Artistic culture xx. World Art

Art culture. Russian artistic culture of the early 20th century

Russian artistic culture beginning of the 20th century was in a state of spiritual crisis associated with the mood of “frontier”, the growth of individualistic tendencies, the denial of realism and sociality in art. According to M.V. Nesterov, the era of “general revaluation of values” has come. One of the phenomena of that time was decadence - the dominance of decadent motives, hopelessness and rejection of life; it was most often inherent in modernist movements. The concept of “modernism” (French moderne - modern) implied new trends in literature and art that ran counter to the realistic traditions of previous years. Followers of modernism were looking for ways to express the individual in art, moving away from objective reality and demonstratively refusing its truthful reflection. Neo-romanticism prevailed in literature, painting and music.

For Russian literature, the beginning of the 20th century. - special period. This time marks the last years of L.N.’s life and work. Tolstoy. In the novel “Resurrection” (1899), the writer condemned social injustice and expressed sympathy for the revolutionary forces. Tolstoy’s break with the church (1901) turned “Tolstoyism” into a sect hostile to Orthodoxy. The work of A.P. has gained great popularity. Chekhov, who in those years wrote his best novels and stories - “My Life”, “Men”, “House with a Mezzanine”, “Lady with a Dog”, “Bride”, as well as dramas “The Seagull” and “The Cherry Orchard” staged on the stage of the Moscow Art Theater. Chekhov's works became a chronicle of the life of the Russian intelligentsia at the turn of the century. Alien to “politics,” Chekhov anticipated a new happy life for his compatriots, who must work “for the sake of a great future.” Works by A.M. Gorky’s “Old Woman Izergil”, “Chelkash”, “Girl and Death”, “Song of the Falcon”, “Song of the Petrel” and others glorify man’s desire for freedom and love, his readiness for self-sacrifice in the struggle for high ideals. Gorky proclaimed a new direction in literature - “heroic realism,” which not only depicts life, but is also capable of being “above it, better, more beautiful.” In 1906, Gorky wrote the drama “Enemies” and the novel “Mother”. By expressing solidarity with the revolutionaries, he gained a reputation as a proletarian writer. At the turn of the century, Russian literature was replenished with the names of young talented writers - I.A. Bunin and A.I. Kuprin, who continued realistic traditions of the 19th century V.

Modernist trends - symbolism, acmeism, futurism - became a counterbalance to realism in literature.

The principles of symbolism, which arose in the 1890s, were declared by D.S. Merezhkovsky and K.D. Balmont. Merezhkovsky believed that the reason for the decline of literature was the predominance of realism, contrasting it with “divine idealism.” The basis of the new art, in his opinion, was to become “mystical content” expressed by “symbols”. Symbolists – A.A. Blok, V.Ya. Bryusov, K.D. Balmont, A. Bely, F.K. Sologub, D.S. Merezhkovsky and others beckoned the reader with a fabulous ideal world living according to the laws of “eternal Beauty.” Fascinated by “pure” art, which brought aesthetic pleasure to its creators, the Symbolists gave preference to individualism, narcissism and searched for a sacred world where their “spontaneous genius” would triumph. This brought them closer to the idea of the “superman” of F. Nietzsche. The symbolists avoided social reality. In 1905, they enthusiastically accepted the “red banners of the revolution” (A. Bely), but this “revolutionism” of theirs was only “aestheticized” rebellion, far from genuine historical drama. Only the most talented of the symbolists were able to rise above “pure” aesthetics. A.A. Blok wrote cycles of poems “Motherland” and “On the Kulikovo Field”, turning to subjects from folk life and Russian history. The work of Blok and A. Bely of those years was strongly influenced by the poetry of N.A. Nekrasova.

Acmeism (Greek “acme” - the highest point, the blooming time) in Russian poetry arose as a reaction to symbolism with its denial of reality. The founders of Acmeism were N.S. Gumilev and S.M. Gorodetsky. In 1910, Gumilyov delivered a “funeral speech” for symbolism, and in 1911 he created a literary circle, the “Workshop of Poets.” Acmeists N.S. Gumilev, A.A. Akhmatova, O.E. Mandelstam, M.A. Kuzmin, G.V. Ivanov and others turned to real “earthly issues” with its aesthetic and sensual images. They considered poetry a profession, a craft (hence the name “guild”) and tried to rethink simple everyday truths, deliberately avoiding socio-philosophical quests. The first to receive a lively response from the public poetry collection Anna Akhmatova "Evening". The academicism of her style, penetration into the world of the human soul, and trust were noted. An outstanding Acmeist poet was Gumilyov. His poems on historical and natural-exotic themes have a unique precision and accuracy. The ideal of a lyrical hero for Gumilyov was a self-sufficient and strong-willed personality.

In 1910-1912 Futurism appeared in Russian poetry. The name of this movement indicated the desire of its followers to be poets of the “future.” There were several futurist circles. The largest - cubo-futurists - D.D. Burlyuk, V.V. Khlebnikov, A.E. Kruchenykh, V.V. Kamensky, V.V. Mayakovsky. The leader of the egofuturists was I.V. Northerner. B.L. Pasternak and N.N. Aseev started creative path in the futuristic circle "Centrifuge". Futurism proclaimed freedom poetic word, cosmopolitanism and refusal literary traditions in the name of a new word, a new style, a new hero, a new world. Khlebnikov declared himself “Chairman of the Globe” and predicted the “rebirth of language” - the creation of “ abstruse language", which will unite peoples. In the manifesto “A Slap in the Face of Public Taste” (1912), the Futurists called for throwing Pushkin, Dostoevsky and Tolstoy off the “steamship of modernity,” and at their congress in 1913 they created the Budetlyanin Theater, the symbol of which soon became Malevich’s “black square.” The work of Mayakovsky occupied a special place. His early poems are full of lyricism, wit, sincere protest against bigotry and social decay, as well as a willingness to participate in the practical creation of something new.

A real phenomenon of Russian literature at the beginning of the 20th century. became “poets of the people” with a completely new aesthetic outlook. S.A. Yesenin, N.A. Klyuev, S.A. Klychkov, P.V. Oreshin, A.V. Shiryaevets, P.A. Radimov and others soulfully sang the nature, spirit and traditions of peasant Russia, the Orthodox faith of the people, their desire for a better life (collections “Radunitsa” and “Rural Book of Hours” by Yesenin, “Pines Chime” and “Pesnoslov” by Klyuev, “Songs” and “ The Secret Garden" by Klychkov, lyrical and rebellious poetry of Oreshin). Peasant poets were members of various circles and societies - the monarchical in spirit “Society for the Revival of Artistic Rus'” at the Feodorovsky Sovereign Cathedral in Tsarskoye Selo (1915), the “Beauty” group (1915) and the “Strada” society (1915-1917) in Petrograd . Until 1917, the theme of revolution and “class struggle” was not very noticeable in their work, although Klychkov participated in the Moscow uprising of 1905, and Klyuev was in prison for 6 months on “political” charges. Both poets sympathized with the revolutionaries. Klyuev admired their sacrificial service to the “holy cause,” compared them with the first Christian martyrs and mourned the “scorched, bent, killed.” Oreshin's poetic worldview was less sentimental. His hero was a destitute peasant. “Poets from the people” are united in their ideas about the past, present and future of the Great Russian peasantry with its “birch bark paradise” or, as in Klyuev, “hut space” and their own “peasant Savior”.

In the fine arts, the main creative union remained the Association of the Wanderers, which united the best painters of Russia. At the beginning of the 20th century. it included V.I. Surikov, V.M. Vasnetsov, I.E. Repin, V.E. Makovsky, V.D. Polenov, I.I. Levitan, A.I. Kuindzhi and others. Their paintings are distinguished by their highly imaginative and truthful depiction of folk life, subjects of Russian history, native nature. Artists A.P. were close to the Wanderers. Ryabushkin, A.M. Vasnetsov, V.V. Vereshchagin and others. The traditions of this school were largely inherited by painters who gained fame at the beginning of the 20th century: M.A. Vrubel, V.A. Serov, K.A. Korovin, M.V. Nesterov and others.

