Vbulletin art is artistic creativity. Course of lectures History of artistic styles: from simple to complex

"Style is the heart of art history." Heinrich Wölfflin

Art is diverse. However, even such a complex artistic phenomenon has its own universal key that allows it to be understood and structured. The name of this key code is style.

The style is systemic, unites and structures different phenomena - simple and complex, manifesting itself in all types of art - from ornamentation to architecture. Therefore, we will explore the manifestations of a particular style on the most diverse artistic material and in a broad cultural context.

“The development of style,” as the classic of style theory Heinrich Wölfflin noted, “is carried out in the same way as in a plant that slowly unfolds leaf after leaf until it becomes round and full, complete on all sides.” We will consider the style in a historical context - from antiquity to the beginning of the 20th century.

Developing both in time and in space, the style acquires new features that form national art schools. We will pay attention to the work of certain artists, architects, painters, sculptors and see how certain techniques and methods of a particular style are worked out at the level of individual styles and creative manners.

The course is designed for 19 lessons.

Dialogue of history and modernity. Old and New Acropolis in the architectural design of Bernard Tschumi.

"Greek miracle" - this is how the French historian and writer Ernest Renan called the unique culture of Ancient Greece. This high rating is understandable. The Hellenes laid the foundation for classical art, the “foundations of the foundations” of classical styles, which became the starting point and guide for the stylistic searches of subsequent generations of European artists.

As the modern culturologist M. L. Gasparov said: “From century to century, almost the same definitions were copied in mathematics textbooks that were once given by Euclid; and poets and artists mentioned and depicted Zeus and Apollo, Hercules and Achilles, Homer and Anacreon, Pericles and Alexander the Great, knowing for sure that the reader and viewer would immediately recognize these images. Therefore, it is better to know ancient Greek culture - this means to better understand Shakespeare, and Raphael, and Pushkin.

The lecture will pay special attention to the peculiarities of the order system, which determined the face of classical architecture, vase painting and Dressel's typology, the principles of the golden section, the doctrine of the harmony of the spheres and its influence on the development of the theater, the sculptural canons of Polykleitos and Phidias, as well as modern research in the field of antiquity.

Ancient Rome as a special independent artistic phenomenon began to be studied only in the twentieth century. Prominent ancient scholars believe that the real history of Roman art has not been written, the full complexity of its problems, the originality and polyphony of the artistic language and style systems have not been revealed. One of the reasons lies in the fact that "Ancient Rome" refers to the great Roman Empire - all the countries and peoples conquered by him that were part of the Roman state - from the British Isles to Egypt. And Roman art was created not only by the Romans, but also by the peoples they conquered: the ancient Egyptians, Greeks, tires, inhabitants of the Iberian Peninsula, Gaul, Ancient Germany. The other is that until the 19th century, most of Rome was buried underground. New generations erected buildings, laid out squares on the site of previous buildings. The contribution to the study of the monuments of the Eternal City was made not so much by archaeologists as by architects, sculptors, artists, poets who organized long expeditions and literally dug out wonderful finds from the thickness of the earth and sand.

The lecture will focus on both classical and little-known monuments of architecture, sculpture, decorative and applied arts (paintings, frescoes, small plastics), which have become the property of world culture and determined the features of the artistic language of ancient Roman art.
Lecture 3. Romanica. "The world of cities and monasteries" — September 28 at 19-30

Scientist, archaeologist and founder of the French Archaeological Society Arcisse de Caumont made a significant contribution to the study of history, architecture and art. It was he who, in 1824, to characterize European art of the XI-XII centuries. introduced the term "Romance" into scientific use.

The Romanesque style was the first style that spread throughout Catholic Europe - from Denmark to Sicily, and which combined various elements of Roman and Merovingian art, Byzantine and Middle Eastern, embodied as much as possible in architecture, monumental painting, sculpture and decorative and applied art.

Now there is no person who would not be shocked by the grandeur of Gothic architecture. Artistic images express the mystical aspiration of the human soul to the infinite, the divine, the unknown. But few people know that the existence of the Gothic, including many architectural masterpieces, was in danger of complete destruction.

Why the Gothic style, so bright and characteristic, was not perceived as an independent artistic phenomenon for a long time, what is the essence of masverka and what does it have to do with elegant multi-colored stained-glass windows, when did the Gothic font appear and why the facades were decorated with fantastic creatures - all these questions we will discuss in lecture.

Renaissance. It is difficult to name another cultural era that gave so many great names to artists, sculptors, architects, whose works delight with the depth of artistic images, the purity and depth of style, the diversity and originality of creative finds. This art is promising both literally and figuratively. It not only used the laws of perspective and chiaroscuro, affirmed the importance of proportions and anatomy, but also combined ancient physicality and medieval spirituality into a single whole, paving the way for creating the image of a perfect person - homo universalis - and perfect art based not only on divine inspiration, but and on precise scientific knowledge and mathematical calculation.

Brunelleschi, Alberti, Bramante created new church and public buildings, palaces, harmonious and proportionate to man. Piero della Francesca, Leonardo da Vinci, Michelangelo, Raphael, Titian embodied the heroic idea of ​​a person, establishing the principles of humanism, mastering new artistic methods.

