The popularity of fine arts in the modern world. Visual arts in the modern world
Ode "Felitsa" (1782) is the first poem that made the name of Gavrila Romanovich Derzhavin famous, becoming an example of a new style in Russian poetry.
The ode got its name from the name of the heroine "Tales of Tsarevich Chlorine", the author of which was Catherine II herself. By this name, which in Latin means happiness, she is also named in Derzhavin's ode, which glorifies the empress and satirically characterizes her surroundings.
The history of this poem is very interesting and revealing. It was written a year before publication, but Derzhavin himself did not want to print it and even hid the authorship. And suddenly, in 1783, news spread around St. Petersburg: an anonymous ode to "Felitsa" appeared, where they were bred in comic form the vices of famous nobles close to Catherine II, to whom the ode was dedicated. Petersburg residents were quite surprised by the courage unknown author. They tried to get the ode, read it, rewrite it. Princess Dashkova, close to the Empress, decided to publish an ode, and in the very magazine where Catherine II herself collaborated.
The next day, Dashkova found the Empress all in tears, and in her hands was a magazine with Derzhavin's ode. The Empress asked who wrote the poem, in which, as she herself said, she portrayed her so accurately that she was moved to tears. This is how Derzhavin tells this story.
Indeed, violating the traditions of the genre of laudatory ode, Derzhavin widely introduces colloquial vocabulary and even vernacular into it, but most importantly, he draws not formal portrait empress, but depicts her human appearance. That is why everyday scenes, a still life turn out to be in the ode:
Not imitating your Murzas,
Often you walk
And the food is the simplest
It happens at your table.
Classicism forbade the combination of high ode and satire, which belonged to low genres, in one work. But Derzhavin does not even simply combine them in his characterization different persons, bred in the ode, he does something completely unprecedented for that time. The “God-like” Felitsa, like other characters in his ode, is also shown in an ordinary way (“You often walk on foot ...”). At the same time, such details do not reduce her image, but make her more real, humane, as if accurately written off from nature.
But not everyone liked this poem as much as the Empress. It puzzled and alarmed many of Derzhavin's contemporaries. What was so unusual and even dangerous about him?
On the one hand, in the ode "Felitsa" quite traditional image"God-like princess", which embodies the poet's idea of the ideal of the Right Reverend Monarch. Clearly idealizing the real Catherine II, Derzhavin at the same time believes in the image he painted:
Give, Felitsa, guidance:
How magnificently and truthfully to live,
How to tame passions excitement
And be happy in the world?
On the other hand, in the poet's verses, the thought sounds not only about the wisdom of power, but also about the negligence of performers who are concerned about their own benefit:
Everywhere temptation and flattery lives,
Luxury oppresses all pashas.
Where does virtue live?
Where does a rose without thorns grow?
In itself, this idea was not new, but behind the images of the nobles drawn in the ode, the features clearly appeared real people:
I circle my thought in chimeras:
Then I steal captivity from the Persians,
I turn arrows to the Turks;
That, having dreamed that I am a sultan,
I frighten the universe with a look;
Then suddenly, seduced by the outfit,
I'm going to the tailor on the caftan.
In these images, the poet's contemporaries easily recognized the favorite of the Empress Potemkin, her close associates Alexei Orlov, Panin, Naryshkin. Drawing their brightly satirical portraits, Derzhavin showed great courage - after all, any of the nobles offended by him could do away with the author for this. Only the favorable attitude of Catherine saved Derzhavin.
But even to the empress, he dares to give advice: to follow the law, which is subject to both kings and their subjects:
You alone are only decent,
Princess, create light from darkness;
Dividing Chaos into spheres harmoniously,
Strengthen their integrity with a union;
From disagreement to agreement
And from ferocious passions happiness
You can only create.
This favorite thought of Derzhavin sounded bold and was expressed in a simple and plain language.
The poem ends with the traditional praise of the Empress and wishing her all the best:
Heavenly I ask for strength,
Yes, their outstretched safir wings,
Invisibly you are kept
From all diseases, evils and boredom;
Yes, your deeds in the offspring sounds,
Like stars in the sky, they will shine.