Impressionism became a new direction in painting, prominent representatives of which were K.A. Korovin, V.A. Serov, I.E. Grabar, F.A. Malyavin and others. In their works they unbiasedly captured the dynamic and rapidly changing world around them. Serov's works are imbued with an enthusiastic poeticization of man. Student I.E. Repin, Serov skillfully portrayed deep psychologism human images, and also gained fame for his landscapes and historical paintings. Symbolism is presented in the works of M.A. Vrubel, who created his own fantastic fairy-tale world and strived to reveal the complex inner world of man, and V.E. Borisova-Musatova. Art Nouveau was developed in the works of world artists: A.N. Benois, A.I. Kuindzhi, E.E. Lansere and others. In contrast, artists K.S. Petrov-Vodkin, M.F. Larionov and others followed the traditions of Russian popular print and icon painting. At the turn of the century, the theme of Ancient Rus' attracted the close attention of artists. It was clearly reflected in the works of V.M. Vasnetsova, N.K. Roerich, I.Ya. Bilibina. We find a philosophical understanding of the Orthodox fundamental principles of Russian life, the historical and spiritual heritage of the Russian people in the early works of M.V. Nesterova.

After the revolution of 1905, radical modernist trends in painting intensified. In 1910, the avant-garde arose, which includes the futurism of A.V. Lentulov, abstractionism by V.V. Kandinsky and K.S. Malevich, etc. In 1910-1911. avant-garde artists formed a society " Jack of Diamonds" According to Malevich’s definition, avant-garde is the art of “pure” forms and non-objectivity. In 1915, Malevich’s conceptual creation “Black Square” was presented at an exhibition in Petrograd. Experiments by V.V. Kandinsky, R.R. Falka, P.N. Filonova, M.Z. Chagall and other avant-garde artists were devoted not to the specifics of the real world, but to imaginary schemes of the world order.

The theme of the life and social aspirations of the peasantry, its desire for a just social reorganization (“general prosperity”) on the eve and after the revolution of 1917 is comprehensively revealed in the works of E.V. Chestnyakov and other folk artists.

The industrialization of the country led to a revolution in architecture. New building materials (reinforced concrete, metal structures) accelerated the pace of urban development and changed the appearance of cities. Art Nouveau and neo-Russian styles dominated in architecture. Neo-Russian style, following traditions and spirit ancient Russian architecture, harmoniously combined with modernist trends. Representatives of Art Nouveau and neo-Russian style - F.O. Shekhtel, L.N. Kekushev, V.M. Vasnetsov, A.V. Shchusev and others were engaged in the construction of buildings, the purpose of which was determined by the needs of the era. Along with churches and mansions, these were train stations, banks, exchanges, telegraphs, factories, factories and shops that became the decoration of Russian cities.

An important milestone in the history of Russian theatrical art was the opening in 1898 of the Moscow Art Theater (MAT), created by K.S. Stanislavsky and V.I. Nemirovich-Danchenko - the creators of a new school of acting and directing. Stanislavsky proposed to do new theater"reasonable, moral, accessible to all." The first production of the Moscow Art Theater was the drama by A.K. Tolstoy’s “Tsar Fyodor Ioannovich”, and at the end of 1898 the premiere of Chekhov’s “The Seagull” took place, which later became the emblem of the Moscow Art Theater. The theater's repertoire consisted almost entirely of the dramaturgy of Chekhov and Gorky. In 1902, funded by philanthropist S.T. Morozov, the Moscow Art Theater building was built (architect F.O. Shekhtel). The Moscow Art Theater has become an example of a skillful combination of classical theatrical traditions with the urgent needs of our time. The experience of the Moscow Art Theater acquired great social significance; the desire to convey the “truth of life” on stage caused heated debate. Fierce opponents of the Moscow Art Theater were the symbolists V.Ya. Bryusov and V.E. Meyerhold. Bryusov criticized the Moscow Art Theater for “unnecessary truth.” Meyerhold contrasted the realistic and democratic principles of the Moscow Art Theater with the aesthetic experiments of conventional theater. In 1904 St. Petersburg was opened Drama Theater V.F. Komissarzhevskaya, close in spirit to the Moscow Art Theater and the democratic intelligentsia.

The legendary ballerina A.P. brought worldwide fame to Russian ballet. Pavlova and the famous choreographer M.M. Fokin. The choreographic sketch “The Dying Swan” by composer C. Saint-Saens was performed by Anna Pavlova and captured by artist V.A. Serov, becoming a symbol of ballet art. In 1911, Diaghilev created a permanent troupe from the best ballet dancers collected to participate in the “Russian Seasons” - “Russian Ballets of Sergei Diaghilev”. Diaghilev’s assistant was the tireless innovator M.M. Fokine, who saw in ballet “a community of dance, music and painting.”

The development of Russian musical art was embodied in the work of outstanding composers and in the creation of a system of music education. At the beginning of the 20th century. New conservatories were opened in Saratov, Odessa and Kyiv. Forms of extracurricular music education appeared: in 1906 in Moscow, on the initiative of S.I. Taneyev opened a people's conservatory.

In music, interest in the inner world of man has increased, and the “sign of the times” has become the strengthening of the lyrical principle. The great Russian composer N.A. Rimsky-Korsakov, heir to the traditions of the “Mighty Handful,” wrote the lyrical opera “The Tsar’s Bride” (1898). Lyrical motifs are reflected in the works of S.V. Rachmaninov and A.N. Scriabin - graduates of the Moscow Conservatory. A master of original solutions, Rachmaninov, however, followed the traditions of Russian classics and was a faithful student of P.I. Tchaikovsky. Scriabin's work was more complex, innovative and philosophical. Music by I.F. Stravinsky was a success at ballet stage(ballets “The Firebird”, “Petrushka”, “The Rite of Spring”). The composer showed interest in the distant historical past of the Russian people and their folklore.

The Mariinsky and Moscow Bolshoi theaters remained the centers of musical life. The greats performed here opera singers– F.I. Shalyapin, L.V. Sobinov, A.V. Nezhdanov. But the authority of S.I.’s private opera also increased. Mamontov, then S.I. Zimina. On the stage of Mamontov’s opera, the unique talent of the actor and singer Chaliapin was revealed for the first time, who became, according to A.M. Gorky, the same “epoch” in Russian art, “like Pushkin.”

New and very popular view cinema became art. The first Russian film entrepreneur A.A. Khanzhonkov in 1907-1908. began production of domestic feature films. He built a film factory in Moscow, as well as the cinemas “Khudozhestvenny”, “Moscow” (now the Khanzhonkov House), etc. Among the first Russian feature films are “Prince Silver” (1907), “Stenka Razin and the Princess” (1908), “ Peter the Great" (1910), "Defense of Sevastopol" (1911).

Test questions and assignments

1. What are the main features of the political-administrative structure Russian Empire at the beginning of the 20th century?

2. What factors determined the transition from the class division of Russian society to the class division?

3. What are the results and socio-political consequences of the revolution of 1905-1907?

4. Based on the content of the Basic Laws of 1906, analyze the nature of changes in the political system of Russia. Has this system become constitutional?

5. What are the reasons for the incompleteness of the Stolypin agrarian reform?

6. What motives guided Russia when choosing its foreign policy allies at the beginning of the 20th century? What were the difficulties in choosing allies?

7. What are the main contradictions in the development of Russian culture of the “Silver Age”?

Literature:

1. Power and reforms. From autocratic to Soviet Russia/ Rep. ed. B.V. Ananich. M., 2006.

2. Diaries of Emperor Nicholas II and Empress Alexandra Feodorovna: in 2 volumes / Rep. ed., comp. V.M. Khrustalev. M., 2012.

3. Kiryanov Yu.I. Right-wing parties in Russia. 1911-1917 M., 2001.

4. The first revolution in Russia: a look through a century. M., 2005.

5. Political parties of Russia. The end of the 19th – the first third of the 20th century. Encyclopedia. M., 1996.

6. Repnikov A.V. Conservative concepts for the reconstruction of Russia. M., 2007.

7. Tyukavkin V.G.. The Great Russian peasantry and the Stolypin agrarian reform. M., 2001.

8. Shatsillo K.F.. From the Peace of Portsmouth to the First World War. Generals and politics. M., 2000.

9. Shelokhaev V.V.. Ideology and political organization of the Russian liberal bourgeoisie: 1907-1914. M., 1991.

“Pure” art, which proclaims values independent of social and historical problems and trends, is a wonderful, but unrealistic phenomenon.

