Aesthetics of experiment and early Russian avant-garde

Avant-garde currents:

• Fovisov Expressionism Cubism Futurism Abstractionism Suprematism
• Fovisov Expressionism Cubism Futurism Abstractionism Suprematism
• Fovisov
• Expressionism
• Cubism
• Futurism
• Abstractionism
• Suprematism

All avant-garde currents have one general:

They refuse art in direct pictusivity, denied cognitive functions of art. The denying of the visual functions is inevitably the dedication of the forms themselves, the replacement of the picture or the statue of the real object.

The birth of Suprematism from the Alogical Cloths Malevich with the greatest persuasive fascinated in the picture called "Composition with mono liza"

Revelation Outiglogo Malevich while working on the second edition of the Brochure "Victory over the Sun". Preparing drawings, he made the last step on the way to freeness.

The newborn direction remained unchanged for some time, then Malevich wrote a brochure "from cubism to suprematism", in which he gave an explanation of the term "Suprematism" (from Latis "Super" - "superiority", "dominance"). This word Malevich was striving to fix the primacy, the color domination is necessary for all other components of painting. This manifestic book spread on the "0.10" (zero-ten) venice.

The main picture there became "Black square"

"Black Square" as if all the forms and all the paints of the world, bringing them to the plastic formula, where the alley of black (complete absence of color and light) and white (the simultaneous presence of all colors and lights) is dominated

A simple geometric shape-mark is emphasized, neither associative, nor plastically, nor ideologically, the subject, the concept that has already existed in the world has evidenced by the absolute freedom of the artist.

"Suprematism in its historical development had three steps of black, color and white," Malevich wrote in the book "Suprematism".

The black stage began with three forms - a square, cross, circle.

Suprematism reached its last stage in 1918.

Malevich was a courageous artist, going to the end of the chosen path: on the third stage of the Suprematism, the color left it. In the middle of 1918, the "White on White" cannons appeared, where in the bottomless white, as if the white forms were melted.

Introduction ...................................................................................................... ..3 Chapter 1. Experiments in the modernist directions in the art of the beginning of the 20th century. ............................................. ..................................... .................... 4 CHAPTER 2.US Early Avangard. Artistic associations and their representatives .............................................................................. ..7 Conclusion ................................................... .................................... 15 List of references ........................................................................ 17

Introduction

The brightest examples of elite subcultures that are special, esoteric in the framework of one or different social layers we find in artistic culture, which has very specific directions in the foreign and domestic art of the late 19th and early 20th centuries. These include: community of artists "World of Art", various associations of symbolists, as well as very popular at that historical moment - avant-garde directions, which come up with their own language, create their types of cultural texts and very specific means of expression. Experiments with the form were combined in the work of representatives of the avant-garde with the search for new "rhythms of time", the desire of which was to recreate the dynamism of the subject, his "life" in different angles.

Conclusion

Avangard, created new art worlds, was born due to the dialogue, the interaction of various cultures, and in this dialogue, creation is invited to join the modern viewer to understand the discovery of the discoveries of Russian artists for world art of the twentieth century. The Russian avant-garde was the continuation of both the highest stage of Western modernist and avant-garde, which in turn became a logical continuation of the entire previous evolution of Western culture and civilization. It was the Russian avant-garde that was destined to bring to the logical end begun by Western modernism and avant-garde. It is marked by an unprecedented scale, depth and radicality. This largely contributed to the established historical conditions of revolutionary Russia, as well as some features of Russian culture, such as such phenomena as cosmism. Russian avant-garde is much radical with traditional aesthetics and art, creating art that is approaching clean, absolute creation. The artist in such art no longer need no external model, whether it is a person, nature or any subject. He does not imitate anything, does not copy anything, but it shows the ability to create, based on certain first elements, originally or, like God, from nothing. Russian avant-garde most fully implemented the desire of Western modernism and avant-garde to the experiment and search for new. This was facilitated by the fact that he unconditionally adopted modern science, the revolutionary achievements of which became an inspiring example for him in his own creative quest. He became the most out of the framework of the artistic style and became the real philosophy of the new world, the path to which he saw in the radical break with the past. He is all directed to the future, and his futurism rests on the enlightenment of faith in the infinite ability of a person to remake not only art and society, but also the whole universe. For this, the Russian avant-garde was ready to sacrifice himself, dissolved in the future world unity, in which the synthesis of all arts and their merger with life will occur. In the main and most significant - both in theoretical and practical plan - the Russian avant-garde exhausted the concept of art as an absolute creation. Therefore, post-war inadenernism of the 50-70s. - With all the many of the currents that arose in it - no longer able to add anything really new and original.