The emergence of new and the development of "forgotten" types and genres of art - fresco, easel and portrait painting, engraving and graphics, coupled with the grandiose development of architecture, sculpture and literature, characterizes this period of world culture.

Baroque is one of the brightest classical styles born in the bowels of the New Age. It is associated with the flourishing of architecture and music, the "golden age" of literature and theater, the era of the great masters of painting and sculpture. The formation of the national self-consciousness of the peoples determined the originality of this style and the various forms of its existence in Italy, Spain, Portugal, South Germany, the Czech Republic, Poland, Lithuania, the Spanish and Portuguese colonies in Latin America. The names of Bernini, Borromini, Rastrelli, Caravaggio, Rubens, Velasquez, Rembrandt, Vivaldi, Bach, Handel entered the treasury of world culture.

In the lecture, we will pay attention to a variety of issues: why the Baroque was called the “style of Catholicism”, what prompted Jean-Jacques Rousseau to consider the Baroque a manifestation of bad taste and a “distortion of the beautiful”, why Baroque architecture is hyperscale architecture, and what role ensembles played in the development of cities, where did ormusl come from, how does European baroque differ from Russian, and how is the artistic language of baroque used in contemporary art and design.

Lecture 7. Rococo and Chinoiserie. Style of gallantry and frivolity — October 26 at 19-30

Rococo is one of the most famous "royal styles", which coincides with the era of the reign of Louis XV. Developed in the art of France in the first half of the 18th century, Rococo arose as a chamber style of aristocratic living rooms and boudoirs and quickly spread beyond France, influencing the development of European art.

At the lecture, we will not only discuss the classics of this style Watteau, Boucher and Fragonard, talk about the architecture of pavilions and interiors of palaces, the uniqueness of frit porcelain and pastorals, the influence of Chinese culture and the development of chinoiserie, but also explore the role of great women - the Marquise de Pompadour, Madame Dubarry, Maria Leschinskaya in the history and development of art.

Classicism is an artistic style of the 17th - 19th centuries, in which the majestic art of Ancient Rome was considered exemplary, therefore in France this time was called "the time of Minerva and Mars."

The philosophy of Rene Descartes determined the features and characteristics of classicism. Nikola Bualov in literature, Francois Blondel in architecture, Nicolas Poussin in painting showed the way to the image of "graceful nature" and the creation of ideal art. The academies that arose regulated the artistic life of society, fixing the ways of creating academic, “correct” art with characteristic monumentality of forms, logical clarity of composition, restraint of decor, and simplicity of harmony of the whole.

The Imperial style or Empire style is a high classicist style in architecture and applied arts that arose in France during the reign of Emperor Napoleon Bonaparte. The ceremonial, solemn, military triumphal style developed in the 1800-1830s in France, a little later - in European countries and in Russia.
The artistic design of the style with its lapidary and monumental forms, rich decoration, the inclusion of elements of military symbols, the influence of the artistic forms of the Roman Empire and Ancient Egypt was intended to embody the ideas of the power of power and the cult of a strong state.

"I feel, therefore I am!" - this maxim of the Dutch mystic Franz Geemstergeis determined a new direction in art - romanticism. The world is complex and changeable, and only with the help of intuition and irony is it possible to know its diversity.

Passion for the unusual, the unknown and the new is the essence of romanticism, in which the values ​​of the “non-classical” art of the Ancient East, medieval Gothic, Proto-Renaissance were raised to the ideal, and the depths of the subconscious and mystical insights showed a new path for creative minds.

At the lecture, we will discuss not only the uniqueness of the creative style of Goya, Eugène Delacroix, Teodoro Géricault, Francisco Goya Friedrich Chopin and Franz Liszt, Alfred de Musset and George Sand, but we will see how the emergence of new materials and technologies influenced the commercialization of art and the formation of mass culture .

Lecture 11. Pre-Raphaelites and British art. Breakthrough into the future — December 6 at 19-30

The influential English critic and art theorist John Ruskin watched the artistic searches of the Pre-Raphaelites for two years before saying his weighty word in defense of the young association. “It is easy to control the brush and paint herbs and plants with sufficient fidelity to the eye; anyone can achieve this after a few years of work. But to depict among the herbs and plants the secrets of creation and combinations, with which nature speaks to our understanding, to convey the gentle bend and wavy shadow of the loosened earth, to find in everything that seems the smallest, a manifestation of the eternal divine new creation of beauty and greatness, to show it to the unthinking and unseeing, - such is the purpose of the artist." Ruskin's assessment was so great and so significant that the works signed with the anagram P.R.B. entered the context of British culture along with the academic art of the Victorian era, establishing new standards of artistry.

What is P.R.B., what is the novelty and tradition of the artistic language of the Pre-Raphaelites, where the largest collection of Pre-Raphaelites is kept, what contribution did Ernest Hembert make to the promotion of the brotherhood’s works, how Andrew Pearce’s soap influenced the content of the painting “Children’s World”, what is the continuity of the “senior” and younger "Pre-Raphaelites, what is the connection between the works of the Pre-Raphaelites and the formation of a new art form - photography, what impact did the Pre-Raphaelites have on the Aesthetic Movement and the Movement of Arts and Crafts, who participated in the construction project of the country house of William Morris Red House - about this and much more we let's talk at the lecture.