It is impossible to create in isolation from everyday life, without paying attention to the ideas dominant in society - formal and informal. Russian art of the 20th century was influenced powerful changes social order, unknown to any other country.

Beginning of the century, search for new ideas

The 100 years of the 20th century were an era of unprecedented upheaval for the entire civilization. By the end of the 20th century, scientific and technological progress compressed time and space for the entire planet, social conflicts in a limited region grew into upheavals on a planetary scale. The culture and art of Russia of the 20th century, like all social activities of Europe and America, has a temporary attachment to the most important events of modern history.

The magic of numbers marking the beginning of a new century always generates anticipation of change, hope for the advent of a new, happy time. The nineteenth century, which created worldwide fame for Russian culture, was fading into the past, leaving behind traditions that could not disappear overnight.

“The World of Art” was the name of an association of artists that arose in 1898 and existed intermittently until 1924, without which it is impossible to imagine fine art in the first quarter of the 20th century in Russia. The “world artists” did not have one, common developed style - painters, graphic artists, sculptors each went their own way, having agreement in their views on the goals of art and its role in society. Many features of this view were expressed by the genius of Mikhail Vrubel. The formal core, the basis of the association were L. S. Bakst, M. V. Dobuzhinsky, E. E. Lansere, A. P. Ostroumova-Lebedeva, K. A. Somov. IN different time Y. Bilibin, A. Ya. Golovin, I. E. Grabar, K. A. Korovin, B. M. Kustodiev, N. K. Roerich, V. A. Serov and other masters took part in it.

All of them recognized the primacy of professionalism in art, the enormous role of creative freedom and independence of the artist from social dogmas, without denying the value of art in human life, protesting against the rigidity of academicism on the one hand and the excessive politicization of painting among the Wanderers, on the other. Criticized by supporters of traditions, the “World of Art” could not fit into the turbulent process of the birth of “proletarian” painting, but had a huge influence on all fine art of the 20th century in Russia - both on those who worked in the USSR and on those who found themselves in emigration.

Modern

The last decades of the nineteenth century were the period of the emergence of a new style, which left its mark on the work of masters of fine art and architecture. It had its own characteristics individual regions Europe, where it was even called differently. In Belgium and France the name “Art Nouveau” was established, in Germany - “Jugendstil”, in Austria - “Secession”. There are other names associated with the most famous artists of this style or by companies that produced furniture of this type, Jewelry and other products: Musha style, Guimard style - in France, Liberty in Italy, Tiffany style in the USA, etc. The art of Russia of the 20th century, architecture in particular, knows it as the Art Nouveau style.

Art Nouveau has become, after a long period of stylistic stagnation, one of the most expressive and visually shaped artistic movements. Its inherent floral, smooth character of lines of rich decor, combined with geometrically simple and expressive forms of large volumes, attracted artists and architects with its freshness and novelty.

Fyodor Osipovich Shekhtel (1859-1926) - star of Russian architectural modernism. His talent gave national traits essentially cosmopolitan style, Shekhtel's masterpieces - Yaroslavsky Station, Ryabushinsky's mansion - are the creations of the Russian architect, both in general and in detail.

Pre-revolutionary avant-garde

The process of searching for new forms of art, and more - it new essence- was relevant for the art of all Europe and America. The art of Russia of the 20th century contains several truly revolutionary periods, when the work of several reformers indicated new directions in the development of artistic thought. One of the brightest and most impressive periods was the inter-revolutionary period from 1905 to 1917. The peculiarities of avant-garde art in Russia were caused by the crisis in Russian social life after the tragedies of the Russo-Japanese War and the 1905 revolution.

Numerous avant-garde movements and creative associations that emerged at this time had similar generative reasons and similar goals of artistic search. Futurists and Cubo-Futurists, “Jack of Diamonds” and “Blue Rose”, Kandinsky and Malevich’s Suprematism had a powerful influence on the main forms of art of the 20th century in Russia different ways they were looking for new worlds, expressing the crisis of old art, which had lost touch with reality, and anticipated the onset of an era of global upheaval.

Among the new ideas born by the avant-garde artists was the idea of Russia in the 20th century, which contains such pages as the famous performance - a manifesto of new art, “Victory over the Sun” (1913). He was the result general creativity futurist poets M. Matyushin, V. Khlebnikov, and the artistic design was performed by Kazimir Malevich.

The artists P. Konchalovsky, K. Petrov-Vodkin, I. Mashkov, N. Goncharova, Marc Chagall, who enriched the art of Russia of the 20th century with their research, became the authors of paintings that received worldwide recognition. And this recognition began back in the tenth years of the 20th century, during the era of the birth of avant-garde painting in modern history.

After the October Revolution, Russia had the opportunity to open up new horizons in public life, including art, to the whole world. And at first, conditions were created when the value of each gifted individual increased immeasurably, and generators of new creative ideas came to the fore.

How does art history interpret that time? 20th century, Russia, the roaring twenties - this is an unprecedentedly active artistic life numerous creative associations, among which stand out:

UNOVIS - “Proponents of the new art” (Malevich, Chagall, Lissitzky, Leporskaya, Sterligov). Based on the base art school Vitebsk, this association was an apologist for the artistic avant-garde, proposing to look for new themes and forms for art.

- “Four Arts” - a trend in line with the “World of Art” The main goal is to show the enormous expressive capabilities architecture, sculpture, graphics and painting. The need for high professionalism and creative freedom was declared. The most prominent representatives: architect A. V. Shchusev, graphic artist V. A. Favorsky, sculptor V. I. Mukhina, painters K. S. Petrov-Vodkin, A. P. Ostroumova-Lebedeva and others.

- “OST”, “Society of Easel Artists”. It was considered the main thing to show signs of the onset of a new peaceful life, the construction of a modern young country using advanced expressive, but simple and clear stylistics. Leaders: D. Sternberg, A. Deineka, Y. Pimenov, P. Williams.

- “Circle of Artists” (Leningrad). Following the official course, developing the “style of the era.” Active members of the group: A. Samokhvalov, A. Pakhomov, V. Pakulin.

AHRR - “Association of Artists of Revolutionary Russia” - an association that became the basis of the subsequently created Union of Artists of the USSR, an active conductor of the directions of ideological leadership artistic process, a tool of party propaganda, heirs of the Wanderers. It was headed by I. I. Brodsky, A. M. Gerasimov, M. B. Grekov, B. V. Ioganson.

Constructivism

In the most prestigious programs educational institutions When training architects, the topic “Russian Constructivism - the architectural avant-garde of the 20s” is invariably present. Great importance it has for understanding the art of construction, the ideas proclaimed by the leaders of that direction are very relevant for any time. The surviving buildings of Konstantin Melnikov (the architect’s residential building on Krivoarbatsky Lane, Rusakov’s club on Stromynka, a garage on Novoryazanskaya Street, etc.), the Vesnin brothers, Moisei Ginzburg (Narkomfin House on Novinsky Boulevard) and other stars of Russian architecture are the golden fund of Russian architecture.

Functionalism, rejection of unnecessary decoration, aesthetics of building design, harmony created environment habitat - these ideas became the basis for solving new problems posed to young architects, artists and specialists in the field that came to be called industrial design. They had to build mass housing for new cities, workers' clubs for comprehensive development personality, create objects for the work and rest of a new person. The amazing achievements of the avant-garde of the twenties cannot be ignored; studying the art of Russia, Europe and America throughout the subsequent period is largely based on them. It is sad that these progressive ideas were least in demand in their homeland, and the “Stalinist Empire style” is considered by many to be the greatest achievement of Soviet architecture.

Art of the era of totalitarianism

In 1932, a Decree of the Central Committee of the All-Union Communist Party of Bolsheviks was issued on the work of creative associations. The turbulent era of various trends and directions ended under the influence of the state machine that had gained power, controlled by the ideological apparatus, in which individual power was strengthened. For many years, Russian art of the 20th century, like much in the life of the country, began to depend on the opinion of one person - Joseph Stalin.

Creative unions became a means of subordinating artistic thought to common ideological standards. The era of socialism has arrived. Gradually, any deviations from the official course began to be declared criminal, and those who disagreed came under real repression. Accusations of departing from the party line have become a method for resolving creative discussions. The progressiveness of this is very doubtful. How would it develop, for example, performing arts Russia of the 20th century, if the great stage reformer Vsevolod Meyerhold had not fallen victim to repression?