Thus, in Felitsa, Derzhavin acted as a bold innovator, combining the style of a laudatory ode with the individualization of characters and satire, introducing into high genre ode elements of low styles. Subsequently, the poet himself defined the genre of "Felitsa" as a "mixed ode". Derzhavin argued that, in contrast to the traditional ode for classicism, where they praised government officials, military leaders, sang of the solemn event, in a "mixed ode", "a poet can talk about everything."
Reading the poem "Felitsa", you are convinced that Derzhavin really managed to introduce into poetry boldly taken from life or created by the imagination individual characters real people shown against the backdrop of a colorfully depicted everyday environment. This makes his poems vivid, memorable and understandable not only for people of his time. And now we can read with interest the poems of this remarkable poet, separated from us by a huge distance of two and a half centuries.
Ode "Felitsa" Derzhavin, summary which is given in this article - one of the most famous works this Russian poet XVIII century. He wrote it in 1782. After the publication, Derzhavin's name became known. In addition, the ode has become a clear example of a new style in Russian poetry.
The name of the ode "Felitsa" by Derzhavin, the summary of which you are reading, received on behalf of the heroine "Tales of Tsarevich Chlor". Author this work- Empress Catherine II.
In his work, this name Derzhavin calls the ruler of Russia herself. By the way, it translates as "happiness". The essence of the ode is reduced to the glorification of Catherine (her habits, modesty) and the caricature, even mocking depiction of her pompous surroundings.
In the images that Derzhavin describes in the ode "Felitsa" (a brief summary of the "Brifli" cannot be found, but it is in this article), one can easily recognize some persons close to the empress. For example, Potemkin, who was considered her favorite. As well as Counts Panin, Orlov, Naryshkin. The poet skillfully depicts their mocking portraits, while demonstrating a certain courage. After all, if one of them would be very offended, he could easily deal with Derzhavin.
He was saved only by the fact that Catherine II liked this ode very much and the empress began to treat Derzhavin favorably.
Moreover, even in the very ode "Felitsa", a brief summary of which is given in this article, Derzhavin decides to give advice to the empress. In particular, the poet advises that she obey the law, the same for all. The ode ends with the praise of the empress.
The uniqueness of the work
After reviewing the summary of the Felitsa ode, one can come to the conclusion that the author violates all the traditions in which such works were usually written.
The poet actively introduces colloquial vocabulary, does not shy away from non-literary statements. But the most important difference is that he creates the empress in human form, refusing her official image. It is noteworthy that the text confused and disturbed many, but Catherine II herself was delighted with it.
The image of the empress
In the ode "Felitsa" by Derzhavin, the brief content of which contains the semantic quintessence of the work, the empress at first appears before us in the usual god-like image. For a writer, she is a model of an enlightened monarch. At the same time, he embellishes her appearance, firmly believing in the depicted image.
At the same time, in the poet's poems, thoughts slip through not only about the wisdom of power, but also about the dishonesty and low level of education of its performers. Many of them are only interested in their own benefit. It is worth recognizing that these ideas have appeared before, but never real before. historical figures were not so recognizable.
In the ode "Felitsa" by Derzhavin (he cannot yet offer a summary of the "Brifli") the poet appears before us as a bold and courageous discoverer. It makes an amazing symbiosis, complementing the laudatory ode individual traits characters and witty satire.
History of creation
It was the ode "Felitsa" by Derzhavin, the summary of which is convenient for a general acquaintance with the work, that made a name for the poet. Initially, the author did not think about publishing this poem. He did not advertise it and hid the authorship. He seriously feared the revenge of influential nobles, who were not in best light depicted in the text.
Only in 1783 did the work become widespread thanks to Princess Dashkova. A close colleague of the Empress published it in the journal Interlocutor of Lovers of the Russian Word. By the way, the ruler of Russia herself gave her texts to it. According to Derzhavin, Catherine II was so moved when she first read the ode that she even began to cry. It was in such touched feelings that Dashkova herself discovered her.
The Empress certainly wanted to know who the author of this poem was. It seemed to her that everything was depicted in the text as accurately as possible. In gratitude for the ode "Felitsa" by Derzhavin, a summary and analysis of which is given in this article, she sent a golden snuffbox to the poet. It contained 500 chervonets.
