighty tree of world universal culture. Her contribution to world cultural progress is indisputable: these are cultural scientific discoveries, and masterpieces of literature and art, and may be the most important, loyalty to humanistic ideals.

Mastering the cultural wealth of humanity is becoming an increasingly constant need of time, and the study of the history of domestic culture acquires extremely important social importance.

Bibliography

1. Albert Jacques, Bender Johan and others. The history of Europe. - M.: "Enlightenment", 1996.

2. Bolshakov V. P. The originality of the culture of the new time in its development from the Renaissance to the present day. - Veliky Novgorod: Novgorod named after Yaroslav Wise, 2004

3. Resurrection N. O. Culturology. - History of world culture. - M.: Uniti - Dana, Unity, 2003.

4. Gurevich P. S. Culturology. Ed, 2nd. - M.: Knowledge, 2002.

5. DRAC G. V. Culturology. - Rostov N / D: "Phoenix", 1996.

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Russian art of the late XIX - early XX century. Sculpture. Architecture. Russian culture was formed and developing today as one of the branches of the mighty tree of world universal culture. His contribution to world cultural progress is indisputable.

abstract, added 08.06.2004


Spiritual and artistic origins of the silver century. The flowering of the silver century culture. The originality of Russian painting end of the XIX - early XX century. Art associations and their role in the development of painting. Culture of the province and small cities.

course work, added 01/19/2007


Spiritual culture, forming over the centuries and millennia, focused on the implementation of at least two social functions - identifying objective laws of being and maintaining the integrity of society.

examination, added 11/21/2005


The features of the "Golden Age" of XIX classical Russian art, as an extraordinary take-off of domestic culture in the first half of the 19th century. Culturalology as science: methods and main directions, the history of the emergence and development of cultural studies as science.

examination, added 11/27/2008


Russian culture at the beginning of the twentieth century. Cepeboy Pyccian culture. The main directions of the culture of the silver century. Decadacy. Symbolism. Strengthening reaction-mystical ideas. Modernist flows. Akmeism is a cult of real earthly being. Futurism.

essay, added 09/26/2008


General characteristics and the most important features of the culture of Russia of the XVIII century. The main features of Russian culture of the XIX - the beginning of the twentieth centuries: "Golden" and "silver" age. Significant achievements and problems in the development of the Belarusian culture of the XVIII century - beginning. XX century.

abstract, added 12/24/2010


The main features of the Western European culture of the new time. Features of European culture and science in the XVII century. Significant dominants of the culture of European Education of the XVIII century. The most important trends in the culture of the XIX century. Stages of artistic culture XIX century.

This period is marked by the complexity of the sociocultural situation in Russia. Epoch of the Russian-Japanese and First World War, three revolutions, formidable catastrophes and social explosions.

At the same time, the end of the XIX is the beginning of the XX centuries. The achievements of scientific and technological progress are noted. The introduction of electricity in the industry, the emergence of cars and airplanes, the opening of radio and X-ray waves - all changed the appearance of the country, life of people. At the beginning of the century, the first Russian cities appeared with more than a million population. From spring 1896, first in St. Petersburg and Moscow, and then in other major cities (in 1903 - 1904), the cinema was functioning. By 1913, there were more than 1,400 cinemas in Russia.

The general process of the development of Russian art proceeded contradiction, hitting the variety of artistic methods, schools, directions,

In Russian artistic culture, this period was called Silver centurywho comes after the gold, embodied the highest achievements of Russian art.

The originality of the artistic culture of the Silver Age can be characterized as a parallel development of the realistic direction and a number of unrealistic trends combined by the name of the avant-garde. According to art historian V. Vanaslov: "In the 20th century, realism and avant-garde are evaluated in the struggle and mutual negotiation."

Artistic significance and fruitfulness retains realism. Enough to bring creativity as an example L.N. Tolstoy (1898 - 1910) - Dramaturgy ("Fruits of Enlosurement" 1891; "Living Corpse" - 1900; Prose - Creichars Sonata 1891; "Father Sergiy" - publ. In 1912, "Haji Murat" - publ. 1912; religious - Philosophical quest - "Confession" publ. In 1906 and others.