The nature of artistic talent is complex and inexplicable. The images of the leaders were embodied with great skill and sincere feeling. Not even the most severe repressions could prevent the emergence of truly talented artists, for whom the main thing was self-expression, regardless of ideological framework.

The time of the “Stalinist Empire” has come in architecture. The search for avant-garde artists was replaced by a return to proven canons. The power of communist ideology was personified in spectacular examples of recycled neoclassicism - Stalin's "high-rise buildings".

Art of the war period

There is a time in the history of our country that became the greatest tragedy and a stage of unprecedented spiritual uplift. The art of Russia of the 20-21st centuries received one of the main themes that made it possible to express the greatness of the Russian folk character, the depth of feelings that can master an individual and huge masses during historical upheavals.

Great Patriotic War from the first days found expression in visual images of amazing power. Poster by I. Toidze “The Motherland is Calling!” raised the defense of the country better than any commanders, and Deineka’s “Defense of Sevastopol” shocks any person, regardless of the ideas that he shares. Dmitri Shostakovich's Seventh Symphony is equally impressive, and musical art Russia of the 20th century, no less than other types of creativity, paid tribute to the theme of the war against fascism.

Thaw

After the Great Victory, the next most powerful historical factor influencing public life in the USSR was the death of Stalin (March 1953) and the 20th Congress of the CPSU, which raised the issue of exposing the cult of personality. For some time, artists, as well as society as a whole, enjoyed freedom of creativity and new ideas. The generation of the “sixties” is a very specific phenomenon; it left a memory of itself as a short breath of fresh air taken before plunging again for decades into the swamp of a measured, scheduled, regulated existence.

The first experiments of the artistic avant-garde of the “second wave” - works by E. Belyutin, Yu. Sooster, V. Yankilevsky, B. Zhutovsky and others - at an exhibition dedicated to the 30th anniversary of the Moscow branch of the Union of Artists, were harshly condemned personally by the new leader of the country N Khrushchev. The party again began to explain to the people what kind of art they needed, and to the artists how to write.

Architecture was ordered to combat excesses, which was rightly explained by the economic difficulties of the post-war period; the time of mass housing construction was coming, the time of “Khrushchev”, which somewhat alleviated the acuteness of the housing problem, but disfigured the appearance of many cities.

The art of “developed socialism”

In many ways, the art of Russia in the second half of the 20th century is in many ways a history of confrontation artistic personality and the dominant ideology. But even in an atmosphere of ideological regulation of every piece of spiritual space, many artists found ways to slightly modify the prescribed method of socialist realism.

Thus, real examples for the young were the masters who formed their beliefs back in the twenties: N. Romadin, M. Saryan, A. Plastov and others. The painting “Wedding on Tomorrow Street” by former member of the OST art association Yu. Pimenov, painted in 1962, became a symbol of society’s hopes for renewal.

Another striking phenomenon in Soviet painting of that time was the formation of a “severe style.” This term denoted the work of G. Korzhov, P. Ossovsky, the Smolin brothers, P. Nikonov and others. In their paintings, written in different genres (everyday, historical), a hero appeared who did not need instructions, busy with an understandable and necessary task. He was depicted without unnecessary details or coloristic flourishes, succinctly and expressively.

Of particular importance is the work of such a master as the civil sound of his canvases contains a general humanistic, almost religious message, rare for Soviet art, and his painting style has roots from the Italian Renaissance.

Nonconformism

The official dominance of “socialist realism” forced informal artists to find their way to the audience or resort to emigration. M. Shemyakin, I. Kabakov, O. Rabin, E. Neizvestny and many others left. These were artists of the 20th century in Russia, who were bearers of spiritual values born of the avant-garde of the beginning of the century, and who returned to their homeland after the collapse of communist ideology.

And during her reign, internal emigration appeared, which gave rise to the popular motif of a crazy, always drunk artist, an inhabitant of psychiatric hospitals, persecuted by the authorities and management creative unions, but highly valued by independent Western experts. A typical bearer of this image was A. Zverev - legendary personality for Moscow of the era of developed socialism.

Polystylistics and pluralism

Freed from the state dictatorship of the Soviet era, the fine arts of the 20th century in Russia entered the global process as its inseparable part, sharing common properties and trends. Many forms of creativity, familiar to the West for a long time, were quickly mastered and domestic artists. The words “performance”, “video installation”, etc. have become familiar in our speech, and among the most significant contemporary masters who have world fame, - artists of diametrical views: Z. Tsereteli, T. Nazarenko, M. Kishev, A. Burganov and many others.

The turbulent, unpredictable recent history of the country, which occupies a sixth of the earth's landmass, looks into its mirror - the art of Russia of the 20th century - and is reflected in it with thousands of unforgettable images...

This is how it arose avant-garde. Its main features:

Within the framework of avant-gardeism in the first half of the 20th century, the following were formed: Fauvism(painting - Matisse, Derain, etc.); expressionism(literature - Kafka; painting - Mark; music - Schoenberg, Berg, etc.); abstract expressionism- Kandinsky, Mondrian, etc.; cubism- Picasso (since 1907), Braque, Gris, Duchamp, Léger, etc. In Fauvism nature was used not as an object of image, but to create “wild” (fr. fauve- wild) color compositions. In expressionism(fr. expression- expressiveness) the goal was expression using artistic means various human emotions (fear, despair, unbridled joy, etc.); For this purpose, deformation of normal figures in painting, distortion of language in literature, and atonality in music were used. In cubism(fr. cube- cube) as a movement in fine art, the construction of volumetric forms on a plane and the use of shallow multidimensional perspective came to the fore, which made it possible to represent the depicted object in the form of many intersecting lines and geometric shapes- cube, cone, cylinder.

abstractionism - creative method abstract, or non-objective, non-figurative art, especially painting. The aesthetic credo of this method was outlined by the outstanding Russian artist V. Kandinsky in his book “On Spiritual Art” (1910), where he argued that the artist is a prophet and activist, pulling forward with all his might the “stuck cart of humanity,” creating a new reality.

First Of these, indicated by the work of Kandinsky, the main emphasis is placed on the independent expressive value of the color spot, its coloristic richness of color relationships, with the help of which the artist strives to express the deep “truths of being”, eternal “spiritual essences”, not subject to the crude objectivity of real reality. The second direction of abstractionism, having its origins in the work of the great French painter P. Cezanne and the Cubists, characterized by the creation of new types artistic space by combining all kinds of geometric shapes, colored planes, straight lines and broken lines(Malevich, Mondrian, etc.). It comes in several varieties: Suprematism(from Latin “highest, last”) by Malevich, Rayonism Larionova, non-objectivity Mondrian. The outstanding artist K. Malevich, who worked for several years in Vitebsk, gained worldwide fame for his “black square,” which he considered not an “empty square,” but “susceptibility to absolute emptiness.” In 1914, the painting “Dynamic Suprematism” appeared, which gave the name to this artistic movement. On a white background there is a triangle touching different places with others geometric shapes, triangles, circles of different sizes.

Innovative techniques developed by adherents of abstract art had a powerful influence on the emergence and development of pop art, op art and are widely used in modern design, design art, theater, cinema, and television.

Futurism - one of the avant-garde movements in the culture of the first quarter of the 20th century, widespread mainly in Italy and Russia. The essence of this movement is a rebellious, anarchic protest against traditional culture, an apology for the latest scientific and technological achievements, glorification of the roar of modern industrial cities (Boccioni, Ball, Severini, etc.). The poetry of the futurists is abstruse, aimed at destroying living language, and represents violence against vocabulary and syntax. Futurists are characterized by the denial of harmony as a fundamental principle of art. Familiarization with popular presentations of the achievements of physics and psychology gives rise to a desire among futurists to depict not the objects themselves, but the energy, magnetic, and psychological fields that form them, and to depict movement by superimposing successive phases on one image.

surrealism(fr. surrealism- superrealism, overrealism). Its main representatives: in literature - Breton, Appolinaire, Eluard, Soupault; in painting - Dali, Bloom, Ernst, Miro; in cinema - Bergman, Hitchcock and others proclaimed the source of art to be the sphere of the subconscious - instincts, dreams, hallucinations, delusions, memories of infancy, and the main method - the replacement of logical connections with free associations. The artist’s task, in their understanding, was to, with the help of lines, planes, shapes and colors, penetrate the depths of the human subconscious, which, manifesting itself in dreams, unites reality and unreality into a single whole.