After such a generous royal gift, literary fame and success came to Derzhavin. Not a single poet knew such popularity before him.
Thematic diversity of Derzhavin's work
Describing Derzhavin's Felitsa ode, it should be noted that the performance itself is a playful sketch of the life of a Russian ruler, as well as nobles especially close to her. At the same time, the text raises important issues at the state level. This is corruption, the responsibility of officials, their concern for statehood.
Artistic features of the ode "Felitsa"
Derzhavin worked in the genre of classicism. This direction strictly forbade the combination of several genres, for example, high ode and satire. But the poet decided on such a bold experiment. Moreover, he not only combined them in his text, but also did something unprecedented for the literature of that very conservative time.
Derzhavin simply destroys the traditions of a laudatory ode, actively using reduced, colloquial vocabulary in his text. He even uses frank vernacular, which, in principle, were not welcomed in the literature in those years. Most importantly, draws Empress Catherine II ordinary person, abandoning her classic ceremonial description, which was actively used in such works.
That is why in the ode you can find a description of everyday scenes and even a literary still life.
Derzhavin's innovation
ordinary, household image Felicia, behind whom the empress is easily guessed, is one of the main innovations of Derzhavin. At the same time, he manages to create the text so as not to reduce her image. On the contrary, the poet makes him real and human. Sometimes it seems that the poet writes it from nature.
While reading the poem "Felitsa", one can be convinced that the author managed to introduce into poetry the individual characteristics of real historical characters, taken from life or created by imagination. All this was shown against the backdrop of a domestic environment, which was depicted as colorfully as possible. All this made the ode understandable and memorable.
As a result, in the ode "Felitsa" Derzhavin skillfully combines the style of a laudatory ode with individualization real heroes, also introduces an element of satire. Ultimately, in an ode that belongs high style, turns out to be a lot of elements of low styles.
Derzhavin himself defined its genre as a mixed ode. He argued that it differs from the classical ode in that in a mixed genre the author has a unique opportunity to talk about everything in the world. So the poet destroys the canons of classicism, the way is opened for the poem to new poetry. This literature is being developed in the work of the next generation of author - Alexander Pushkin.
Meanings of the ode "Felitsa"
Derzhavin himself admitted that it was a great merit that he decided on such an experiment. famous explorer of his work, Khodasevich notes that Derzhavin was most proud of the fact that he was the first Russian poet to speak in a "funny Russian style," as he himself called it.
But the poet was aware that his ode would be, in fact, the first artistic embodiment of Russian life, would become the germ of a realistic novel. Khodasevich also believed that if Derzhavin had lived to see the publication of Eugene Onegin, he would undoubtedly have found echoes of his work in it.
History of creation. Ode "Felitsa" (1782), the first poem that made the name of Gabriel Romanovich Derzhavin famous. It became a vivid example of a new style in Russian poetry. The subtitle of the poem specifies: “Ode to the wise Kyrgyz-Kaisak princess Felitsa, written by Tatarsky Murza, who has long settled in Moscow, and who lives on business in St. Petersburg. Translated from Arabic. Own unusual name this work received on behalf of the heroine "Tales of Tsarevich Chlorus", the author of which was Catherine II herself. This name, which in Latin means happiness, is also named in Derzhavin's ode, which glorifies the empress and satirically characterizes her surroundings. It is known that at first Derzhavin did not want to publish this poem and even hid the authorship, fearing the revenge of the influential nobles, satirically depicted in it. But in 1783 it became widespread and, with the assistance of Princess Dashkova, close empress, was published in the journal Interlocutor of Lovers of the Russian Word, in which Catherine II herself collaborated. Subsequently, Derzhavin recalled that this poem so touched the empress that Dashkova found her in tears. Catherine II wanted to know who wrote the poem in which she was depicted so accurately. In gratitude to the author, she sent him a golden snuffbox with five hundred chervonets and an expressive inscription on the package: "From Orenburg from the Kirghiz Princess to Murza Derzhavin." From that day on, Derzhavin gained literary fame, which no Russian poet had known before. Main themes and ideas. The poem "Felitsa", written as a playful sketch of the life of the Empress and her entourage, at the same time