At the turn of the centuries, realistic tendencies with elements of impressionism are embodied in prose and drama A.P. Chekhov (1860 - 1904), associated with the Moscow Art Theater, creativity K. Stanislavsky and V. Nemirovich-Danchenko: Prose - "Chamber N 6" - 1892, "House with mezzanine" - 1896; "Ionch", "man in a case", "gooseberry" all in 1898; Dramaturgia - "Uncle Vanya", "Seagull" 1896; "Three sisters", "Cherry Garden" - both 1904.

Develop the realistic trends of Russian classical literature A. Kookin, I. Bunin, V. Veresaev. Nowadays their direction got the name neanalism.

A. Kubrin (1870 - 1953) - "Litriped" (1907-1911); "Gambrinus" - 1907, "Pomegranate Bracelet" - 1911, "Anathema" - 1913. It should be noted that Kubrin lived in the Crimea in Balaclava; It is its fishermen inhabitants that the story "Litripeda" is devoted to 1907-1911.

I. Bunin (1870 - 1953) - Nobel laureate, from 1920 in emigration. In Russia: "Antonovsky apples" - 1900, "Mr. from San Francisco" - 1915, "Light breath" - 1910 and others. At the same time, I. Bunin is an outstanding poet: "Listopad", 1981; Singer of love ("Dark Alleys" and others), a brilliant stylist, a master of the language.

V. Veresaev (1867 - 1945) in the titles and stories "Without the road" - 1895, "Povertyr" - 1989, "Two End" - 1899-1903, "Note of the doctor" - 1901 and other questions about the fate of the Russian intelligentsia of the turning period. Novels N.G. Garina-Mikhailovsky (1852 - 1906; "Childhood theme", "Gymnasists", "Students", "Engineers"). "The history of my contemporary" (published in 1922) V.G. Korolenko (1853 - 1921) were a reliable narrative of the spiritual life and the search for Russian youth.

During this period, the creative path of M. Gorky begins (1868 - 1936), creating realistic stories, stories and novels at the turn of the centuries ("Thomas Gordeev", - 1899, "Troy" - 1901) and plays ("Promenban" - 1902, " At the bottom "- 1902," Dachniki "- 1905," Enemies "- 1906 and others). At the initiative of Gorky, the Publishing House "Knowledge" is organized, uniting realist writers (N. Teshov, A. Serafimovich, I. Shmelev, E. Chirikov and others). At the same time, M. Gorky is the author of romantic works: "Fairy tales of Italy", 1911 - 1913, "Old Man Izergil", 1895 and others.

Along with realism, neorealism in the literature of the turn of the XIX - XX centuries. both in Europe, and in Russia unrealistic directions are formed, including symbolism. The concept of symbolism combined two generation poets:

"Senior" symbolists (Poets of the 90s. Hypius (1869 - 1921), D Merezhkovsky (1865 - 1911), V. Bryusov (1873 - 1924), F. Sologub (1865 - 1941) and others.

"Younger" symbolists- Generation of the 1900s: A. Block (1880 - 1949), A. White (1880 - 1934), Vyach. Ivanov (1866 - 1949) and others.

Following Rambo, Malaria, Baudelaner, Russian symbolists, based on the poetics of the symbol, sought to recreate the irreal artistic space, the effect of uncertainty, which brought them with a poetic of romanticism. The creative principle (theurgy, vital formation) was proclaimed, interchangeability of the ability to synthesize the arts (S. Bulgakov: "... Every art in his depth is allocating ...", S. Bajler is the law "Universal Analogy"). The philosophical basis was the ideas of A. Shopenhauer, F. Nietzsche and others.

United so different masters teaching Vl. Solovyova: The ideas of "whole creativity", the subordination of matter is the ideal divine start.