Surrealism had a powerful influence on various areas culture, photography (Nadara, Cameron, etc.), “theater of the absurd” (Ionesco, Becket), and cinema (Tarkovsky, etc.) were influenced by it.

realism John Galsworthy(1867-1933) - the famous trilogy “The Forsyte Saga”; German writer Thomas Mann(1875-1955), who created the well-known novel Doctor Faustus; French writers Romain Rolland(1866-1944) - author of the novels Cola Breugnon, The Enchanted Soul, and Anatole France(1844-1924) - creator of the novel “Penguin Island”; American writers William Faulkner(1897-1962), who created a series of novels “The Sound and the Fury”, “The Village”, etc., and Ernst Hemingway(1899-1961) - author of the novels “A Farewell to Arms”, “For Whom the Bell Tolls”, the parable story “The Old Man and the Sea” and many others.

Fields of Eluard(1895-1952) and Jlyu Aragon(1897-1982), in the novels of the Irish writer Jaye- sa Joyce Marcel Proust(1871 - 1922), German novelist Ericha Maria Remarque Franz KafkaRainera Maria Rilke

Musical culture of the 20th century more clearly than fiction, it is characterized by the search for modernist means and forms of artistic expression. This is clearly manifested in the work of outstanding French composersMaurice Ravel (1875- 1937),Darius Leto (1892-1974;,Andre Jolivier(1905-1974), great Russian composer Igor Stravinsky(1882-1971), outstanding English composerBenjamin Brintten (1913-1976).

The main innovations in artistic culture that arose in the first half of the 20th century were formed mainly in the mainstream of modernism. Previous artistic traditions were replaced by their decisive refutation.
Modernism(Italian modernismo - “ modern trend"; from lat.

modernus - “modern, recent”) - a direction in art late XIX- the beginning of the 20th century, characterized by a break with previous historical experience artistic creativity, the desire to establish new, unconventional principles in art, the continuous renewal of artistic forms, as well as the conventionality (schematization, abstraction) of style.

The modernist paradigm was one of the leading ones in Western civilization in the first half of the 20th century; in the second half of the century it was subjected to extensive criticism.
This is how avant-garde emerged. Its main features:

1 departure from the cultural values accepted in the modern era;
2 proclamation of the independence of art from reality;
3 creation of new, unique styles.

Within the framework of avant-gardeism in the first half of the 20th century, the following were formed: Fauvism (painting - Matisse, Derain, etc.); expressionism (literature - Kafka; painting - Mark; music - Schoenberg, Berg, etc.); abstract expressionism - Kandinsky, Mondrian, etc.; cubism - Picasso (since 1907), Braque, Gris, Duchamp, Léger, etc.

In Fauvism, nature was used not as an object of image, but to create “wild” (French fauve - wild) color compositions. In expressionism (French expression - expressiveness) the goal was to express various human emotions (fear, despair, unbridled joy, etc.) using artistic means; For this purpose, deformation of normal figures in painting, distortion of language in literature, and atonality in music were used.

In cubism (French cube - cube) as a movement of fine art, the construction of volumetric forms on a plane and the use of shallow multidimensional perspective came to the fore, which made it possible to represent the depicted object in the form of many intersecting lines and geometric shapes - a cube, a cone, a cylinder.

Widespread and big influence in the first half of the 20th century, it acquired abstractionism - a creative method of abstract, or non-objective, non-figurative art, primarily painting.

The aesthetic credo of this method was outlined by the outstanding Russian artist V. Kandinsky in his book “On Spiritual Art” (1910), where he argued that the artist is a prophet and activist, pulling forward with all his might the “stuck cart of humanity,” creating a new reality.

There are two main directions in abstract art.

The first of them, designated by the work of Kandinsky, places the main emphasis on the independent expressive value of the color spot, its coloristic richness of color relationships, with the help of which the artist seeks to express the deep “truths of being,” eternal “spiritual essences” that are not subject to the crude objectivity of reality.

The second direction of abstractionism, which has its origins in the work of the great French painter P. Cezanne and the Cubists, is characterized by the creation of new types of artistic space by combining all kinds of geometric shapes, colored planes, straight and broken lines (Malevich, Mondrian, etc.). It is expressed in several varieties: Suprematism (from Lat.

“highest, last”) by Malevich, Rayonism of Larionov, non-objectivity of Mondrian. The outstanding artist K. Malevich, who worked for several years in Vitebsk, gained worldwide fame for his “black square,” which he considered not an “empty square,” but “susceptibility to absolute emptiness.”

In 1914, the painting “Dynamic Suprematism” appeared, which gave the name to this artistic movement. A triangle is depicted on a white background, touching in different places with other geometric shapes, triangles, circles of different sizes.

Futurism is one of the avant-garde movements in the culture of the first quarter of the 20th century, widespread mainly in Italy and Russia.

The essence of this movement is a rebellious, anarchic protest against traditional culture, an apology for the latest scientific and technological achievements, glorification of the roar of modern industrial cities (Boccioni, Ball, Severini, etc.). The poetry of the futurists is abstruse, aimed at destroying living language, and represents violence against vocabulary and syntax.

Futurists are characterized by the denial of harmony as a fundamental principle of art. Familiarization with popular presentations of the achievements of physics and psychology gives rise to a desire among futurists to depict not the objects themselves, but the energy, magnetic, and psychological fields that form them, and to depict movement by superimposing successive phases on one image.

Futurism in Russia (Kruchenykh, Mayakovsky, Khlebnikov, Kamensky, the Burliuk brothers) was characterized by the desire to create new principles based on semantic paradoxes, innovative “word creation and word innovation.”

One of the most influential artistic movements in the culture of the 20th century was surrealism (fr.

surrealism - super-realism, over-realism). Its main representatives: in literature - Breton, Appolinaire, Eluard, Soupault; in painting - Dali, Bloom, Ernst, Miro; in cinema - Bergman, Hitchcock, etc.

proclaimed the source of art to be the sphere of the subconscious - instincts, dreams, hallucinations, delusions, memories of infancy, and the main method - the replacement of logical connections with free associations.

Artistic culture of the 20th century

Fiction of the 20th century remained faithful to classical traditions much longer than fine art.

Such outstanding writers of the beginning of the century as John Galsworthy (1867-1933) created their works in the spirit of realism - the famous trilogy “The Forsyte Saga”; German writer Thomas Mann (1875-1955), who created the well-known novel Doctor Faustus; French writers Romain Rolland (1866-1944) - author of the novels “Cola Breugnon”, “The Enchanted Soul”, and Anatole France (1844-1924) - creator of the novel “Penguin Island”; American writers William Faulkner (1897-1962), who created the series of novels “The Sound and the Fury”, “The Village”, etc., and Ernst Hemingway (1899-1961) - author of the novels “A Farewell to Arms”, “For Whom the Bell Tolls”, story-parables “The Old Man and the Sea” and many others.

At the same time and in fiction modernist innovations penetrated.

This was embodied in the works of the French poets Paul Eluard (1895-1952) and Jlyu Aragon (1897-1982), in the novels of the Irish writer Jayes Joyce (1882-1941), French writer Marcel Proust (1871 - 1922), German novelist Erich Maria Remarque (1897-1970), Austrian writer Franz Kafka (1883-1924), Austrian poet and prose writer Rainer Maria Rilke (1875-1926), whose works trace the features of modernism in its impressionist and surrealist versions.

The musical culture of the 20th century, more clearly than fiction, is characterized by the search for modernist means and forms of artistic expression.

This is clearly manifested in the works of outstanding French composers Maurice Ravel (1875-1937), Darius Lito (1892-1974; André Jolivier (1905-1974), the great Russian composer Igor Stravinsky (1882-1971), the outstanding English composer Benjamin Brintten (1913). -1976).

STYLES IN ART OF THE XX CENTURY

STYLES IN ART

Empire -
-Romansky (X – XIII centuries)
-Gothic (XIII – XVI centuries)
-Baroque (late 16th – mid 18th centuries) – main style direction in the art of Europe and America (late 16th – mid 18th centuries), which is characterized by contrast, dynamic images, and a desire for pomp and grandeur.
-Naryshkinskoe (Moscow) baroque - style direction in Russian architecture of the late 17th century - early XVIII centuries, externally similar to Western European Baroque.

It is characterized by lush white stone decor (Church of the Intercession in Fili, Novodevichy Convent).

-Classicism (XVII - XIX centuries) - style direction in literature and art of the 17th - early. XIX centuries, which turned to the ancient heritage as the norm and ideal model. Classicism developed in France, reflecting the rise of absolutism. He embodied the ideals of an enlightened moral monarchy and civil service. Later, in the 18th century. Began to express the civic ideals of the Enlightenment. Features of Russian classicism: preference for national themes, connection with the traditions of Russian folklore and enlightenment.
-Rococo (ser.

XVIII century) - style direction in European art ser. XVIII century Rococo architecture is characterized by whimsical, often asymmetrical interior decoration, usually including a shell-shaped scroll (rocaille). Fine art in the Rococo style is characterized by a graceful interpretation of images, a predominance of salon-erotic and pastoral subjects, theatricality and mannerisms of images, intimacy, and decorative effects.

-Romanticism (k.

XVIII - beginning XX centuries) - an ideological and artistic movement in European and American culture con. XVII – beginning XIX centuries The basis of the romantic worldview is the painful discord between ideal and reality. The direction is characterized by the image of strong passions, the spirituality of nature, increased interest in the creative life of the individual, and the idealization of the past. Representatives of romanticism: V.A.

Zhukovsky (1783 -1852) - an outstanding Russian poet and translator, conservative romantic, K.F.

Artistic culture of the 20th century.

Ryleev (1795 - 1826) - Decembrist poet, the brightest representative of active civil romanticism.

-Realism (XVIII centuries) - (from late Lat. Realis - material, real) a form of artistic consciousness of new times, as well as a stylistic direction and creative method in art.

It is based on true portrayal the most characteristic phenomena of life and implies, in addition to the truthfulness of details, the truthfulness of the reproduction of typical characters in typical circumstances.

Its variety is critical realism.

-Naturalism (late 19th century)

STYLES IN ART OF THE XX CENTURY.

Modernism - trends in literature and art. XIX - early XX centuries (cubism, futurism, neoclassicism, neo-romanticism) characterized by a break with the traditions of realism.
Symbolism is a movement in art from 1870 to 1910, focused primarily on artistic expression through the symbol of the “thing in itself” and ideas that are beyond sensory perception; it is also a universal philosophy, ethics, aesthetics and way of life of this time.
Impressionism - (fr.

Impression - impression) - a direction in art. thirds of XIX - early twentieth century, marked by the desire to most naturally capture real world in its mobility and variability, to convey the fleeting impressions of the artist. This led to the search for new forms, compositions, and color combinations in painting; in sculpture - new plastic volumes and dynamics of the body.

Post-Impressionism is the general name of movements in painting from the late 19th century to the beginning. XX century, which is characterized by an interest in philosophical and symbolic aspects, in decorative and stylizing formal techniques.

The European founders were Cezanne, Van Gogh, Gauguin. Of the Russians, the features of post-impressionism are inherent in many artists of the “Silver Age”: V. Borisov-Musatov, M. Vrubel, N. Roerich)

Surrealism
Abstractionism is a movement in art, mainly in painting, sculpture and graphics.

Associated with the concept of "art for art's sake." It arose in the twentieth century during the stratification of a number of movements (cubism, futurism, etc.). Prominent representatives V. Kandinsky, K. Malevich

Futurism – (lat. Futurum - future) avant-garde movement in European art of the 10-20s. 20th century, a type of modernism that cultivated urbanism (the aesthetics of the machine industry and the big city) and destroyed even natural language (“free words” or “brain”).
Dadaism

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Artistic movements in the culture of the 20th century

The main innovations in culture that arose in the first half of the 20th century were formed mainly in line with modernism , which has become a specific way of artistic degeneration of the problems of this century. Tradition was decisively rejected in favor of avant-gardeism. Its main features were a departure from the cultural values of the 18th - 19th centuries, primarily from the principle of realism, the proclamation of the independence of art from reality, the creation of new, unique styles of language and content in the fine arts.

One of the most famous movements of modernism in the first decade of the 20th century was Fauvism (from fr.

fanve - wild), represented by the names of French painters - A. Matisse, A. Marquet, J. Rouault, A. Derain and others. They were united by the desire to create artistic images exclusively with the help of bright, piercing colors.

They used nature and landscape not so much as objects of image, but as a reason for creating intense color compositions.

During the first quarter of the 20th century, one of the most fashionable and influential artistic methods was expressionism (from the French expression - expressiveness).

Based on the philosophical intuitionism of A. Bergson and the phenomenology of E. Husserl, the champions of this artistic movement (German artists F. Mark, E. Nolde, P. Klee, Russian artist V. Kandinsky, Austrian composers A. Schoenberg, A. Berg, etc.) proclaimed that the goal of art is not the depiction of modern reality, but a unique expression of its essence in the subjective world of man. They strived through the means of visual, musical, literary art(F.

Kafka) to convey the intensity of human emotions, the irrationality of the images that arise in a person. The deformation of normal figures for the sake of heightened transmission of human fears and suffering, often appearing in the form of a collection of fantastic, nightmarish visions, becomes the core direction of their work. They depict the surrounding world in endless movement, an incomprehensibly chaotic clash of forces hostile to the natural state of man. The glaring contradictions of life in Europe at the beginning of the century, especially acutely manifested in the First World War and the October Revolution in Russia and then in Germany, gave rise in the works of the Expressionists to a fierce protest against war and violence, and a call for universal human brotherhood.

One of the most influential artistic movements in the first quarter of the 20th century was cubism (from fr.

cube - cube) - avant-garde movement in the visual arts, which brought to the fore the construction of three-dimensional forms on a plane and the use of shallow multidimensional perspective, which made it possible to represent the depicted object in the form of many intersecting lines and geometric shapes - a cube, a cone, a cylinder.

According to the author of the term “cubism”, L. Vossel, in the paintings this direction"many cubes" dominates. The year of origin of this trend is considered to be 1907, when the outstanding artist P. Picasso exhibited his programmatic cubic painting “Les Demoiselles d'Avignon” - a large panel depicting a brothel scene. The female figures in the picture are almost not three-dimensional, flat, the characters are depicted in a pinkish color, in a geometric form, their faces are painted with rough strokes.

The most famous representatives of cubism P. Picasso, J. Braque, H. Gris, F. Picabia, M. Duchamp, F. Léger and others demonstrated with their creativity a refusal to recreate space through linear perspective, replacing it with the simultaneous depiction of an object from several different points vision.

If at the first stage of the development of cubism (1907 - 1913), called "analytical", all images are crushed into small planes and cubes, which, according to the authors, allows deeper insight into the essence of objects and phenomena, then at the synthetic stage more and more attention is paid to color, paintings become more abstract, decorative and generalized, and ascetic greenish, brownish and gray tones give way to brighter and more contrasting ones.

Cubism had a great influence on the development of avant-garde art and contributed to the emergence of abstract art, futurism, and suprematism.

It became widespread and influential in the first half of the 20th century. abstractionism - a creative method of abstract, or non-objective, non-figurative art, primarily painting. The aesthetic credo of this method was outlined by the outstanding Russian artist V.

Kandinsky in his book “On Spiritual Art” (1910), where he argued that the artist is a prophet and activist, pulling forward with all his might “the stuck cart of humanity.” But this can only be done by creating a “new reality,” which is nothing more than an internal subjective reality emanating from the intellect and feelings of the artist.

The essence of abstract art, according to its advocates (W. Kandinsky, P. Mondrian, F. Kupka, etc.), is that painting, freed from depicting the forms of visible reality, can express what objectively exists much deeper and more fully.

There are two main directions in abstract art.

The first of them, indicated by the work of V. Kandinsky, F. Kupka and others, places the main emphasis on the independent expressive value of the color spot, its coloristic richness of color relationships, with the help of which the artist strives to express the deep “truths of existence”, eternal “spiritual essences” , not subject to the rough objectivity of reality. This is embodied in the most vivid form in V. Kandinsky’s painting “Sketch 1 for Composition VII” (1913), where there is a riot of red, orange, yellow, bluish-greenish colors, interspersed with black stripes, above which rises a red figure, reminiscent of both the face and the cello should, according to the artist’s plan, express the complex melody of the seemingly sounding feelings, emotions, and experiences of a person.