Lecture 12. Symbolism. Looking for a new meaning

The philosophy and aesthetics of symbolism was influenced by various teachings - from the views of the ancient Greek philosopher Plato to the concepts of Emmanuel Swedenborg, Henri Bergson, Friedrich Nietzsche or Vladimir Solovyov. The symbolists countered the traditional idea of ​​knowing the world through reason with the idea of ​​intuitive contemplation, which allows one to penetrate the secrets of the universe. A symbol in artistic creativity is that universal key that allows you to open the doors of being.

The piggy bank of symbolism is varied and complex. Each "exhibit" requires a special mental attitude and careful handling, regardless of the subject of study - be it the strange fantasies of Odilon Redon, the bold experiments of Mikalojus Chyurlionis, Jean Moréas' Manifesto or Baudelaire's Correspondences.

Lecture 13. Art Nouveau. beautiful era

If we understand life as art, as Horta, Gaudi, Guimard, Tassel, Velde or Macintosh did, then the entire object environment - from the mansion to the fork - turns into an endless journey into the world of beauty, which in Russia was called "modern", in France - "Art Nouveau", in Germany - "Jugendstil", in Italy - "Liberty".

Among the artists and masters of "La Belle Époque" the most famous were Louis Tiffany, the artist Gustav Klimt, Toulouse-Lautrec, Aubrey Beardsley, Alphonse Mucha, Lev Bakst, Mikhail Vrubel, Fyodor Shekhtel. And this is not the whole list of those who transformed European cities, giving them elegance and originality.

Art Deco has many names. Among its names are “zigzag modern”, “jazz modern”, “Poiret style”, “Chanel style”… Art Deco is total, like any style, and its sphere of influence is wide: from architecture, sculpture and painting to industrial design and fashion.

Art Deco instantly conquered the world and still remains a source of inspiration for artists and designers, as it synthesized modern materials and technologies and the traditional art of Egypt and Mesopotamia, the Aztecs and the Maya.

At the lecture, we will discuss the role of world exhibitions in the development and dissemination of style using the example of the Parisian "L'Exposition Internationale des Arts Decoratifs et Indu-striels Modernes", we will see the brilliant works of René Lalique, Erte, Edgar Brandt and Emile-René Ruhlmann and many other participants of this exhibition, we will understand what is the similarity between the interiors of American skyscrapers and the Moscow metro and why Art Deco is stepping on the heels of modernity.

Lecture 15. Werkbund and Bauhaus. In search of style

Werkbund and Bauhaus, organized at the beginning of the 20th century, existed for two decades, but the ideas laid down in this school found their embodiment in various fields of art and culture. And this is natural. These schools were advanced both in terms of the composition of the teachers, among whom were Wassily Kandinsky and Paul Klee, Theodor Fischer and Richard Riemerschmid, Walter Gropius and Ludwig Mies van der Rohe, Laszlo Moholy-Nagy and Johannes Itten, Gerber Bayer and Marcel Breuer, and in terms of methods teaching, where practice and experiment were valued as highly as fundamental knowledge.

Today, works created a century ago within these associations continue to inspire contemporary architects and artists. What is the secret of such success; what influence did the Werkbund and the Bauhaus have on the development of the international style; why mass production and typification of the subject environment gave impetus to the development of design; who laid the foundations of modern coloring; when the New Bauhaus opened in Chicago; why Kandinsky wrote the book "Point and Line on a Plane"; who determined the face of German Vogue - we will talk about this and many other things at the lecture.

Lecture 16. Constructivism: fireworks of the Russian avant-garde

“We are the architects of the lands, the decorators of the planets,” Vladimir Mayakovsky said loudly, and Moisey Ginzburg supported him: “The architect feels ... himself not a decorator of life, but its organizer.” And these were not just words, but manifest statements that determined the cultural context of the era, the artistic searches of the 1920s-1930s.

What ideas of Moses Ginzburg were developed in the works of foreign masters of architecture in a couple of decades; what is the peculiarity of residential architecture on the example of communal houses and palaces of councils; what stories are told about the House on the Embankment and the Narkomfin House on Gogol Boulevard; what typical housing for the Soviet elite and workers looked like; for what purposes was reed and straw, fibrolite and xylolite used; what Palaces of Labor and clubs have survived to this day; what kind of work was done by Stepanova and Lyubov Popova for the First Cotton Printing Factory in Moscow "Tsindel", and how they are used in the work of modern fashion designers; what is unique about the works of Alexander Rodchenko and Konstantin Melnikov, El Lissitzky and the Golosov brothers, Moses Ginzburg and the Vesnin brothers, Alexei Gan, Yakov Chernikhov and Ivan Leonidov; We will talk about this and much more in the lecture.

Lecture 17. Modernism. Expressive simplicity

Modernism, as noted by the Spanish philosopher José Ortega y Gasset, "consists entirely of the rejection of the old", including traditional, classical art. Total novelty has become a radical criterion of artistry. The search for a universal language of art led to the rejection of any manifestation of national and regional, which were discarded in the name of a great international style. A new motto appeared on the banner of architecture: “Form follows function”, which was embodied in different ways in the works of Walter Gropius and Gerrit Rietveld, Le Corbusier and Frank Lloyd Wright, Ludwig Mies van der Rohe and Oscar Niemeyer, Alvar Aalto and Richard Neutra, etc.