K. Balmont - "In vintage", 1895; "We will be like the sun", 1902;

A. White - "Gold in Lazuri", 1904; "Northern Symphony, 1904;

A. Blok. - "Retribution", 1908 - 1913; "Poems about the beautiful lady", 1904, 1905; "Nightingale garden", 1915 and others.

Oh, I want to live insanely:

Everything is perpetuating,

Impersonal to enter

Sorry to embody!

A. Block, "Jamba"

In the development of forms, the musicality of the Russian verse, in the enrichment of the "country of Russian poetry" A. Blok, V. Bryusov, in the best works of A. White, K. Balmont, F. Sologub made a lot and were rightfully established as significant masters. Creation A. Bloka Amended in Russian culture (cycles "Retribution", "on the field of Kulikov", "Motherland", "Jamba", etc.), reflecting the complexity and contradictions of the Russian art of this period.

The new direction of Russian modernism axism (from Greek. AKME is the highest degree of something, the peak, blooming force) was represented by the largest poets of the 20th century. Article N. Gumilev "Heritage of Symbolism and Axism" was acknowledged by the Aqueism Manifesta, which reflected his artistic orientation. One of the forms of the organization was the "shop of poets", to which belonged to: N. Gumilyov (1886 – 1921), A. Akhmatova (1889 – 1966), O. Mandelshtam (1891 – 1938).

In the center of aesthetics of acmeysts - the problem of the words, a reverent attitude towards the native language. The programmatic was the poem of Gumilev "Word":

On the day, when the world is new
God bowed his face, then
The sun was stopped by a word
In the word destroyed the city ...

The fate of these poets is tragic: N. Gumilyov was shot (1921), O. Mandelstam (1938) died in the camps.

Anna Akhmatovain later works - " Requiem», « Poem without heroes"Reflected the tragedy of the era of the 30s. XX century. She was recognized as a great Russian poet, became the conscience of generation.

In the Grozny Military 1942, February 23, she wrote poems in which the Russian word called the taste of the people, the symbol of his courage and immortality.

Courage

We know that now lies on the scales
And what is done now.
Hour courage struck on our clock,
And courage will not leave us.
Not scary under bullets dead
Do not be bitterly stayless,
And we will keep you, Russian speech,
Great Russian Word.
Free and clean you carry you
And grandchildren give, and save from captivity
Forever!

The direction of the Russian avant-garde is rapidly developing. From the directions of the avant-garde in Russia received the greatest development futurismSubsequently transformed into cubobuturism.

In the previous sections of the book, it was noted that the birthplace of futurism was Western Europe, and his founder - Tomazo Marinetti, a young Italian poet, who published in 1909 in Paris "First Manifesto futurism." "The main element of our poetry said Marinetti," there will be bravery, audacity and riot. "

The author positioned the "offensive movement", not only the "gymnastic step" as determining the features of its direction, but even the speed of a "racing car", combining all this "beauty" and dynamism, destructive power.

Russian futurism, although it was largely similar to Italian, but was not so monolithic. V. Mayakovsky (1893 – 1930), V. Khlebnikov (1885 – 1922), A. Kratynyh (1886 - 1968) finally D. Burluk (1883 - 1967), who received the nickname "Father of Fudge", were bright individualities, experimenters. After visiting Marinetti Russia (1914), D. Burluk and V. Kamensky published a letter, where they claimed: "We and the Italian futurist are nothing in common, except for the nickname, do not have."

Futurists set the task of creating a "synthetic" art, "uniting all kinds of artistic activities. Based on this, synthetic, synthesis of arts - distinctive features of the creative style of futurist masters.

They were both poets, artists, and theater figures.

I immediately smeared the card Dubna,

Splashing paint from glass,

I showed a jelly on dish

Ocean's ocean cheekbones.

On cesua tin fish

I read the call of new lips

Nocturne play

We could

On the flute of drain pipes?

V. Mayakovsky (1913)

Futurists were engaged in pacaining (V. Mayakovsky, V. Khlebnikov), search for new picturesque forms (D. Burlyuk, A. Klycheykh, A. Exter, M. Goncharov, V. Larionov and others), conducted disputes, organized exhibitions. Fruitful appeal to primitivism, folk Lubku.. Artists - Avangandists paid special attention to the problems of form: composite solutions, color and line, rhythm, texture, etc.