It got the name abstract expressionism.

Malevich, P. Mondrian, T. van Doesburg, etc.) It is expressed in several varieties: Suprematism ( from lat.

highest, last) by K. Malevich ,Rayonism M. Larionova, non-objectivity P. Mondrian. The outstanding artist K. Malevich, who worked in Vitebsk for several years, gained worldwide fame for his “black square,” which he considered not an “empty square,” but “susceptibility to absolute emptiness.”

The black was followed by other images of squares—red, even white on a white background. In 1914, the painting “Dynamic Suprematism” appeared, which gave its name to this artistic movement. A triangle is depicted on a white background, touching in different places with other geometric shapes, triangles, circles of different sizes. Suprematism was considered by Malevich as the absolute predominance in artistic activity of “pure” sensation, freed from any connection with objective reality.

Innovative techniques developed by adherents of abstract art had a powerful influence on the emergence and development of pop art, op art, and are widely used in modern design, design art, theater, cinema, and television.

Futurism - one of the avant-garde movements in the culture of the first quarter of the 20th century, widespread mainly in Italy and Russia.

His starting point was the publication in the Parisian newspaper Le Figaro on February 20, 1910 by the Italian poet F. Marinetti of the Futurist Manifesto. The essence of this movement is a rebellious, anarchic protest against traditional culture, an apology for the latest scientific and technological achievements, and glorification of the roar of modern industrial cities. They sought to cut out the “cancer” of traditional culture with the scalpel of technicism, urbanism and new science.

The Italian futurists U. Boccioni, G. Balla, G. Severini and others saw the main means of cleansing the world of old junk in wars and revolutions. Having greeted the First World War with delight, many of them volunteered to fight and died.

Their slogan: “War is the only hygiene in the world!” Some of them after the war joined the fascist party of the Italian dictator B. Mussolini. The poetry of the futurists is abstruse, aimed at destroying living language, and represents violence against vocabulary and syntax.

In painting and culture, they are characterized by the denial of harmony as the fundamental principle of art. Familiarization with popular presentations of the achievements of physics and psychology gives rise to a desire among futurists to depict not the objects themselves, but the energy, magnetic, and psychological fields that form them, and movement is depicted by superimposing successive phases on one image.

Artistic culture of the 20th century

As a result, “blurred” frames appear in the picture depicting a horse with twenty legs, a car with many wheels. One more important feature Futurism was the desire to bring into the visual arts the noises and sounds of the technical world with the help of visual means.

J. Balla, for example, calls his painting “Car speed + light + noise.”

Futurism in Russia was significantly different from its Italian counterpart. His champions A. Kruchenikh, V.

Mayakovsky, V. Khlebnikov, V Kamensky, the Burliuk brothers were characterized by the desire to create new principles based on semantic paradoxes, innovative “word creation and word innovation,” which was clearly manifested in the abstruseness of V. Khlebnikov. They were distinguished by a heightened sense of the coming “world revolution”, the inevitable “collapse of the old” and the emergence of a “new humanity”. They sought to put their art at the service of the revolution, but by the age of 20 they were not to the liking of the new authorities, were subjected to sharp criticism, and their groups were dissolved.

One of the most influential artistic movements in the culture of the 20th century was surrealism (from fr.

surrealism, lit. superrealism, overrealism), which developed in the 20s. Its main representatives are writers A. Breton, G. Appolinaire, P. Eluard, F. Soupault, artists S. Dali, P. Bloom, M. Ernst, H. Miro, playwrights A. Artaud, J. Cheale, filmmakers I. Bergman, A. Hitchcock, etc.) proclaimed the source of art to be the sphere of the subconscious - instincts, dreams, hallucinations, delusions, memories of infancy, and the main method - the replacement of logical connections with free associations.

The artist’s task, in their understanding, was to, with the help of lines, planes, shapes and colors, penetrate the depths of the human subconscious, which, manifesting itself in dreams, unites reality and unreality into a single whole. Most famous artist this direction — Salvador Dali calls his approach to creativity the “paranoid-critical method”, which allows images that are well known to the mind - people, animals, buildings, landscapes - to be combined in a grotesque manner so that, for example, limbs turn into fish, the torsos of women - into horses, and open female lips on a pinkish sofa.

In his famous painting Soft Construction with Boiled Beans: A Premonition civil war in Spain (1936)" sex and horror intertwine: soft female flesh at the center contrasts with rough, calloused hands, one clutching a breast, the other pressing into the ground like an old root grapevine eating boiled beans, symbolizing ordinary people who become victims of war.

Shocked by the catastrophes of the 20th century, Dali shocks the viewer with fantastic, masterfully executed compositions in which the fears of the Oedipus complex, personified in the portraits of V.

I. Lenin, mounted in the keyboard of a black piano (“Biassed hallucination: the appearance of Lenin’s six heads on the piano” (1931) and in a photograph of a fascist dictator on a gilded plate under the dark shadow of a black telephone hanging on a chopped tree and emitting a giant tear from its tube ( "The Riddle of Hitler" (1939), with the horrors of war "The Face of War" (1940-1941), where the skull, eyes and mouth of a death's head are tilted over other skulls.

Arising from the subconscious, sensual dreams, nightmares and paranoid fantasies, turning into a hidden reality, form a floating, swaying, filled with dynamism picture, in the center of which is often the image of tightly dressed, half-undressed and completely naked Gala (née Russian Elena Deluvina-Dyakonova) - adored by the artist his wife, whom he described as very sexy and passionate.

Surrealism had a powerful impact on various spheres of culture; photography art was influenced by it (F.

Nadara, D. Cameron, etc.), “theater of the absurd” (E. Ionesco, S. Becket), cinema (A. Tarkovsky, etc.).

Fiction of the 20th century

Fiction of the 20th century much longer than fine art remained faithful to classical traditions. In spirit realism Such outstanding writers of the beginning of the century created their works as John Galsworthy(1867-1933), (the famous trilogy "The Forsyte Saga"), German writer Thomas Mann(1875-1955), creator of the well-known novel Doctor Faustus, French writers Romain Rolland(1866-1944) - author of the novels Cola Breugnon, The Enchanted Soul and Anatole Frois(1844-1924) - creator of the novel "Penguin Island", American writers William Faulkner(1897-1962), who created a series of novels “The Sound and the Fury”, “The Village”, etc.

At the same time, in fiction modernist innovations penetrated. This was embodied in the works of French poets Fields of Eluard(1895-1952) and Louis Aragon (1897-1982), in the novels of the Irish writer James Joyce(1882-1941), French writer Marcel Proust(1871-1922), German novelist Ericha Maria Remarque(1897-1970), Austrian writer Franz Kafka(1883-1924), Austrian poet and prose writer Rainera Maria Rilke(1875-1926), in whose works the features of modernism in its impressionist and surrealist versions can be traced.

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Basic concepts and terms on the topic: Art Nouveau, modernism, fauvism, cubism, surrealism, abstract art, suprematism, constructivism, installation, eclecticism, cinema, television, mass and elite art.

Topic study plan:

1.New types of art, artistic directions and styles.

Brief summary of theoretical issues:

The twentieth century is the century of the triumph of science and human intelligence, the century of paradoxes and upheavals. He summed up the development of world culture. In this century, culture broke the bonds of regional or national isolation and became international. World artistic culture integrates the cultural values of almost all nations.

A characteristic phenomenon of the twentieth century was a noticeable weakening of those social mechanisms - the mechanisms of continuity in culture. An individual strives to become independent, independent of cultural traditions, customs, established rules of etiquette, behavior, and communication. At the same time, internal freedom is increasingly being replaced by external freedom, the independence of the spirit is being replaced by the independence of the body, which gradually leads to a decrease in spirituality and the level of culture.

F. Nietzsche gave a figurative description of the art of the 20th century, arguing that “art was given to us so as not to die from the truth.”

Modernism(new, newest, modern) - a set of aesthetic schools of the late 19th and early 20th centuries, which are characterized by a break with the traditions of realism.