What impact did scientific and technological progress have on architecture; what is the connection between ornament and crime; what new means of expression in architecture have become a priority; and what the search for a universal artistic language led to; We will talk about this and much more in the lecture.

Lecture 18. Modernism. Riot and search

Modernism is both a rebellion and a search for the fundamental principles of artistic creativity. The history of modernist movements consists in a sharp change of extremes according to the law of the pendulum: the sensual impressions of the Impressionists are replaced by the geometric style of Cezanne, the psychologism of expressionism - by the "neoclassicism" of the 1920s, the abstract expressionism of the 1950s - by pop art.

Why modernism still causes the most controversial responses, remaining one of the largest trends; why this "revolution in art" turned into a revolt against the classical tradition and had such contagious power; what unites cubism, abstractionism and futurism, dadaism and pop art, expressionism and surrealism; what impact did scientific and technological progress have on the arts; what new means of expression have become a priority and what the search for a universal artistic language has led to - we will talk about this at the lecture.

Lecture 19. Postmodernism. Thin edges

The art of the second half of the 20th century returned to complex associative series, to "wit, ornament and sign." The language of creativity has become more expressive and richer. Postmodernism, which replaced modernism, firmly stood on the feet of contextualism, ornamentalism, syncretism, theatricality and irony.

Why the books of Robert Venturi "Difficulties and Contradictions in Architecture" and Charles Jencks "The Language of Postmodern Architecture" became manifestos of a new direction; what is "reverse archeology"; and where to look for simulacra; on the boundaries of citation and a new understanding of originality; about why postmodernism is called "fried eggs from the classics" - we will talk about this and much more in the lecture.

Lecturer

Elena Ruban- culturologist, lecturer at Moscow Architectural Institute and Higher School of Economics.

Price:

The cost of one lecture is 500 rubles.
There are no discounts for this course.
The course of lectures is subject to with a surcharge of 100 rubles.

Recording:

Art is an intellectual and aesthetic form of cognition of social reality: a work of art usually always combines truth (author's truth) and beauty. Due to the participation of the author's intellect in artistic creation, stimulated by his intuitive sensations, art can even outpace the development of reality.

Consider the main stages of people's knowledge of the essence of art.

Aristotle, having outlined the contours of the theory of mimesis - imitation, revealed the main feature of art - the knowledge of life in images. The theologians of the Middle Ages evaluated art as a way of familiarizing a person with the "divine" with the help of earthly forms. The aesthetic thought of the Renaissance focused on the cognitive essence of art as a "mirror" of life (Leonardo da Vinci). Here we already see the convergence of science and artistic creativity. Later (Didero, 18th century) art was seen as a form of knowing the truth in living pictures of reality. German classical philosophy looked for sources of artistic creativity in the "realm of the spirit" (Kant - "expedient activity without a goal", Schiller - "game", Hegel - "manifestation of the spirit" ..., "direct contemplation of the truth" ...). The materialist Chernyshevsky understood art as a form of knowledge of life. He argued that the subject of art is "everything that is interesting for a person in life." Marx believed that the holistic and comprehensive nature of artistic consciousness helps the individual to realize his "generic essence", which pushes the boundaries of the direct experience of individuals, forming an integral human personality.

So, the main social function of art is the "artistic development of the world", which contributes to the creation of reality "according to the laws of beauty" (for example, the appearance in the twentieth century of design that combines aesthetics and pragmatics). The social function of art is also to promote the formation and self-formation of personality "according to the laws of beauty."

In the Middle Ages, the seven liberal arts made up the trivium - grammar, logic and rhetoric, and the quadrivium - arithmetic, music, geometry and astronomy. Among the Western European forms of spectacular art, painting and sculpture dominated for many centuries.

How is art classified today? The types of artistic creativity are literature, cinema, theater, dance (choreography), music, painting, sculpture, architecture. The criterion for dismemberment is the mechanism of perception: visual, visual-auditory, auditory forms and genres of art. Often, as a criterion, language is considered as the main means of communication (semiotics distinguishes between verbal, written, images, gestures, machine languages ​​...).

Artistic search, in view of the fact that art expresses human life, full of contradictions, is conducted in a continuum of oppositions: truth - error, beautiful - ugly, good - evil. In general, this semantic (value) universe (Scheler) is superimposed by people on the objective world and represents the field of culture. The components of this field are science, morality, art. Science is focused more on the search for truth, ethics - on the good, art - on the beautiful. Of all these types of creativity, art expresses life most holistically - it forms in the inner world of a person lifestyles that orient human behavior and activities towards achieving goals within the framework of the values ​​and norms of the culture accepted in society. Therefore, in order to understand the essence of artistic creativity, it is necessary to analyze the concepts of truth, beauty and goodness, taken together with their shadows: delusion, ugliness and evil.

It is known that truth is the result of an adequate reflection of reality by the cognizing subject. Adequate reflection (expression) means the creation, in our case by the artist, of a new image in the context of reality itself, i.e. in all his connections. However, such an understanding of the truth is primarily inherent in the scientific community, which requires the objectivity of the research result, i.e. its independence from consciousness. But artistic production always carries the author's sense of life, therefore, truth in art "... is the same as ... sensuality."41 True, this definition contains the assumption that feelings cannot be false. Some correction is needed: for example, artists recognize that any role requires sensual content with elements of awareness. The latter is necessary for the modern interpretation of the role indicated, for example, in Shakespeare's plays. The interpretation takes place on the tracing paper of modern life as it is presented to the actor and director, which requires active awareness and social reality.