Describing the originality of the Russian avant-garde, DM. Sarabanov emphasized that his figures solved the "General Problems of Being": the ratios of earth and space (Malevich), the priority of spiritual over the material (Kandinsky), the unity of mankind in his historical, modern and future state (Filonov), the realization of the human dream in "Her Merge With human memory (Chagal). "These problems were not solved in the philosophical paths, but in the pictorial formulas, and these formulas received a philosophical color." Futurism in Russian poetry found an expression in the work of D. Burliuk (1882 - 1967), V. Khlebnikov (1885 - 1922), A. Klychey (1886 - 1968). The brightest poet, in the work of which reflected the features of futurism, was V. Mayakovsky (1893 - 1930), who expanded the borders of his poetry, which became a cry of the pain conquered by the city of man ("Vladimir Mayakovsky", "cloud in pants" and others)

The singer of his native nature, an expressive of the secret secrets of the human soul was poetry S. Yesenin (1895 - 1925): Collections " Radunitsa"1916; " Doveless"1918," Persian motifs»1925, poems" Anna Snegina"1925," Black man1926 and others. The world of man and the world of nature in the Poem S. Yesenin are inseparable. He wrote to heartfelt:

I think:
How beautiful
Land
And on it a person

The short life and creative path of the poet reflected the contradictions of reality, and the complexity of his personality. But the main focus of his poetry has always been love for his homeland, its culture, nature, to the Russian word:

But then,
When in the entire planet
Communion tribes,
Lie and sadness will disappear,
I will sing
All the creature in the poet
Sixth part of the Earth
With a brief "Rus".

In the cultural life of Russia of the late XIX - early XX centuries. A significant event was the creation of a Moscow art and public theater K.S. Stanislavsky and IN AND. Nemirovich-Danchenko. Theater defended realistic principles of the game. His repertoire was the plays of A.hehkhov, M. Gorky, L. Tolstoy, Gauptman, Ibsen.

During this period, the work of wonderful actors blooms: M.N. Yermolova, A.P. Lensky, dynasty of Sadovsky (Small theater), MG Savina, V.N. Davydov, V.F. Commissioner (Alexandria theater) and others. The originality of the interpretation and originality was distinguished by E. Meyerhold in the Alexandria theater, subsequently creating his team.

A significant phenomenon in the artistic culture of Russia turns the ages of the ages of the first filmmakers, among them - Ya.A. Protazanov (1881 - 1945), Pleiada Popular actors (V. Cold, I. Mozhukhukhin, V. Maksimov, V.Polonskaya).

Actively develops musical a life. Higher musical education was represented by the St. Petersburg and Moscow conservatory arising in the 60s. XIX century. Music colleges in Kiev, Saratov, Odessa were converted to the 10th. In the conservatory. Philharmonic society in Moscow is actively operating, " Evenings of modern music " In Petersburg, " Music exhibitions".

The largest composers of the 20th century steel S. Rakhmaninov (1873 – 1943), A. Glazunov (1865 – 1936), A. Skryabin (1872 - 1915). Innovative trends have noted music I. Stravinsky and young S. Prokofiev. A big role in the propaganda of Russian art abroad played " Russian seasons in Paris"S. Dyagileva, where the Ballets of Stravinsky were presented (" Fire-Bird "," Parsley "), danced A. Pavlova, M. Fokin and V. Nezhinsky, scenery wrote A. Benua and A.Golovin.

Diverse and diverse was the activities of representatives of plastic arts - painting, graphics, architecture, sculptures,applied art. One of the most important parties to the artistic life of Russia of this period is an abundance of exhibitions (10 - 15 per year), expanding their geography (Kharkov, Odessa, Nizhny Novgorod, Kazan, Saratov and others). The partnership of mobile exhibitions continues its activities, along with him - St. Petersburg Society of Artists, Moscow Association of Artists. From the beginning of 1899, the exhibitions of the new society are arranged in St. Petersburg " World of Art"Thanks to the activities of the member of this mug S. Dyagileva (1872 - 1929), Russian art comes abroad, and international exhibitions function in Russia.