Bibliography

1.A. Nakov "Russian Avangard" Moscow. "Art" 1991 2. Herachieva T. V. Uopia in the art of the Russian avant-garde: Futurism and Suprematism // Avangard in the culture of the twentieth century (1900-1930): Theory. History. Poetics: in 2 kN. / Ed. Yu. N. Girin. - M.: Divine RAS, 2010 3. Terekhina V. N. Russian Futurism: Formation and originality // Avangard in the culture of the twentieth century (1900-1930): Theory. History. Poetics: in 2 kN. / Ed. Yu. N. Girin. - M.: Illy RAS, 2010 4. Malevich K.S. From cubism and futurism to suprematism. New picturesque realism. - M., 1916.

Presentation on the topic: aesthetics of experiment and early Russian avant-garde

1 of 18.

Presentation on the topic: Aesthetics of experiment and early Russian avant-garde

Slide number 1

Slide description:

State budgetary educational institution of the Novosibirsk Region "Secondary School" Regional Education Center ". Subject: MHK.MEM: Aesthetics of the experiment and early Russian avant-garde. Having filled: student of the 10th year of Alain. 2010

Slide 2 number

Slide description:

Innovation in all areas of art is the main slogan of avant-garde. Avangard is a collective concept of the very "left" experimental creative directions in the art of "Silver Century". In avant-garde currents, despite their entire differences, the generals were novelty and courage, which were considered to be a measure of creative giftedness and the standard of modernity. It was generally naive faith of artists in the offensive of a special and unusual historical time - the era of wonder techniques capable of changing the relationship of people with each other and with the environment. Problems of continuity for avant-garde supporters no matter how existed. Realism of the XIX century. He seemed to the young nihilists of the "dilapidative measure", which makes the freedom of self-expression. The main directions and foreigners of the avant-garde include fusism, cubism, abstract art, suprematism, futurism, Dadaism, expressionism, constructivism, metaphysical painting, surrealism, naive art; Dodecafonia and aleutatorics in music, specific poetry, specific music, kinetic art.

No. Slide 3.

Slide description:

Formism. Formism (from FR. Fauve - wild) - direction in French painting and music of the late XIX - early XX century. At the 1905 Paris exhibition, the artists were demonstrated, who left the viewer from the viewer who comes from the paintings from the paintings and passion, one of the French critics called these painters with wild beasts. The artistic manner of the walkers were characterized by the spontaneous dynamism of the smear, the desire for the emotional strength of an artistic expression, bright color, shrill purity and sharp color contrasts, the intensity of the open local color, the rhythm sharpness. The inspirationors of the walkers were postpressionists Van Gogh and Gaugugen, who preferred subjective intensive color, color soft and natural, characteristic of impressionists.

Slide 4 number

Slide description:

Albert Matisse. The chapter of this school is the Matisse, which has accomplished a complete gap with optical color. In his picture, a female nose could well be green, if it gave it expressiveness and composition. Matisse claimed: "I am drawing not women; I draw pictures".

No. Slide 5.

Slide description:

No. Slide 6.

Slide description:

K. S. Malevich Malevich was a consistent propagandist of his own theory. Over time, a group of like-minded UNIVS (Approtients of new art) was formed over time. The creations of Russian artists-avant-gardeists of the beginning of the century blew up outdated pro-Western visual consciousness.

No. Slide 7.

Slide description:

Slide 8

Slide description:

Cubism cubism (FR. Cubisme) - the avant-garde direction in visual art, primarily in painting, originated at the beginning of the 20th century and characterized by the use of geometrized conditional forms, the desire to "split" real objects for stereometer primitives.

Slide number 9.

Slide description:

Aristarkh Vasilyevich Lentulov learned painting in the Penza and Kiev artistic columns, then in the private studio D. N. Kardovsky in St. Petersburg. In 1910, he became one of the organizers of the Association "Bubnovaya Valet". With the pre-revolutionary times of Lentilov, it also actively cooperates with the theater, draws up performances in the chamber theater (Windsor Razoznitsa Shakespeare, 1916), the Bolshoi Theater (Prometheus Scriabin, 1919) And others.

No. Slide 10.

Slide description:

P. P. Konchalovsky in painting was Cenetant and generally experienced a strong attraction towards Europe, perfectly spoke in French. Also experienced the influence of his father-in-law, V. I. Surikov, with whom he first traveled to Etudes to Spain, later they worked throughout Europe. In the early period, the artist sought to express the festivity of color, characteristic of Russian folk creativity with the help of constructive color of the field Cezanne. It was known thanks to his still lifes, often performed in style, close to analytical cubism.