In view of the fact that in artistic creation the author is, as it were, a colorful prism that refracts the contradictions of human existence in the modern world, it is best to determine the truth of the result of an artistic search “according to Aristotle”. He argued that truth is the correspondence of thought to the subject, and error is their inconsistency. There is a legend that the cubist artist Picasso, who was attacked by hooligans, at the request of the police, painted their portraits from memory. The next morning, a donkey, two zebras and a snake were identified and arrested at the zoo. It is clear that the artist expressed his ideas about the intruders and, perhaps, the painted images corresponded to the sensations that arose, but are they true? What then is truth in art? Apparently, we must agree that truth in art comes down to the truth of the artist's sensations. Here we are entering the shaky ground of relative and therefore illusory standards of aesthetic assessments, the natural conclusion of all our reflections is that the space of truth of a work of art is expanding and will continue to expand incredibly from now on - postmodernism claims that more and more people, i.e. "aesthetic prisms" is included in the processes of artistic creation.

The next component of artistic creativity is the opposition "beautiful - ugly." Do beautiful and ugly exist in reality, or does all this exist only in our imagination? The eternal question! The history of thought says the following. Plato distinguished between what is beautiful and what is beautiful, i.e. distinguish between essence and its manifestations. He saw the essence in the divine idea, on which the existence of all beautiful phenomena depends. Otherwise, “seeing the local beauty, he (a person) remembers true beauty.” Aristotle refutes the “idea of ​​beauty” by considering beauty as an objective property of reality, as a manifestation of its laws “The most important forms of beauty are order (in space), proportionality and certainty…”.42 It is sometimes said that beauty is pleasure, considered as a quality of a thing. Later, the beautiful is explained as a sensually contemplated image of the universal realization of human freedom. It seems that Marx's approach is very accurate: “Our needs and pleasures are generated by society; therefore, we apply a social measure to them, and do not measure them by objects that serve to satisfy them.”43 This “social measure” is being discussed today on the topics “what is the hero of our time?”, “how and to what extent he combines the beautiful and the ugly ? etc. A little about it. The ugly is, by definition, the opposite of the beautiful. It is something ugly, base, evokes a feeling of protest. It is clear that ideas about the ugly depend on national, historical, class and taste differences. Cicero argued that the ugly in art belongs to the realm of the ridiculous, because laughter is caused mainly by what designates or reveals something ugly is not ugly. In the Middle Ages, the ugly was identified with evil. Later (Lessing) defended the legitimacy of the ugly in poetry as a means of exciting sensations of "funny and terrible." It turned out that the combination of the beautiful and the ugly gives rise to the grotesque. In the history of art there was also a period of "poetization of evil" (Baudelaire's expression). Sometimes the ugly is seen as one of the negative aspects of the beautiful. Belinsky and others evaluated the ugly as a reflection of deformities in people's social life. Chernyshevsky revealed the connection between the sublime and the ugly, when the latter ceases to be disgusting, turning into the terrible. It seems that the twentieth century, with its two world wars, was expressed in art in this vein. Today's artists' tossing in the space between the beautiful and the ugly is largely due to the anti-human social experience of the twentieth century, when violence, terror and wars began to be recognized as a natural accompaniment of the evolution of mankind. The 21st century began with the emergence of large-scale terrorism, which led to the “glorification of terrorists” in a number of works of art.

Of course, the "ugly hero" has the right to his "presentation" in contemporary art. But if it is not served "ugly", i.e. highly artistic, then it already generates in a mature viewer and reader not laughter, as Cicero believed, but anxiety for the younger generations, subject to age-related imitation of the “heroes” of the media44.

Consequently, time dictates to the artist to create professionally, i.e.

Not only talented, but also responsible.

Let's return to the stages of any kind (scientific, socio-cultural, technical and artistic) creativity. They are arranged, according to the general statement, as follows: preparation - incubation (maturing) - illumination (revelation) - completion (transition to the semiotic system as a condition for social transmission).

Let us consider this scheme sequentially in relation to artistic creativity (art). The specificity of artistic creativity is that in it the activity of the unconscious prevails over the activity of the consciousness of the artist. In the psychology of art, this statement sometimes takes on such a sharp form that the unconscious is declared a factor that determines the entire process of the formation of an artistic image; and the intervention of the artist's consciousness in the form of an attempt to verbalize the meaning of his work leads, they say, either to destroy it by himself even in the process of creation, or to recognize it as "pseudo-artistic" after the completion of creation. The motto of the supporters of this position is “The irrational is the constant goal of art!”45 However, the development of the theory of the unconscious led to the conclusion that it is active in the genesis of a work of art and concerns, first of all, the artist’s decisions made by him regarding the choice of forms of expression of the image (visual, acoustic, verbal). But this cannot be said when it comes to the functional structure of an artistic image, because the image is a generalized expression of reality. And generalization is impossible without a certain activity of consciousness. For example, the actor's interpretation of a role is “a sensual filling of the role with elements of consciousness” (from an interview with Chulpan Khamatova). Non-symbolic vision is also characteristic of scientific discovery, i.e. there is a unity and difference between truth and beauty. It is known that "Everything crazy is born in the subconscious." Even I. Kant noted that the unconscious is the midwife of thought.