raises very important issues. On the one hand, in the ode "Felitsa" a completely traditional image of a "god-like princess" is created, which embodies the poet's idea of the ideal of an enlightened monarch. Clearly idealizing the real Catherine II, Derzhavin at the same time believes in the image he painted: On the other hand, the poet’s poems sound not only about the wisdom of power, but also about the negligence of performers concerned about their own benefit: This idea in itself was not new , but behind the images of the nobles drawn in the ode, the features of real people clearly appeared: In these images, the poet's contemporaries easily recognized the favorite of Empress Potemkin, her close associates Alexei Orlov, Panin, Naryshkin. Drawing their vividly satirical portraits, Derzhavin showed great courage - after all, any of the nobles offended by him could do away with the author for this. Only the favorable attitude of Catherine saved Derzhavin. But he even dares to give advice to the empress: to follow the law to which both tsars and their subjects are subject: This favorite thought of Derzhavin sounded bold, and it was expressed in simple and understandable language. The poem ends with the traditional praise of the Empress and wishing her all the best: Artistic originality. Classicism forbade combining a high ode and satire belonging to low genres in one work. But Derzhavin does not even just combine them in characterizing different people depicted in the ode, he does something completely unprecedented for that time. Violating the traditions of the genre of laudatory ode, Derzhavin widely introduces colloquial vocabulary and even vernacular into it, but most importantly, he does not draw a ceremonial portrait of the empress, but depicts her human appearance. That is why everyday scenes appear in the ode, the still life “God-like” Felitsa, like other characters in his ode, is also shown in everyday life (“Not cherishing your peace, / You read, you write under a veil ...”). At the same time, such details do not reduce her image, but make her more real, humane, as if accurately written off from nature. Reading the poem "Felitsa", you are convinced that Derzhavin really managed to introduce into poetry the individual characters of real people boldly taken from life or created by the imagination, shown against the background of a colorfully depicted everyday environment. This makes his poems vivid, memorable and understandable. The value of the work. Derzhavin himself subsequently noted that one of his main merits was that he "dared to proclaim Felitsa's virtues in a funny Russian syllable." As rightly pointed out by the researcher of the poet V.F. Khodasevich, Derzhavin was proud "not that he had discovered the virtues of Catherine, but that he was the first to speak in a "funny Russian style." He understood that his ode was the first artistic embodiment of Russian life, that it was the germ of our novel. And, perhaps, - Khodasevich develops his thought, - had "old Derzhavin" lived at least until the first chapter of Onegin, he would have heard echoes of his ode in it.
One of the main ways we think. Its result is the formation of the most general concepts and judgments (abstractions). In decorative art, abstraction is the process of stylization of natural forms.
In artistic activity, abstraction is constantly present; in its extreme expression in fine art, it leads to abstractionism, special direction in the visual arts of the 20th century, which is characterized by the rejection of the image of real objects, the ultimate generalization or complete rejection of form, non-objective compositions (from lines, dots, spots, planes, etc.), experiments with color, spontaneous expression inner world the artist, his subconscious in chaotic, unorganized abstract forms (abstract expressionism). Paintings by the Russian artist V. Kandinsky can be attributed to this direction.
Representatives of some currents in abstract art they created logically ordered structures, echoing the search for a rational organization of forms in architecture and design (the Suprematism of the Russian painter K. Malevich, constructivism, etc.). Abstractionism expressed itself less in sculpture than in painting.
Abstractionism was a response to the general disharmony of the modern world and was successful because it proclaimed the rejection of the conscious in art and called for "yielding the initiative to forms, colors, colors."
Realism
From fr. realisme, from lat. realis - real. In art in a broad sense, a truthful, objective, comprehensive reflection of reality by specific means inherent in the types of artistic creativity.
The common features of the method of realism is the reliability in the reproduction of reality. At the same time, realistic art has a huge variety of ways of cognition, generalization, artistic reflection reality (G.M. Korzhev, M.B. Grekov, A.A. Plastov, A.M. Gerasimov, T.N. Yablonskaya, P.D. Korin, etc.)