No. Slide 11.

Slide description:

No. Slide 12.

Slide description:

Futurism in the visual art of Futurism was repelled from the Formism, borrowing color finds from him, and from the Cubism, who took over the artistic forms, but rejected a cubic analysis (decomposition) as an expression of the entity of the phenomenon and sought to the direct emotional expression of the dynamics of the modern world. Definct artistic principles Speed, movement, energy that some futurists tried to convey fairly simple techniques. Their painting is characterized by energetic compositions, where the figures are fragmented on fragments and intersect with acute angles, where flashes, zigzags, spirals, bevelled cones are dominated, where the movement is transmitted by overlaying sequential phases to one image - the so-called principle of simultaneity.

Slide number 13.

Slide description:

Slide 14 No.

Slide description:

Beremeyr Khlebnikov Khlebnikov - one of the recognized leaders of the Russian avant-garde of the beginning of the 20th century, as he consciously engaged in building new art. Many futurists, including Mayakovsky, called him their teacher; Assumptions about the influence of the Poetic Language of Khlebnikov on the work of Andrei Platonov, Nikolai Aseeva, Boris Pasternaka. In the same time, Khlebniki often remained in the shadows, as David Burlyuk and Mayakovsky were mainly engaged in the organizational activities. Chlebtniki including in the field of painting and music. Some researchers generally believe that without it, the perception of aesthetics and avant-garde poetics inadequate.

Slide number 15.

Slide description:

Dodecafonia is one of the types of composer technique of the 20th century. The composition method (theoretically developed by A. Shenberg), in which the musical tissue of the work is derived from a 12-ton series of a certain structure, and from 12 sounds of the chromatic gamma none repeated. The series can appear both in the horizontal presentation (in the form of melody-themes), and in the vertical (in the form of a consonant), or both and in another at the same time. In the process of developing atonal music. There are various kinds of dodecafon techniques. Of these, the methods of Schönberg and Y. M. Hauer have become the greatest importance. The essence of the Schönberg method of the Dodecafonia is that the components of this product melodic votes and consonances are made directly or ultimately from a single source - sequence of all 12 sounds of chromatic gamma interpreted as unity. This sequence of sounds is called a series. Dodecafonia provisions - Arnold Schönberg, Anton Webern, Alban Berg, th. M. Hower, Hindemite, Igor Stravinsky, Shostakovich, Pierre Bulez, etc.

No. Slide 16.

Slide description:

Slide number 17.

Slide description:

No. Slide 18.

Slide description:

New form gives rise to new content. Art has always been free from life, and on color it never reflected the color flag over the fortress of the city. V. Shklovsky.

Plan.

• On the modernist directions in the art of the beginning of the century. The concept of "avant-garde".
• Art associations and their representatives.
• Russian avant-garde.

"Avangandism"

comes from the French words "Avant", which is translated as "advanced", and "qarde" - "detachment".

Conditional designation of European artistic currents of the XX century, expressed in the fundamental update of all types of art, modernist undertaking in art:

cubism, Fusovism, futurism, expressionism, abstractionism (beginning of the century), surrealism (twentieth and thirties), ancientity, pop art (work with objects), conceptual art, photorealism, kinetism (sixties and seventies), theater absurd, electronic Music and more ..

Slogan avant-garde:

"An innovation in all areas of art."

Naive faith of artists in the offensive of a special and unusual historical time - the era of wonder techniques capable of changing the relationship of people with each other and with the environment.

Refusal to the norms of classic image, deformation of forms, expression. The art of avant-garde is designed for the dialogue of the artist and the audience.

Associations

Union of Moscow artists

"Jack of Diamonds".

• Union of Moscow artists "Jack of Diamonds".

• The basis of their painting was

taken a thing as such

in his pure form. And

subject

"To the focus", devoid of any

in obvious or

philosophical ambiguity.

Main representatives and their work Union of Moscow artists "Bubnovaya Valet".

• Petr Petrovich Konchalovsky (1876-1956 ) "Return from the Fair",

• "Lilac", "Dry paints"

• "Camellia", "Sand Moscow:

• breads ",
• "Still life with magnolias"

• Alexander Kuprin (1880-1960) "Poplar", "Plant", still lifes,

• industrial landscapes.

• Robert Rafailovich Falk (1886-1958) "Old Ruza", "Negro", "Bay in

• Balaclava "

• Aristarkh Vasilyevich Lentulov (1882-1943) "Ring", "at the Iverskaya",

• "Self-portrait",
• "Cracking of an oil refinery plant",
• "Vegetables"

Petr Petrovich Konchalovsky (1876-1956)

Ilya Ivanovich Mashkov (1881-1944)

Family portrait. 1911

Blue plums. 1910

State Tretyakov Gallery, Moscow.