The ugly can become beautiful in art, therefore, “The truth of nature cannot be and will never be the truth of art” (O. Balzac). Life, reality is included in the structure of an artistic concept or image only as one of its many components. The selection and change of vital material takes place on the basis of previous experience, thoughts, feelings, tastes and aspirations of the artist. Therefore, the artistic image is not so much a cast of reality as "life-like". There is a penetration into the innermost secrets of being and the soul of a person, thanks to which a new individualized knowledge is achieved, even deeper than what science gives us with its reliance on the formalized. This is the power of "non-segmenting" knowledge46.

So, the stage of “incubation” of an image (a painting, a sculpture, a melody, a drama, a novel or a sonnet) takes place mainly in the subconscious. The activity of the latter (inspiration) is realized in the form of an intuitive feeling of aesthetically justified forms, movements, colors, sounds, words…

The stage of insight (revelation) is the most mysterious phase of creativity. Here we must distinguish between the inspiration caused by the activity of the unconscious and the attitude towards the realization of an intuitive sensation. It is here that conditions are necessary: ​​an atmosphere of freedom of creativity; material, including household factors; artistic traditions; fashion and incentives that streamline the possible levels of social recognition (awards, competitions, publications ...). These conditions are formed outside the artist, much here depends on the capabilities and activity of the art community, its “alliance” with the state, etc. Basically, such conditions are concentrated in the infrastructure appropriate art form (literature, cinema, theatre, music, sculpture and architecture, painting…)

Here we need to make a digression into the history of Soviet art. Russia is now going through a period of transformation of the socialist foundations of life into capitalist ones. Naturally, these changes also affected the social foundations of artistic creativity. It is primarily about the degree of freedom of the artist. The well-known formula “Freedom is a recognized necessity” (Spinoza) is completely inapplicable to art. Such a "conciliatory" understanding of freedom, when only the path of knowledge is declared the main way to achieve it, is rejected by the artist, because the emancipation of his creative forces is achieved not through knowledge, but through deeds. At the same time, the “social chaos” that arose during the years of perestroika, and by which they began to understand freedom, led, contrary to expectations, to the opposite results. The long-awaited freedom of spiritual creativity has so far only given rise to new problems of "cohabitation of the artistic community." Orientation towards the commercialization of spiritual creativity also does not give the expected results. We have to admit that over the past ten years, nothing significant has appeared in the visual arts, cinema, music, literature, architecture and sculpture.

Nevertheless, we must turn to the socially determined causes of the "rebellion" of the artistic intelligentsia during the periods of "stagnation" and "perestroika". The first state reaction of the proletarian authorities to the sphere of art was expressed in the order of the Council of People's Commissars "On the monuments of antiquity" (04/12/1918), based on complete trust in the artists and the collective will of the audience. However, the subsequent "apparatization of art" (M. Weber) led to the centralization of the management of culture (i.e. art). Administrative functionaries appeared who did not trust either the artists or the audience. V. Mayakovsky wrote about them:

between the writer

and reader

there are intermediaries

at the intermediary

the most mediocre"

Subsequently, this “average taste” of an official in art increasingly began to reflect the distrust of the authorities in the intelligentsia. S. Eisenstein argued that “when the political authorities indicate what I should do, I become sterile. I can't play the role of an illustrator."47 Nationalization led to increased censorship. During the years of Stalin's personality cult, state pressure on artists reached its peak. Of course, the method of socialist realism, dictated by the authorities, also gave rise to artistic masterpieces, however, the general atmosphere remained depressing. This was the main factor in the transformation of most of the artistic intelligentsia into "partisans of reality", groping for an intuitive path to the future, let's note, "to a better future", as many of them believed. The situation was further aggravated by the fact that, in view of the entry of the world and the country into the phase of the information society, artistic production increasingly began to acquire the character of a digest and a show, serving the demand of mass culture. This objective tendency of the decline of art in our country was deliberately used to destroy the system - the anti-socialist offensive was ideologically-politically and even artistically coordinated, synchronized. The recent frequent reassessment by a number of artists of their positions during the perestroika years is by no means an accident. Today it can be quite clearly said that the sincere quest of the intelligentsia in the field of literature and art was cynically used by the post-democratic wave to loot the ruins of the Union. The oligarchic stratum that arose “out of nothing” began vigorously defending its interests, first of all capturing the press, trying to use it to gain political power as well. Once again, the artistic intelligentsia, in order to ensure the material conditions of their life and creativity, have to bow to "sponsors", "patrons" and other "benefactors", who in any case pursue their own selfish interests, which do not coincide with the goals of artistic creativity. The humiliating historical situation is being repeated, forcing the artist to serve “the jaded heroine of the top ten thousand.” These lessons of history should not be repeated - this is evidenced by the ongoing discussions about the social state of art that are now going on among artists. Here are the topics of a number of discussions that took place during the 21st Moscow International Film Festival in 1999: "Russia after the empire" and "National models of cinema in the context of the world film process." The main questions were: Soviet film heritage - real money or creative capital? Free market and cinema - a disaster, a test or a panacea?