Realistic art of the XX century. acquires bright national traits and variety of forms. Realism is the opposite of modernism.
avant-garde
From fr. avant - advanced, garde - detachment - a concept that defines experimental, modernist undertakings in art. In every era, innovative phenomena arose in the visual arts, but the term "avant-garde" was established only at the beginning of the 20th century. At this time, such trends as Fauvism, Cubism, Futurism, Expressionism, Abstractionism appeared. Then, in the 20s and 30s, avant-garde positions were taken by surrealism. In the period of the 60-70s, new varieties of abstractionism are added - various forms actionism, work with objects (pop art), conceptual art, photorealism, kinetism, etc. Avant-garde artists express their own protest against traditional culture.
In all avant-garde directions, despite their big variety, can be distinguished common features: rejection of the norms of the classical image, formal novelty, deformation of forms, expression and various game transformations. All this leads to the blurring of the boundaries between art and reality (ready-made, installation, environment), the creation of an ideal open work art, directly invading the environment. The art of avant-garde is designed for a dialogue between the artist and the viewer, active interaction a person with a work of art, participation in creativity (for example, kinetic art, happening, etc.).
Works of avant-garde trends sometimes lose their pictorial origin and are equated with objects surrounding reality. Modern directions avant-gardism are closely intertwined, forming new forms of synthetic art.
underground
English underground - underground, dungeon. A concept meaning an "underground" culture that opposed itself to the conventions and limitations of traditional culture. Exhibitions of artists of this direction were often held not in salons and galleries, but directly on the ground, as well as in underground passages or the subway, which in a number of countries is called the underground (underground). Probably, this circumstance also influenced the fact that behind this trend in the art of the XX century. the name was approved.
In Russia, the concept of underground has become a designation for a community of artists representing unofficial art.
Surrealism
Fr. surrealism - super-realism. Direction in literature and art of the XX century. established in the 1920s. Originating in France on the initiative of the writer A. Breton, surrealism soon became an international trend. Surrealists believed that creative energy comes from the subconscious, which manifests itself during sleep, hypnosis, painful delirium, sudden insights, automatic actions (random wandering of a pencil on paper, etc.)
Surrealist artists, unlike abstractionists, do not refuse to depict real-life objects, but represent them in chaos, deliberately devoid of logical relationships. The absence of meaning, the rejection of a reasonable reflection of reality is the main principle of the art of surrealism. About detachment from real life the very name of the direction speaks: “sur” in French “above”; artists did not pretend to reflect reality, but mentally placed their creations “above” realism, passing off delusional fantasies as works of art. Yes, in number surreal paintings included similar, inexplicable works by M. Ernst, J. Miro, I. Tanguy, as well as objects processed beyond recognition by the surrealists (M. Oppenheim).
The surrealistic direction, which was headed by S. Dali, was based on the illusory accuracy of reproducing an unreal image that arises in the subconscious. His paintings are distinguished by a careful manner of writing, accurate transmission of chiaroscuro, perspective, which is typical for academic painting. The viewer, succumbing to the persuasiveness of illusory painting, is drawn into a labyrinth of deceptions and unsolvable mysteries: solid objects spread, dense objects become transparent, incompatible objects twist and turn inside out, massive volumes become weightless, and all this creates an image that is impossible in reality.
This fact is known. Once at an exhibition in front of a work by S. Dali, the viewer stood for a long time, peering carefully and trying to understand the meaning. Finally, in utter desperation, he said loudly, "I don't understand what that means!" The audience's exclamation was heard by S. Dali, who was at the exhibition. “How can you understand what it means if I don’t understand it myself,” the artist said, expressing in this way the basic principle of surrealist art: to paint without thinking, without thinking, abandoning reason and logic.
Exhibitions of surrealist works were usually accompanied by scandals: the audience was indignant, looking at the ridiculous, incomprehensible paintings, they believed that they were being deceived, mystified. Surrealists blamed the audience, declared that they fell behind, did not grow up to the creativity of "advanced" artists.
General features of the art of surrealism are fantasy of the absurd, alogism, paradoxical combinations of forms, visual instability, variability of images. Artists turned to imitation primitive art, creativity of children and the mentally ill.
Artists of this trend wanted to create on their canvases a reality that did not reflect the reality prompted by the subconscious, but in practice this resulted in the creation of pathologically repulsive images, eclecticism and kitsch (German - kitsch; cheap, tasteless mass production designed for an external effect).
Some of the Surrealist finds were used in commercial areas. decorative arts, For example optical illusions, allowing you to see two different images or scenes in one picture, depending on the direction of view.
The works of the surrealists evoke the most complex associations, they can be identified in our perception with evil. Terrifying visions and idyllic dreams, violence, despair - these feelings appear in various versions in the works of the surrealists, actively influencing the viewer, the absurdity of the works of surrealism affects the associative imagination and psyche.
Surrealism is a controversial artistic phenomenon. Many really advanced cultural figures, realizing that this trend destroys art, subsequently abandoned surrealistic views (artists P. Picasso, P. Klee and others, poets F. Lorca, P. Neruda, Spanish director L. Bunuel, who made surrealistic films ). By the mid-1960s, surrealism had given way to new, even more flashy strands of modernism, but the bizarre, mostly ugly, nonsensical works of the surrealists still fill the halls of museums.
Modernism
Fr. modernisme, from lat. modernus - new, modern. The collective designation of all the latest trends, directions, schools and activities of individual masters of art of the 20th century, breaking with tradition, realism and considering experiment as the basis creative method(fauvism, expressionism, cubism, futurism, abstractionism, dadaism, surrealism, pop art, op art, kinetic art, hyperrealism, etc.). Modernism is close in meaning to avant-gardism and is opposite to academism. Modernism was negatively assessed by Soviet art critics as a crisis phenomenon of bourgeois culture. Art has the freedom to choose its historical paths. The contradictions of modernism, as such, must be considered not statically, but in historical dynamics.
Pop Art
English pop art, from popular art - popular art. A trend in the art of Western Europe and the USA since the late 1950s. The heyday of pop art came in the turbulent 60s, when youth riots broke out in many countries of Europe and America. The youth movement did not have a single goal - it was united by the pathos of denial.
Young people were ready to throw all overboard past culture. All this is reflected in art.
A distinctive feature of pop art is the combination of challenge with indifference. Everything is equally valuable or equally priceless, equally beautiful or equally ugly, equally worthy or not worthy. Perhaps only advertising business based on the same dispassionately business-like attitude to everything in the world. It is no accident that it was advertising that had a huge impact on pop art, and many of its representatives worked and still work in advertising centers. The creators of commercials and shows are able to shred into pieces and put them together in the combination they need washing powder And famous masterpiece art, toothpaste and Bach's fugue. Pop art does the same.
Popular culture motifs are exploited by pop art in different ways. Real objects are introduced into the picture through collage or photographs, usually in unexpected or completely absurd combinations (R. Rauschenberg, E. War Hall, R. Hamilton). Painting can imitate compositional techniques and the technique of billboards, the picture of a comic book can be enlarged to the size of a large canvas (R. Lichtenstein). Sculpture can be combined with dummies. For example, the artist K. Oldenburg created the likeness of display models food products huge sizes from unusual materials.
There is often no border between sculpture and painting. A work of art of pop art often not only has three dimensions, but also fills the entire exhibition space. Due to such transformations, the original image of an object of mass culture is transformed and perceived in a completely different way than in a real everyday environment.
The main category of pop art is not artistic image, but its "designation", which saves the author from the man-made process of its creation, the image of something (M. Duchamp). This process was introduced in order to expand the concept of art and include non-artistic activities in it, the “exit” of art into the field of mass culture. Pop art artists were the initiators of such forms as happening, object installation, environment and other forms of conceptual art. Similar trends: underground, hyperrealism, op-art, ready-made, etc.
Op art
English op art, abbreviated. from optical art - optical art. A trend in the art of the 20th century, which became widespread in the 1960s. Op art artists used various visual illusions, relying on the features of the perception of flat and spatial figures. The effects of spatial movement, merging, floating forms were achieved by the introduction of rhythmic repetitions, sharp color and tonal contrasts, the intersection of spiral and lattice configurations, meandering lines. In op art, installations of changing light, dynamic constructions were often used (discussed further in the section on kinetic art). Illusions of flowing movement, a successive change of images, an unstable, continuously rebuilding form arise in op art only in the sensation of the viewer. The direction continues the technical line of modernism.
kinetic art
From gr. kinetikos - setting in motion. A trend in contemporary art associated with the widespread use of moving structures and other elements of dynamics. Kineticism as an independent trend took shape in the second half of the 1950s, but it was preceded by experiments in the creation of dynamic plasticity in Russian constructivism (V. Tatlin, K. Melnikov, A. Rodchenko), Dadaism.
Earlier folk art also showed us samples of moving objects and toys, such as wooden birds of happiness from the Arkhangelsk region, mechanical toys that imitate labor processes from the village of Bogorodskoye, etc.
IN kinetic art movement is introduced in different ways, some works are dynamically transformed by the viewer himself, others - by fluctuations in the air environment, and still others are set in motion by a motor or electromagnetic forces. The variety of materials used is endless - from traditional to ultra-modern technical means, up to computers and lasers. Mirrors are often used in kinetic compositions.
In many cases, the illusion of movement is created by changing lighting - here kineticism merges with op art. Kinetic techniques are widely used in the organization of exhibitions, fairs, discos, in the design of squares, parks, public interiors.
Kineticism strives for the synthesis of arts: the movement of an object in space can be supplemented by lighting effects, sound, light music, a movie, etc.
Techniques of modern (avant-garde) art
hyperrealism
English hyperrealism. A direction in painting and sculpture that arose in the United States and became an event in the world of fine arts in the 70s of the XX century.
Another name for hyperrealism is photorealism.
Artists of this trend imitated a photo with pictorial means on canvas. They portrayed the world modern city: shop windows and restaurants, metro stations and traffic lights, residential buildings and passers-by on the streets. Wherein Special attention turned to shiny, light-reflecting surfaces: glass, plastic, car polish, etc. The play of reflections on such surfaces creates the impression of interpenetration of spaces.
The goal of the hyperrealists was to depict the world not just reliably, but super-likely, super-real. To do this, they used mechanical methods of copying photographs and enlarging them to the size of a large canvas (overhead projection and scale grid). The paint, as a rule, was sprayed with an airbrush in order to preserve all the features of the photographic image, to exclude the manifestation of the artist's individual handwriting.
In addition, visitors to exhibitions of this direction could meet in the halls human figures made of modern polymeric materials in full size, dressed in ready-made clothes and painted in such a way that they did not differ from the audience at all. This caused a lot of confusion and shocked people.
Photorealism has set itself the task of sharpening our perception of everyday life, symbolizing modern environment, reflect our time in the forms " technical arts, widely spread precisely in our era technical progress. Fixing and exposing modernity, hiding the author's emotions, photorealism in its programmatic works found itself on the border of fine art and almost crossed it, because it sought to compete with life itself.
Readymade
English ready made - ready. One of the common techniques of modern (avant-garde) art, which consists in the fact that the subject industrial production breaks out of the familiar everyday environment and is exhibited in exhibition hall.
The meaning of the readymade is as follows: when the environment changes, the perception of the object also changes. The viewer sees in the item on the podium not a utilitarian thing, but an artistic object, the expressiveness of form and color. The name readymade was first used in 1913-1917 by M. Duchamp in relation to his “finished objects” (comb, bicycle wheel, bottle dryer). In the 60s, readymade became widespread in various directions avant-garde art, especially in Dadaism.
installation
From English. installation - installation. Spatial composition created by the artist from various elements- household items, industrial products and materials, natural objects, textual or visual information. The founders of the installation were the Dadaist M. Duchamp and the Surrealists. Creating unusual combinations of ordinary things, the artist gives them a new symbolic meaning. Aesthetic content of the installation in the game semantic meanings, which change depending on where the object is located - in a familiar household environment or in an exhibition hall. The installation was created by many avant-garde artists R. Rauschenberg, D. Dine, G. Ucker, I. Kabakov.
Installation is an art form widespread in the 20th century.
Environment
English environment - environment, environment. An extensive spatial composition, embracing the viewer like a real environment, is one of the forms characteristic of avant-garde art of the 60s and 70s. Naturalistic environment imitating an interior with figures of people was created by sculptures by D. Segal, E. Kienholz, K. Oldenburg, D. Hanson. Such repetitions of reality could include elements of delusional fiction. Another type of environment is a play space that involves certain actions of the audience.
Happening
English happening - happening, happening. A kind of actionism, the most common in the avant-garde art of the 60s and 70s. Happening develops as an event, rather provoked than organized, but the initiators of the action necessarily involve the audience in it. Happening originated in the late 1950s as a form of theatre. In the future, artists are most often involved in organizing happenings directly in the urban environment or in nature.
They regard this form as a kind of moving work in which environment, objects play no less a role than living participants in the action.
The action of the happening provokes the freedom of each participant and the manipulation of objects. All actions are developing according to a previously planned program, in which, however, great importance allotted to improvisation, giving vent to various unconscious urges. Happening may include elements of humor and folklore. The happening clearly expressed the desire of avant-garde to merge art with the course of life itself.
And finally the most advanced contemporary art- Superplane
Superplane
Superflat is a term coined by contemporary Japanese artist Takashi Murakami.
The term Superflat was created in order to explain the new visual language actively used by the generation of young people. Japanese artists, such as Takashi Murakami: “I thought about the realities Japanese pattern and painting and how they differ from Western art. For Japan, the feeling of flatness is important. Our culture is not 3D. 2D shapes approved in historical Japanese painting, akin to a simple, flat visual language modern animation, comics and graphic design.
Art and modernity
4. The value of art in the modern world and the prospects for its development
The question of what role art plays in human life is as old as the first attempts at its theoretical understanding. True, at the very dawn of aesthetic thought, sometimes expressed in mythological form, in fact, there was no question at all. After all, our distant ancestor was sure that to pierce the image of a buffalo with a real or drawn arrow means to ensure a successful hunt, to perform a warlike dance means to defeat your enemies for sure. The question is, what doubts could there be in the practical effectiveness of art, if it was organically woven into practical life people, was inseparable from the craft that created the world of objects and things necessary for the existence of people, was associated with magical rites through which people sought to influence the reality around them? In more late period This question has been raised many times, but the answers to it have not been unambiguous. At present, it has become even more difficult to answer the question about the meaning of art. Today, all scientists are divided into two camps.
Representatives of the first believe that modern society is radically different from all previous forms. human existence. And, as Ortega y Gasset once wrote, "an era without standards arises, which sees nothing exemplary behind it, nothing acceptable to itself. Traces of spiritual tradition have been erased. All examples, models, standards are useless."
Today, in the world of electronic media, communication spaces, amusement parks, where interpersonal communication is replaced and symbolized by goods, the individual experiences a kind of vacuum of subjectivity. He not only does not feel his national identity, but becomes a kind of "hollow" subject, devoid of any stable characteristics and spiritual guidelines.
Scientists testify to the loss of all hope not only for changes in society, but also for its understanding. The main desire is the desire to live currently for himself personally, not for the sake of the glory of his ancestors and not for future generations. "We are losing the sense of historical extension," writes the American philosopher Christopher Lash, "the sense of belonging to generations that, having been born in the past, extend into the future." This defining trend in society he calls "collective narcissism." And since society has no future, it is normal to live in the moment, to fix our attention on our "personal representation". At the same time, the desire for personal survival is the only strategy. This self-centeredness shapes the moral climate modern society.
Thus, researchers belonging to the first group believe that modern man not only does not produce objects of art for present and future generations, but also does not turn to objects of art from previous eras. And this, in turn, will lead to the fact that art in its general concept will soon cease to exist.
Representatives of the second camp say that in the conditions of modern society there is an increase in the role of culture and art as the most important mechanisms for self-development and self-knowledge of a person in his interaction with the outside world, as a means of accumulating and assimilating this knowledge, as a way of generating and selecting specific value attitudes of an individual. and collective existence of people.
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