Was opened for viewers Russian Museum in St. Petersburg (1898); In August 1892 P.Tretyakov Pered to the gift of the city of Moscow his artistic collection; In 1898, a laying of the buildings of the Museum of Fine Arts in Moscow (now - the Museum of Fine Arts named after A.S. Pushkin). In Moscow, there were several private art gallery: P.Shukina, I. Morozova, A. Bahrushev and others

Art criticism develops, young critics and historians are acting: A. Benua (1870 – 1960), I. Grabar (1871 - 1960), a lot is printed N. Rerich (1874 - 1947) and others.

Realistic direction B. painting, As in the literature, it was very fruitful. In the late XIX - early XX centuries. still worked I. Repin, V. Surikov, V. Vasnetsov, V. Vereshchagin, V. Polenov other. During this period, the talent of V.A. was blooming Serov (1865 - 1911), who deepened the content of realism and expanded its expressive opportunities ("girl with peaches", "Girl lit by the sun", portraits of bitter, ermolova and others). Serov varied art manner depending on the features of the work, the originality of nature (portraits of M. Morozov, Banker V.Girshman, Princess Orlova). A significant place in his work is occupied by historical compositions ("Peter I"), mythological plots ("Abduction of Europe", "Odyssey and Navigree").

One of the outstanding masters putting new ways to painting, - K. Korovin (1864 - 1939), who experienced the influence of impressionism ("winter", "summer", "roses and violets" and others) Korovin creates scenery for performances of the Russian private opera S. Mamontov, Imperial and Bolshoi Theater. The best theatrical works of Korovin are associated with national themes, with Russia, her epic and a fairy tale, its history and nature.

Agitated and spiritualized art M. Vrubel (1856 - 1910). The expressiveness of its works is increasing, due to dynamic painting, flickering color, energetic drawing. This is a glass picture, and a book illustration, and a monumental-decorative panel, and theater decoration.

One of the central in his work is the topic Demon, inspired by the poetry M. Lermontov ("Demon Sitting", "Demon flying", "Demon defeated"). The epic heroes come to life in his panel "Mikula Selyaninovich", "Bogatyr". Beautiful fabulous images "Pan", "Tsarevna-Swan". Portraits (S. Mamontov, V. Borisov and others are peculiar and significant.

The poetry of nature images, a person has been incarnation in the work of V. Borisov-Musatova (1870 - 1905).

A significant phenomenon in Russian artistic life was ideological and artistic association " World of Art", in which A. Benois (1870 - 1960), K. Somov (1869 - 1939), L. Bastland (1866 - 1924), E. Lancere (1875 - 1946), M. Dobuzhinsky (1875 - 1957). In two art artists, artists of the World Arts have achieved the most significant success: in theatrical and decorative and in the chart. The landscapes of the old St. Petersburg and its suburbs were the originality of the machine graphics, as well as a portrait. A great contribution to the schedule of the beginning of the XX century. Made A. Ostrumova-Lebedeva. Fruitfully worked in the book graphics I. Bilibin, D. Kardovsky, Narbut and others.

Talented masters united and " Union of Russian artists"(1903 - 1923), in the exhibitions of which K. Korovin, A. Archipov, A.Vasnetsov, S. Malyutin and others, close to the" Union ", were A. Rylov, K. John, I. Brodsky , A. Malyavin. Scenery - The main genre in the art of the masters of the "Union of Russian Artists". They portrayed the nature and middle strip of Russia, and the Sun South, and the harsh North, and the Old Russian city, the ancient estates. These artists experienced interest in the rapid visual coverage of the world, a dynamic composition, erasing the boundaries between the composite pattern and the sketch.

In the decade 1907 - 1917 Art includes talented painters. Z.E. Serebryakov (1884 - 1967) developed the traditions of Venetsianov, the great masters of the Renaissance ("harvest", "whitening canvas"). Internal warmth, artistic expressiveness is distinguished by its portraits (self-portrait, portraits of children).

K.S. Petrov-Vodkin (1878 - 1939) was fond of ancient-Russian art, especially icon painting. This was reflected in the paintings "Mother", "morning", where the images of the peasants symbolize high spiritualized moral purity. A new phenomenon was the picture "Bathing of the Red Horse" (1912), characterized by laconic composition, the dynamics of space, the classical severity of the pattern and the harmony of the color, built on the main colt colors.

Since the beginning of the XX century, the formation of creativity M.S. Sarian (1880 - 1972). Its concise works are built on bright and whole color silhouettes, contrasts of rhythm, light and shadows ("Street. Noon. Constantinople", "Palm tree. Egypt" and others).

One of the most significant phenomena of Russian art of the beginning of the 20th century is the creativity of M.V. Nesterova (1862 - 1942). The artist appealed to the world perfectly beautiful, challenged the purity of a religious feeling. The landscape is played a huge role in the works of Nesterov, with whom the inner world of his heroes is connected. It " Hermit", "Vision of the Pattern of Bartholomew", "Great Pastrig"And others. There are also the skill of Nesterov-portraitist. Most portraits artist writes on a background of a landscape (portrait of a daughter: a girl's figure in black amazon stands up with a beautiful silhouette against an evening landscape, embodying the ideal of youth, beauty of life and harmony).

Noticeable revival at the beginning of the 20th century experienced sculpture, There was a pleiad of large masters. P.P. Trubetskaya (1866 - 1938) revealed his talent in portraits ("Artist I.I. Luitan", a portrait of L. Tolstoy). A monument to Alexander III acquired wide popularity.

To bright phenomena in the Russian art of the turn of the XIX-XX centuries. Creativity A.S.Golubkina (1864 - 1927). Her art is emphasized spiritualized, filled with deep content and consistently democratic. It creates sculptural portraits of the writer A.N. Tolstoy and simple woman ("Marya", 1903). Her favorite reception is a sharp black and white modeling, with which the sculptor is achieved by special dynamics and emotionality of the image.

Talented, distinctive and multifaceted sculptor S.G. Konenkov (1874 - 1971) During this period, the works "Kamneboez", Samson, one of the most captive images - "Nika" (1906). A large place is occupied by the traditions of Russian folklore ("old-wood-wilderness", etc.).

Architecture The end of the XIX - early XX centuries. Different with the development of modern style; The task of the decisive update of the artistic and figurative language. One of the most important creative problems was the synthesis of arts. The characteristic feature of modern is the weave of creative manners, various trends. Modern has quickly evolved. For its early stage, formal-decorative techniques, mannered ornamentation were characteristic. At the turn of 1900 - 1910s. Rationalistic trends intensified. Late Modern is characterized by the desire for simplicity and rigor.

One of the leading Masters of Modern - F.O. Shechor (1859 - 1926). His main works - Mansion S.P. Ryabushinsky; Yaroslavsky Station (1902) - an example of the national modern ("non-Russian style") and others.

The characteristic sample of early modern is the hotel "Metropol" (architect V.F. Walcot), the facades are decorated with Maolikov Panno, executed on the sketches of M. Vrubel and A. Golovin. In St. Petersburg, the Kshesinskaya mansion (A.I. von Gugen), the building of the Eliseev store on Nevsky Prospect (G.V. Baranovsky), Vitebsk Station (S.A. Brzhozovsky).

Since the 1910s, the architecture since the architecture has been a desire to revive the tradition of an ensemble building of the era of classicism. Representatives of Neoclassici - I.A. Fomin (1872 - 1936), V.A. Schuko (1878 - 1939), A.V. Shushev (1873 - 1949) - the author of the Kazan station in Moscow.

Throughout the centuries-old history, Russian art changed, enriched, improved, but always remained distinctive, expressing the national character of Russian culture.