In the second half of the nineteenth century. England was one of the most advanced powers in all respects. The long and steady reign of Queen Victoria, which resulted in an economic and industrial boom, made the small island country the "workshop of the world", a trendsetter and style trendsetter. But is it really so good a style that allows you to combine absolutely incompatible eclectic things, clutter up interiors with tasteless replicated “luxury” machine items? In contrast to this, in the artistic environment, a desire was born to return to manual handicraft production unique and stylish things that the participants of the “Arts and Crafts Movement” embodied in their work.

Industrial rise in England in the second half of the nineteenth century. led to the fact that among the emerging bourgeoisie and representatives of the new middle class there was a desire to decorate their lives, houses and apartments, filling them with details and interior gizmos that would create the illusion of a “luxurious life”.

But luxury is an expensive concept, so the market was flooded with industrially replicated “bronze” lamps made of painted plaster or magnificent “gilded wood” papier-mâché carvings. At the same time, in one room there could be objects of various historical styles, a huge number of draperies and massive frames, which made the interior hopelessly overloaded, heavy and practically unsuitable for life. In such magnificence, the feeling of comfort so necessary for a person was lost. Action breeds reaction, which is what Arts and Crafts Movement”(The Arts & Crafts Movement) - an artistic movement whose members advocated a return to the craft folk origins of creativity, sought to create an aesthetically thought-out living environment for every person. The ideological inspirers and theorists of the renewal of the decorative arts in England were John Ruskin (1819 - 1900) and his younger contemporary and student William Morris (1834 - 1896). According to Morris and Ruskin, the main problem of contemporary art was its mechanical, factory nature, while what could be more pleasant than work, work that allows a person to fulfill himself and give the pleasure of creativity.

“Just doing something with your hands should already be a pleasure,” they propagated. They found the origins of truly folk, handicraft, human creativity in the art of the Middle Ages, when ingenious machines and machines that stamped "works of art" had not yet been invented.

Masters of the Arts and Crafts Movement created wooden furniture painted with mythological scenes in a medieval manner and finished, like handicraft folk samples, with metal brackets, slats and fittings. Wallpaper and fabrics, including those with silver and gold embroidery, were also actively distributed. All the details of the interiors designed by the artists, and even the costumes and dresses of the residents, were designed in a single style and color scheme, which created a sense of stylistic integrity and harmony of the space.

The paradox was that manual production was not at all cheap, and inexpensive replicated industrial "luxury" was again out of competition. The style of the Arts and Crafts Movement, like its direct successor, Art Nouveau, turned out to be art for the elite, an exquisite style of high art. But what could be better than highly artistic individuality and uniqueness! The desire of a person to surround himself with stylish handmade things has not weakened to this day, and moreover, we are again seeing an increase in interest in man-made art.

Workshops and guilds

Based on the theoretical program of Ruskin and Morris, a community of artists was organized, located in the so-called Red House (Red House), Morris's personal estate, which became an example for many associations of this type that were created later. For the inhabitants of the Red House, the community served as an opportunity to create a closed commune of artists, where they could live and embody their creative ideas, based on the traditions of medieval craftsmen. In 1861, Morris, Marshall, Faulkner & C 0 (Morris, Marshal, Faulkner & C 0) was founded in England; the program for this association was formulated by Morris:
"Our goal is to elevate the role of art, with which people at all times sought to decorate ordinary objects of everyday life."
Morris defined the beauty of decoration as "harmony with nature". The master's hand must act like nature itself, "until the cloth, cup or knife looks as natural and as attractive as a green field, river bank or rock crystal." By the end of the 1880s. Morris's firm became a kind of school where many artists and craftsmen studied, who later created their own associations. The most characteristic example of this is The Century Guild founded in 1882 by Arthur Haygate McMurdo. McMurdo's "Century Guild" sought to elevate the status of crafts - building, weaving, pottery and blacksmithing - so that they could take their rightful place alongside the so-called fine arts.

Another example of the extension of the guild principle laid down by Morris is The Guild of Handicraft by Charles Robert Ashby. On the basis of the ideas of British organizations, and especially the guild of C. Ashby, Dresden workshops were founded in Dresden in 1898, in 1899 the Darmstadt colony of artists on Mathildenhei was created, which later became the basis of the German Union of Artistic Crafts and Industry (Werkbund) .

Evgenia Ignatieva, magazine "World of metal"

Illustrations:

William Morris. 1870
Philip Webb. Red house. 1859, Kent, England. Personal estate of William Morris.
Charles Robert Ashby. Glass decanter in a silver frame. OK. 1905
Charles Rennie Mackintosh. Tea room doors. Glasgow, Scotland. 1904
Edward Burne-Jones. Scene on the plot of the Annunciation. 1860 Church of St. Colomba. Yorkshire, England.
Craft Guild. Baptismal cup of Lord David Cecil. 1902
Interior of the second half of the XIX century. "Green Room".

ARTISTIC CREATIVITY - the process of creating new aesthetic values ​​of artistic creativity is an element of all types of social and industrial human activity, but in its full quality it finds expression in the creation and performance of works of art. The ideological and aesthetic orientation of creativity is determined by the social class position of the artist, his worldview and aesthetic ideal.