Close to this concept avant-garde. It brings together the most radical varieties of modernism. These concepts are often perceived as synonyms. In our country, modernism and the avant-garde were sharply criticized - as opposed to “socialist realism”. Usually these concepts were interpreted as an indicator of the crisis of bourgeois culture. However, this class point of view does not stand up to criticism. Modernist and avant-garde tendencies are a distinctive feature of modern art.

Speaking against the norms and traditions of previous aesthetics, striving for innovation at any cost, Modernism in its extreme manifestations destroys the meaningfulness of artistic creativity and often shocks. But in its best examples, modernism has significantly enriched the artistic culture of mankind.

Ortega y Gasset: “The new artists put a taboo on any attempt to instill “humanity” in art. Personality is rejected most of all by the new art. From all sides we come to the same thing - flight from man.”

It is Ortega who is the author of the most interesting hypothesis about common law development of world art. He believed that art follows philosophy changed depending on the change in the artist’s point of view on the world around him- from a materially concrete vision of the world, through its subjective perception - to the dominance of pure ideas and abstractions.

Art always fights to ensure that humanity, through all the vicissitudes of history, still carries its main achievement - spirituality. For with the defeat and death of spirituality, man himself is defeated and perishes, no longer having any difference from animals. It is from this perspective that we should consider what happened to the art of the twentieth century.

In the twentieth century there was a departure from traditions, in a certain sense, a breakdown of traditions in art. But this does not mean that realism and realistic principles of depiction were abolished by this century.

Avant-garde is a motley constellation of schools, trends, trends, which stuns with a cascade of colors and diversity of images. The impression of chaos caused by the rapid change of taste. Any Formula “If this has never been done before, then it must be done.”

Fauvism. One of the first representatives Fauvism determined the transition from the preparation of the avant-garde to the avant-garde itself.

The main thing is to achieve maximum paint energy.

A. Matisse- French artist, the founder of Fauvism, sought to renew decorative art, the clarity and joyful balance of which should, in his opinion, be transmitted to the viewer.

The light, cheerful art of Matisse. The most famous works of Matisse are “Dance” and “Music” (panels he painted in 1908, commissioned by S.I. Shchukin) for the decoration of a Moscow mansion famous philanthropist(now moved to the Hermitage).

Expressionism- “the art of shouting. Painting “The Scream” by E. Munch. “Never has there been a time shaken by such horror, such mortal fear. Never has the world been so deathly silent. Man has never been so small. He had never been so timid. Joy has never been so dead. Need cries, man calls his soul, time becomes a cry of need. Art joins its cry in the darkness, it cries for help, it calls the spirit. This is expressionism” (V. Turchin).

Expressionism: from painting to politics, from philosophy to music, from architecture to cinema, from theater to sculpture.

Cubism is the creativity of forms. The desire to geometricize an object, making its form architectural. The beginning of cubism in the works of Georges Braque and Pablo Picasso.

Representatives of Cubism in Russia: K. Malevich, L. Popova, D. Burliuk (societies “Jack of Diamonds”, “Donkey’s Tail”, etc.).

P. Picasso is a universal artistic genius. Spanish artist, sculptor - the greatest creator of the twentieth century. 15 thousand paintings, founder of cubism.

“Guernica” is a masterpiece of Picasso’s painting, a difficult picture to perceive and analyze, where reality is expressed in the language of complex subjective associations.

One of Picasso’s most famous drawings is “Dove of Peace”,

Incompatible extremes (realism and modernism) in the work of Picasso.

Abstract art. First abstract painting: A. Alfons“Girls in the Snow” – blank paper attached to a cardboard tablet. Traditional abstract art begins in 1910 (with the appearance of the first fine watercolors by V. Kandinsky).

There is a deep duality in the term abstract art, when there is a hint of both art and some kind of alternative. This is a non-objective art based on abstraction figurative images from specific objects. The works of abstract artists are a combination of geometric shapes, color spots, and lines. Abstract art is characterized by two trends: the abstraction of images from nature to such an extent that they cease to reflect reality; clean art forms, having no connection with reality.

The first abstract artist was V. Kandinsky. Among the artists and sculptors who developed this direction: P. Mondrian, K. Malevich, C. Brancusi and others.

Surrealism(superrealism) as an art direction was formed in France in the 20s of the twentieth century. This creativity is beyond the control of the mind. French poet Andre Breton published the "Manifesto of Surrealism".

According to the principles of surrealism, the artist must rely on the unconscious, associated with dreams, hallucinations, delusions, and memories of infancy. And the artist’s task is to achieve the infinite and eternal with the help of artistic means. Surrealists construct their works as something illogical, paradoxical, unexpected, as a special unreality.

The largest representative of surrealism was Salvador Dali.

Dali sought to create a photograph of the unconscious, to reliably capture his dreams, since it was precisely this spontaneous life of the human “I”, not controlled from the outside, that seemed to the artist to be true reality. He creates generalized artistic images, builds complex, strictly thought-out compositions of the “chaos” of painful visions.

To recreate such an image of the world, where everything is separated by decay, it is necessary enormous strength a sober mind in order to somehow organize this senseless, absurd stream of existence. “The only difference between me and a crazy person is that I am not crazy,” Dali would once say.

Pop Art- popular art, designed for a mass audience, easily distributed and mass produced, reeking of big business. Pop art is a kind of “art outside of art.” Pop art compositions often use real household items(tin cans, old things, newspapers) and their mechanical copies (photos, dummies, clippings from comics). Their random combination is elevated to the rank of art.

Pop art artists were attracted by the world of mass culture around them, designed for the consumption of millions, when aesthetic and social values were equated with consumer, everyday, and often unspiritual values. They destroyed the hierarchy of images and plots. They could equally value Leonardo da Vinci and Mickey Mouse, painting and technology, hack work and art, kitsch and humor.

Pop art always has a spirit of mass appeal and involvement. Pop art was the first great movement of the avant-garde, which was socialized and implanted into society. Pop art entered cinema, advertising, from which it originally came, into fashion, into the behavioral type of life. This is deliberate sloppiness in clothing, its different styles, the use of advertising plastic bags as bags, etc.

Laboratory works - not provided.

Practical lessons- not provided.

Tasks for independent completion:

1. Prepare a message “Diversity of styles and movements in the art of the early 20th century.”

2. Prepare a photo gallery of reproductions with artistic examples Fauvism, Cubism, Surrealism, Abstractionism, Suprematism.

Independent work control form:

- oral survey,

Checking notes, messages, photo galleries.

Questions for self-control

The artistic culture of the 20th century is one of the most difficult to study in the history of world culture. This is understandable, because not a single century has known such tragic social upheavals, such terrible world wars, such stunning scientific and technological progress, such a broad national liberation movement. Peoples who previously had no professional art were included in general cultural development. Territorial boundaries have changed and it is now almost impossible to paint a picture of developments just Western European art, without affecting the art of countries of other continents. That's why we allow ourselves more extensive examples in this chapter.

Undoubtedly, it is easier to judge art “from the steps of time” - the art of the 20th century is even more an object of study for a critic than for a historian. Moreover, as if in contrast to the specialization of our era of scientific and technological revolution, many masters of the 20th century showed versatility of interests, showing themselves in a variety of types and genres of art: easel, monumental, theatrical and decorative, in graphics, the art of stained glass, ceramics, in sculpture of small forms, etc.

A temporary space of several decades contains one creative life, so it seems inappropriate to divide the art of our century into several sharply delimited periods, as is usually accepted: the art of the beginning of the century, between the two world wars, the period of the Second World War, post-war, at the present stage, which would inevitably lead, in our opinion, to an unnatural violation of the unity of creativity of one master.

However, the complexity of the characteristics creative processes The 20th century also lies in the fact that it was this century that gave birth to many different artistic movements, sometimes directly opposite, pitted the avant-garde (referred to in our art history as modernism) with traditional art, true to the realistic principles of previous centuries - and often in the work of one artist they are combined the most diverse artistic movements and concepts.

The 20th century has ended, but the time for final conclusions and assessments of art is still ahead; I think that now we can only trace its main trends and patterns.

Moving on to the characteristics of architecture and the fine arts, let us recall that the 20th century, with its tragedies and contradictions, is quite clearly expressed in the works of such masters as Corbusier, Wright, Picasso, Chagall, Matisse, and a number of others, who, by the power of their artistic individuality, each to capture our difficult era in our own way.