Slow Moscow. Breads. 1924

State Tretyakov Gallery, Moscow.

Portrait of B. Yakulov. 1910

State Tretyakov Gallery, Moscow.

Aristarkh Vasilyevich Lentulov

(1882-1943)

Alexander Kuprin (1880-1960)

Still life with a blue tray. 1914

State Tretyakov Gallery, Moscow.

Robert Rafailovich Falk.

(1886-1958)

Vasily blissful. 1913

State Tretyakov Gallery, Moscow.

Old rus. 1913

St. Petersburg.

Ringing Bell tower Ivana

great. 1915

Group of painters "Oslay Tail."

• Applying to primitivism, to the traditions of Russian icon painting and Lubka; The part of the group was close to futurism and cubism.

• Mikhail Fedorovich Larionov (1881-1964) "Provincial Frantha", "Recreation of Soldiers", "Rooster", "Lucism".

• Natalia Sergeevna Goncharov (1881-1962) "Peasants collecting apples", "Sunflowers", "Fishing", "Jews. Shabash. "

• Mark Chagall (1887-1985) "I and the village", "Scripache", "Walk", "Above the City", "Holy Family".

• Vladimir Evgrafovich Tatlin (1885-1953)

• "Sailor", "Software", "counter-relief", "Project of the Monument III International", "Passlylin"

Mikhail Fedorovich Larionov (1881-1964)

Raysism. Fragment. 1912

Meeting of Moonnovsky, St. Petersburg.

Provincial Frantha. 1907

Tatarstan, Kazan.

Cock. 1912

State Tretyakov Gallery, Moscow.

Recreation soldier. 1910

State Tretyakov Gallery, Moscow.

Natalia Sergeevna Goncharova (1881-1962)

Jews. Shabash . 1912

Museum of Fine Arts of the Republic

Tatarstan, Kazan.

Peasants collecting apples. 1911

State Tretyakov Gallery, Moscow.

Mark Chagall (1887-1985)

Violinist . 1911-1914

Strettelik Museum, Amsterdam.

stroll . 1917-1918

State Russian Museum, St. Petersburg.

I and the village . 1911

Modern Art Museum,

New York.

Above the city . 1917

State Tretyakov Gallery, Moscow.

Vladimir Evgrafovich Tatlin (1885-1953)

Model. 1910

State

Russian Museum,

St. Petersburg.

Project of the monument III International.

1919-1920

Counter-relief. 1914-1915

State Russian Museum,

St. Petersburg.

Sailor . 1911

State Russian Museum,

St. Petersburg.

Passlan. 1930-1931 The photo.

Russian avant-garde.

• Experiments with the form (primitivism, cubism) were combined in the work of representatives of the avant-garde with the search for new "rhythms of time". The desire to recreate the dynamism of the subject, his "life" in different angles.

The main representatives and their work:

• "Houses in Murnau on Obermark", "Improvisation of Kmmm", "Composition VI", "Composition VIII", "Dominant curve".

• "Peasant family", "Winner of the city", "Illustration to the book of Velimira
• Khlebnikov "," Formula of imperialism "," Formula Spring ".

• "Flower", "lady at the tram stop", "cow and violin", "Aviator",

"Suprematism", "kosar", "peasant", "Black Suprematic Square".

Vasily Vasilyevich Kandinsky (1866-1944)

Composition VI . 1913

State Russian Museum,

St. Petersburg.

Dominant curve. 1936

Museum of Huggenheim, New York.

Improvisation of climb. 1914

City Gallery Lenbachhauses,

Munich.

Houses in Murnau on Obermark . 1908

Collection of Tissren-Borneysis, Lugano.

Composition VIII . 1923

Museum of Huggenheim, New York.

Pavel Nikolaevich Filonov (1883-1941)

Peasant family.

(Holy Family). 1914

State Russian Museum,

St. Petersburg.

Spring formula. 1928-1929

State Russian Museum,

St. Petersburg.

The formula of imperialism. 1925

State Russian Museum,

St. Petersburg.

Illustration for the book Velimira Khlebnikov.

"Exchange". 1914

Kazimir Severinovich Malevich (1878-1935)

Flower room1903

State Russian Museum,

St. Petersburg.

Cow and violin. 1913

State Russian Museum,

St. Petersburg.

Mower. 1912

Art Museum.

Nizhny Novgorod.

Aviator. 1914

State Russian Museum,

St. Petersburg.

Lady at the tram stop. 1913

City Museum. Amsterdam.

Suprematism.

State Russian Museum,

St. Petersburg.

Peasant. 1928-1932

State Russian Museum,

St. Petersburg.

Black Suprematic Square.

1914-1915

State Russian Museum,

St. Petersburg.

Avangard in literature (poetry). Futurism.

• The literary and artistic direction of the beginning of the XX century in Italy and Russia.
• Futurists with contempt rejected past, traditional culture in all its manifestations and chased the future - the upcoming era of industrialism, technology, high speeds and the pace of life.
• For the painting of futurism, the "energy" compositions with fragmented figures are characteristic of fragments, it is dominated by spine, flashes, explosive zigzags, spirals, ellipses, funnels.
• One of the basic principles of a futuristic picture is simultaneous (simultaneity), i.e. Combining in one composition of different moments of movement.

F. T. Marinetti

. "There is no beauty outside the struggle. No masterpieces without aggressiveness." And I confessed "We want to destroy museums, libraries. Fight moralism:"

In February 1914, Marinetti appeared in the famous St. Petersburg basement "Stray Dog", where artistic youth and creators of "New Art" were going.

For the first time, the word "futurism" appeared in the name of a group of poets, who called themselves "ego paturas". True, this direction was not monolithic, and his invention belonged to the whole to the poet Igor Northerner (I.V. Lotarev, 1887-1941).

The core of the literary association "Giley" is the first major Commonwealth of Futurists.

Literature.

1. Aksenov M., Maisuryan N. Encyclopedia for children. T.5. Art. Part 2. Architecture, pictorial and decorative - applied art of the XVII - XX centuries. M.: Avanta +, 2005.

2. Aronov A. A. World art culture. Russia end of the XIX-XX century. M.: Publishing Publishing Center, 1999.

3. Gorelova I., Bragin A. Art. M.: AST, 2003.

4. Rapatskaya L. A. World art culture. 1, 2 parts. Grade 11. M.: Vlados, 2007

What unites these works and what distinguishes them from the art of past epochs? Refusal of the norms of the classic image Refusal of the norms of the classic image Deformation of the form deformation of the form Expression Expression This art is designed for the artist's dialogue with the viewer, this art is designed for the artist's dialogue with the viewer

Avant-garde - (Fr. - Advanced detachment) - a concept that defines experimental, modernist undertakings in art. Here, avant-garde is a collective designation of all the newest currents, such as Formism, cubism, futurism, expressionism, abstractionism, suprematism, primitivism, surrealism.

Konchalovsky Petr Petrovich Portrait G. Yakulova 1910 Canvas, oil 176 x 143 In the portraits of Konchalovsky began 1910, the fond of the art of the primitive comes to the fore. Some of them, including the portrait of the artist George Yakulov, throughout the composite system and a picturesque decision resemble the fair photos of the beginning of the twentieth century. It is impossible to imagine that the artist, like-minded Konchalovsky and his neighbor depicts here. On the back of the canvas inscription: "Portrait of an Eastern man." According to the author, Yakulov here seems to play the role of a characteristic character. Konchalovsky depicts a model against the background of an eastern carpet, hung by Yatgana and sabers, in an unnatural position, looking directly to the viewer, but not going to do anything about himself. Probably like East Fakir, ready to create a miracle at any moment. The portrait surprises artistic cheerfulness, it is obvious to the wishes of the master to overcome all the annoying stereotypes and approve their priorities.

Vasily Vasily Blessed Blessed 1913 g

K. C. Malevich. K. C. Malevich. Partial eclipse. Composition with mono composition with mono liza liza

Etude frescoes

Twisted A.E. () ()
V. Khlebnikov Running a laugh oh, reimburse, Menthai! Oh, whine, Monkhai! What laughs laughs, what they mix diligently, oh, whine smile! Oh, laughing arrogant - laughter of oxide mixes! Oh, graduate, laughing, laugh of appliances! Smayevo, dare it! Usmay, Osmay, Monkey, Mastchain! Senthers, dotschers. Oh, reimburse, Monkhai! Oh, whine, Monkhai! 1908-1909.

In poetry, avant-garde installations were most clearly manifested in futurism - a new form of resentment. Igor Northernik (I. V. Lotarev), A. E. Klychey, V. Khlebnik, V. V. Mayakovsky, B. L. Pasternak, joined Futurism. We offer students to turn to materials on Russian literature on these poets. We add that the "word lifting" of futurists touched on the sphere of the musical theater, where the first futuristic opera "Victory over the Sun" arose (composer M. Matyushin, artist K. Malevich, Poet A. Klychey).