Creativity in art is innovation both in the content and in the form of works of art. The ability to think productively is certainly a mandatory sign of talent. But innovation is not an end in itself. Creativity is necessary for the product of aesthetic activity to have both novelty and social significance; so that its creation and method of use meet the interests of the advanced classes and contribute to socio-cultural progress. In contrast to formalist aesthetics, who view creativity primarily as the construction of new forms and structures, Marxist aesthetics proceed from the fact that heuristic work in art is characterized by the creation of new social values ​​within such structures.

Artistic creativity is inseparable from the development of cultural heritage, from which the artist spontaneously or consciously selects traditions that have a progressive meaning and correspond to his individuality. Creativity, on the one hand, involves the adoption and development of certain traditions, on the other hand, the rejection of some of them, their overcoming. The creative process is a dialectical unity of creation and negation. The main thing in this unity is creation. The preaching of destruction in itself, which is characteristic of many theorists of decadence and modernism, turns into pseudo-innovation that bleeds the creative potential of the artist. In order to move forward in art without repeating anyone, one must know well the achievements of one's predecessors.

In terms of socio-epistemological creativity is a figurative reflection of the objective world, its new vision and understanding by the artist. It also acts as an actualization of the artist's personality, his life experience. Self-expression, subjective in nature, does not oppose the objective, but is a form of its reflection in a work of art. In this case, this self-expression turns out to be at the same time an expression of universally valid, popular and class ideas.

Freedom of imagination, fantasy and intuition, breadth of outlook, the desire for a comprehensive knowledge of being are necessary components of creativity. At the same time, the artist also needs self-restraint in the choice and interpretation of life material, concentration and selectivity of attention, strict discipline of the mind and heart. A holistic artistic image, in which the creative process results, is born only when the artist is able to see and deeply comprehend the natural and typical through life situations and the facts of his own biography. In this capacity, artistic creativity acts as creativity according to the "laws of beauty" (K. Marx).

ART (artistic creativity)

ART,
1) artistic creativity in general - literature, architecture, sculpture, painting, graphics, arts and crafts, music, dance, theater, cinema and other varieties of human activity, combined as artistic and figurative forms of world exploration. In the history of aesthetics, the essence of art was interpreted as imitation (mimesis), sensual expression of the supersensible, etc.
2) In the narrow sense - the fine arts.
3) A high degree of skill, skill in any field of activity.

encyclopedic Dictionary. 2009 .

See what "ART (artistic creativity)" is in other dictionaries:

Artistic creativity (children)- expression of individual characteristics, attitude to the world around and to oneself in an artistic form that is feasible for the child. Kh.t. an integral part of the system of aesthetic education and artistic education, a means of personality development. ... ... Pedagogical terminological dictionary

ARTISTIC CREATIVITY of children- expression of individual characteristics, attitudes towards the world around and towards oneself in an artistic way that is feasible for the child. the form of X t is an integral part of the aesthetic system. and artist upbringing, a means of personal development A manifestation of X t can be departmental work ... ... Russian Pedagogical Encyclopedia

A form of creativity, a way of spiritual self-realization of a person through sensually expressive means (sound, plasticity of the body, drawing, word, color, light, natural material, etc.). The peculiarity of the creative process in I. in its indivisibility ... Philosophical Encyclopedia

The process of activity that creates qualitatively new material and spiritual values ​​or the result of creating an objectively new one. The main criterion that distinguishes creativity from manufacturing (production) is the uniqueness of its result. Result ... ... Wikipedia

An activity that generates new values, ideas, the person himself as a creator. In modern scientific literature devoted to this problem, there is an obvious desire to explore specific types of technology (in science, technology, art), its ... ... Philosophical Encyclopedia

Among the words that, both in their morphological appearance, and in their semantic structure, and even in their immediate impression, resemble Church Slavonicisms, there are many literary Russian new formations of the 18th and 19th centuries. Such is the word creativity, ... ... The history of words

creation- CREATIVITY is a category of philosophy, psychology and culture, expressing the most important meaning of human activity, which consists in increasing the diversity of the human world in the process of cultural migration. term and concept. T.… … Encyclopedia of Epistemology and Philosophy of Science

Modern Encyclopedia

1) artistic creativity in general - literature, architecture, sculpture, painting, graphics, arts and crafts, music, dance, theater, cinema and other types of human activity, combined as artistic ... ... Big Encyclopedic Dictionary

Art- ART, 1) artistic creativity in general - literature, architecture, sculpture, painting, graphics, decorative arts, music, dance, theater, cinema, etc. In the history of aesthetics, the essence of art was interpreted as imitation (mimesis), ... ... Illustrated Encyclopedic Dictionary

Books

• Amateur artistic creativity in Russia of the XX century. Dictionary, Dictionary is a scientific publication in which the phenomenon of amateur creativity is considered from various angles: artistic, historical and cultural, social, political, ... Category: Culturology. art history Publisher: Progress Tradition,
• Artistic creativity. Human. Nature. Art. 1986 , Dmitry Likhachev , Mikhail Epshtein , Sergey Sokolov-Remizov , The following issues are considered in the collection on the basis of a single integrated systematic approach: development and protection of native nature; philosophy of nature and its connection with the aesthetics of nature;… Category: