Cubism as an artistic movement. Cubism in art
a direction of modernism that has attempted to model - through artistic creativity - a specific theory of knowledge, based on the presumption of anti-psychologism (see Anti-psychologism). Classic representatives of painting in painting are J. Braque, P. Picasso, F. Leger, H. Gris, R. Delaunay (at a certain period of his work), J. Metzinger, and others; in poetry - G. Apollinaire, A. Salmon and others. The term "K." was first used by Matisse (1908) in relation to the painting by J. Braque “Houses in Estac”, which allegedly reminded him of children's blocks. Also in 1908, in the October issue of the magazine “Gilles Blas,” critic L. Voxen noted that modern painting“reduces to the image of cubes” - thus, “the name of the new school was originally in the nature of ridicule” (J. Golding). In 1907-1908, K. took shape as a direction in painting (P. Picasso’s painting “Les Demoiselles d’Avignon”, 1907, is traditionally considered to be the calling card of K.); in the late 1910s, the French poet A. Salmon recorded “the beginning of a completely new art” - both in relation to painting and in relation to poetry. Genetically, K. goes back to expressionism (according to P. Picasso, “when we invented cubism, we did not intend to invent it at all. We only wanted to express what was in ourselves /emphasized by me - M.M./" (see Expressionism). Like any modernist movement, K. demonstrates a programmatic methodology and purely reflexive attitudes regarding the understanding of artistic creativity: already in 1912, a conceptual monograph by the artists A. Gleizes and J. Metzinger “On Cubism” and a critical work by A. Salmon “Young Painting of Modernity” were published. According to critics, K. can be considered one of the most radical directions modernism, because it “bravely breaks with for the most part traditions that have operated flawlessly since the Renaissance" (M. Seryulaz). According to critics, modernism can be considered one of the most radical trends of modernism, since it "bravely breaks with most of the traditions that have operated flawlessly since the Renaissance" (M. Seryulaz). According to the programmatic statements of the Cubist artists, at its very core, K. is different, " new way representation of things" (H. Gries). Accordingly, "when Cubism... showed the conventional nature of space, as the Renaissance understood it, just as the Impressionists showed in their time the conventional nature of color, they were met with the same misunderstanding and insult" ( R. Garaudy). In 1912, the French Chamber of Deputies even discussed the issue of banning the Cubist exhibition at the Autumn Salon; the socialist J.-L. Breton considered it “completely unacceptable that... national palaces should serve as a place for demonstrations of such an anti-artistic and anti-national nature.” ; at the same time, it was concluded that “the gendarmes should not be called” (the formulation of Deputy Samba). Objectively, K. can be considered as a significant milestone in the history of the evolution of the modernist paradigm in art: according to art critics, “it was by deciding to openly proclaim.” their rights to dissent in the field of art and by exercising these rights, despite all obstacles, contemporary artists became the forerunners of the future. Thus, their revolutionary role cannot be denied: their moral position has brought them brilliant rehabilitation in our days, to a much greater extent than their artistic merits, regarding which the last word has not yet been said" (R. Lebel). The prevailing emotional tone of K. became an acute and acutely catastrophic experience of the turn of the 19th-20th centuries, associated with the dominance of what M. Duchamp designated as "the mechanical forces of civilization" (cf. pathetically optimistic perception of the machine industry in the context of futurism - see Futurism): the objective world revealed its new face to the human world, casting doubt on the previous version of human understanding, destroying the usual ontologies of traditional knowledge. It is no coincidence that N. Berdyaev saw a kind of portraits in Cubist works. inauthentic existence (“these are the demonic grimaces of the bound spirits of nature”), which necessarily involves asking questions about the true face of the world, about the possibility of this authenticity and the possibility of its depiction. Due to the reflexive understanding of this context, K. is one of the most philosophically articulated directions of development. modernist aesthetics, - already in the manifesto “On Cubism” (1912) it is stated that the painting as such is a kind of picture (concept) of the world (in the history of art it is recorded that critics already in P. Cezanne saw a “criticism of the theory of knowledge written in paints” - E. Novotny). K. actively involves in his reflexive understanding of the nature of artistic creativity the ideas of Plato, medieval realism, G. Hegel - primarily in the aspect of the search for the abstract essence (ideal eidos) of an object and the philosophical justification for the presumption of ontology variability, which underlies the idea of relative modeling of possible worlds ( we're talking about not so much about the conceptual and substantive mastery of the academic philosophical tradition, but about the connection of artists to the cultural atmosphere of the early 20th century, in which philosophical ideas found themselves in a kind of fashion focus: for example, about J. Braque, L. Reinhardt notes that he, " the son of a Parma peasant... learned philosophy in table conversations at the beginning of the century"). One way or another, the focus on a reflexive analysis of creativity as such is one of the distinctive (and one of the strongest) sides of K. According to J. Maritain, “in the days of the Renaissance, art opened its eyes to itself. Over the past half century, one might say, it seized by another impulse of introspection, leading to a revolution at least as significant... Its lessons are as useful for the philosopher as for the artist.” K.’s aesthetics is practically a specific modeling of the cognitive process, based on the basic K. principle of “negation of naive realism, which presupposes the artist’s refusal to rely on visual perception objective world. This principle underlies the “fight against vision” program proclaimed by K., i.e. combating the uncritical acceptance of the phenomenology of video footage as the basis of knowledge in general and the artist’s comprehension of painting in particular (the world is distorted, its essence is not visible and cannot be seen, i.e. phenomenological reduction cannot claim to be an adequate method of understanding the world): according to the wording A. Gleize and J. Metzinger, “the eye knows how to interest and seduce the mind with its delusions,” but the basis of this temptation is nothing more than an optical illusion, trompe loeil. As J. Braque wrote, “feelings deprive form, the spirit forms. Only what is produced by the spirit is reliable.” In this context, it is natural, according to K., that “wanting to achieve the proportion of the ideal, artists, no longer being limited by something human, present us with works that are more speculative than sensual” (G. Apollinaire). In this context, it is significant that R. Lebel calls his monograph dedicated to K. “The Inside Out of Painting,” thereby emphasizing the intention of the Cubists to penetrate beyond (through) the phenomenological series. For example, Berdyaev wrote about P. Picasso: “he, like a clairvoyant, looks through all the veils... [...] Go even further into the depths, and there will no longer be any materiality - there is already an internal structure of nature, a hierarchy of spirits,” - and the tendency of this movement “leads to an exit from the physical, material flesh into another, higher plane.” Thus, “instead of the confusion of the sensory experiences of Monet and Renoir, the Cubists promise the world something more durable, not illusory - knowledge” (L. Reinhardt). In the evolution of the philosophical foundations of philosophy, two stages can be distinguished. The initial presumption of the aesthetic concept of K. is the presumption of destruction of the object as such: according to R. Delaunay (who began his creative path with Kandinsky - see Expressionism), “until art is freed from the subject, it condemns itself to slavery.” Thus, according to the Cubist strategy of artistic creativity, “there is no need to even try to imitate things... Things in themselves do not exist at all. They exist only through (in) us” (J. Braque). As was noted in the work of A. Gleizes and J. Metzinger, programmatic for K., “cubism replaces the scraps of freedom obtained by Courbet, Manet, Cézanne and the Impressionists with unlimited freedom. Now, having finally recognized objective knowledge as a chimera and considering it proven that everything accepted by the crowd as natural is a convention; the artist will not recognize other laws except the laws of taste.” The artist's mission in this context is articulated as liberating oneself (and through this, others) from the “banal appearance of things” (A. Glez, J. Metzinger). As his fundamental credo, K. accepts the formula “Enough with decorative painting and picturesque scenery!” (A. Glez, J. Metzinger). In this context, K. postulates as his method a specifically articulated “lyricism” or “inside-out lyricism” (G. Apollinaire’s term), which was understood by K. as a method of liberating consciousness from the slavery of the objective world, achieved through the artist’s programmatic evocation of a feeling of disgust for the subject of his work (as J. Braque wrote, “it’s like drinking boiling kerosene”). According to Ozanfant and Jeanneret, “lyricism” can be considered as the basic paradigm for early Cubism: “its theoretical contribution can be summarized as follows: cubism considers the painting as an object that creates lyricism - lyricism as the only goal of this object. All types of freedom are allowed to the artist , provided it creates lyricism." In practice, this means K. going beyond the boundaries of fine art - to abstract art: if the visually observed world can be (is) illusory, then the artist’s interest should be focused on the true (essential) world, i.e. the world of pure geometric forms: as Mondrian wrote, “Plato’s ideas are flat” (it is not without interest that the mathematician Prance was directly involved in the theoretical discussions of the Cubists). According to K.’s reflective self-assessment, “for us, lines, surfaces, volumes are nothing more than shades of our understanding of fullness / that noumenal that is not represented appearance object - MM./", and everything “external” is reduced in the Cubist vision of it “to one denominator of mass” (A. Glez), namely its geometric basis. Accordingly, the aesthetics of K. is built on the idea of deformation of the traditional (visually observable ) the form of the object - deformation, which is intended to expose the true essence of the object. K. is constituted as neoplasticism, based on the denial of traditional plasticity: “cubism considers the picture to be completely independent of nature, and it uses forms and colors not for the sake of their imitative ability, but for the sake of it. their plastic value" (Ozanfant, Jeanneret). Thus, K. comes to the idea of plastic modeling of the world as a cognitive search for its plastic (structural) basis, i.e. its true face, not hidden behind a phenomenological series. In other words, a mature conceptual K.'s program turns out to be very far from the original idea of renouncing the object: as M. Duchamp wrote (during the Cubist period of his work), “I always strive to invent, instead of expressing myself.” K. makes a radical turn from criticism of the object as such to criticism of its inadequate (in particular, subjective) understanding. The critical pathos of mature K. is no longer directed against reality as a subjective illusion, but against subjectivity in the interpretation of reality. In this regard, K. decisively distances the visually observable (given in experience) object (nature-objet or “volumetric artistic revolution of Cubism” and “the amazing innovation that consists in the inclusion of many aspects of the same object in action.” As A writes .Lot, in the practice of “K. representations” the usual “perspective structure is overthrown. We see part of the same object, for example, a bowl of fruit, from below, another part - in profile, a third - from some other side. And that’s all this is connected in the form of planes that collide with a bang on the surface of the picture, lie next to each other, overlap each other and penetrate each other." Classic in this regard can be considered, for example, "Dance" by J. Metzinger; "Student with a Newspaper" ", " Musical instruments"P. Picasso; "Bottle, Glass and Pipe", "Praise to J.S. Bach" by J. Braque; "Portrait of Chess Preyers" by M. Duchamp, etc. (cf. similarly by M. Chagall: "I and village", "The Hour between the Wolf and the Dog", which simultaneously set the full face, profile, etc.). And if, within the framework of "analytical K.", the artist was least interested in the phenomenon of movement and the problem of its pictorial fixation ("a picture is a silent and motionless revelation" by A. Glez), then "K. representations", on the contrary, constitutes programmatic dynamism (for example, "Nude Descending a Staircase" by M. Duchamp is in many ways close to futurist discoveries in the field of transmitting the "dynamic" or "energy line" of movement). However, movement is not understood by K. as visually observable movement in space (a kind of agitation for vision), but as a direct mouvement - movement as such, i.e., according to the concept of K., what we know about movement as such 3) “Abstract K.” or “purism.” ", i.e. "pure painting" (peinture pure), within the framework of which all the basic principles of K. are brought to their logical conclusion: the principle of anti-psychologism, the principle of searching for "elements of the world" as geometrically articulated and the principle of anti-visualism. ( According to the criterion of radicalism, A. Salmon compared peinture pure with the religion of the Huguenots.) K.’s movement from simultanism to purism is clearly demonstrated by the creative evolution of R. Delaunay: if in his work “In Honor of Blériot” concentric circles are a product of analysis (“refraction”) of such phenomenon, like Bleriot’s flight across the English Channel, and can be read as projections of the movement of airplane propellers, then in “Circular Rhythms” the same circles (with all the external similarity) are a fixation of the elements of mouvement - a product of an essential analysis of what the artist knows about movement. Revealing the essence of "abstract K." in one of the interviews. P. Picasso practically speaks of his visual technique as the implementation of a method ideal type ", as M. Weber understood it: "abstract art is nothing more than a combination of color spots... You always need to start somewhere. Later, all traces of reality can be removed. And there is nothing wrong with this, because the idea of the depicted object will already have time to leave an indelible mark on the picture / see. Trace - M.M./". In this context, K. actualizes the semantic figures of "eidos" in Plato and "universals" in scholastic realism: according to G. Apollinaire, the picture appears in this context as an expression of "metaphysical forms". In this In relation, Cubist works, according to Maritain, “do not deviate from reality, they are similar to it... by spiritual similarity.” - Within the framework of this approach to artistic creativity, a focus on the possibility of the artist actually creatively constituting the essence of an object from non-objective elements is formed ( cf. with the postmodernist idea of signifying semantically neutral text fragments - see Empty sign, The effect of reality). created by the artist and endowed by him with a powerful reality." G. Apollinaire designates this ability of the subject of creativity as "orphism" (but analogies with the life-giving impulse of Orpheus' songs, which can move stones) and understands in this context the artist as a subject introducing an integral structure into sensory chaos, directly seen in the sphere of abstraction. In this regard, K. believes that the mystery of creativity is similar and close to the mystery of Creation: “the artist sings like a bird, and this singing cannot be explained” (Picasso). In this context, A. Glez sees essential analogies between the paradigm of perspective constituted in Renaissance painting (what A. Glez calls “space-form”) and K., which breaks the very idea of perspective (what A. Glez calls “time- forms"), on the one hand, and natural science and mystical (picture as a “silent revelation”) approaches to reality, on the other. “Abstract” (“pure”) K. actually laid the foundation for the tradition of abstractionism in the history of art of the 20th century; all directions and versions of abstractionism go back to his aesthetic program, according to L. Venturi, “today, when we talk about abstract art , we mean cubism and its heirs." (It is for this reason that in Marxist art criticism, centered around the values of materialism, K. was assessed unequivocally negatively: from the categorical verdict of G.V. Plekhanov, “nonsense in a cube!” - to the exquisite thesis of M. Lifshitz: “the formula “the whole world recognizes” means nothing. After all, this world is a little crazy - it has come out of its joints, in the famous expression of Shakespeare.”) In general, the role of K. in evolution artistic modernism“It is almost impossible to overestimate”, for “in the history of art... it was a revolution no less important than the revolution of the early Renaissance” (J. Berger). K. creates fundamentally new language art (see Language of Art), and in this area “the discoveries made by Cubism are as revolutionary as the discoveries of Einstein and Freud” (R. Rosenblum). Moreover, according to J. Golding, “Cubism was, if not... the most important, then, in any case, the most complete and radical artistic revolution since the Renaissance... From a visual point of view, it is easier to make the transition after three hundred and fifty years, separating impressionism from High Renaissance than the fifty years separating Impressionism from Cubism... Renoir's portrait... is closer to Raphael's portrait than to Picasso's cubist portrait." According to historian K. K. Gray, the formation of the Cubist paradigm can be interpreted as the beginning new era in the history of art and a new worldview in the history of culture in general. Gehlen compared the design of the Cubist paradigm in art with the Cartesian revolution in philosophy - both in terms of the significance and radicality of the breakdown of tradition, and in content: like the epistemology of R. Descartes, the concept of artistic creativity of K. is based on the rejection of empiricism and sensationalism, which led in its distant future to the constitution of the paradigm of “postmodern sensitivity” in European culture (see Postmodern sensitivity). M.A. Mozheiko
ANSWER:
Characteristic feature cubism is the lack of a color palette. Only brown, black and gray tones were used. This was done specifically so as not to awaken the emotional component and not distract from understanding the subject.
Cubism - first quarter of the 20th century. As a “pure” direction, it developed mainly in France (in other countries, including Russia, cubo-futurism, resulting from the merging of cubism and futurism, was more popular). The founders are considered to be P. Picasso and J. Braque. The object as a visual image begins to lose its attractiveness for artists. For many centuries, the object on canvas continued to remain the same as in life, and namely, an object.
The principle was the decomposition of the form into elementary components (cube, ball, cone, etc.). In addition, the object was depicted not as a whole, but in parts and not from one, but from several points of view. The artists sought to see the object simultaneously in its entirety, in four dimensions, not only from the outside, but also from the inside, but as a result it crumbled into fragments, disintegrated to the edge.
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Neoclassicism and eclecticism in 19th century architecture
Question.. neoclassicism and eclecticism in the architecture of the century.. answer neoclassicism is a term used in Russian art criticism to denote the artistic phenomena of the latter thirds xix and the first quarter...
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There is a lot of material, so I will divide the topic into several posts, they are very voluminous and there are a lot of graphics, it’s inconvenient to read. - modernist movement in literature, fine arts, theater and cinema. Originated during First World War in neutral Switzerland, Zurich. Existed from 1916 to 1922.
Dadaism most clearly expressed in individual scandalous antics - fence scribbles (the roots of modern graffiti), pseudo-drawings that have no meaning, combinations of random objects. In the 1920s, French Dadaism merged with surrealism, and in Germany - with expressionism.
Origin of the term
The founder of the movement is a poet Tristan Tzara found a word in the dictionary "Yes Yes". “In the language of the Negro Kru tribe,” Tzara wrote in a 1918 manifesto, “it means tail sacred cow, in some areas of Italy this is the name for a mother, it can be a designation for a child's wooden horse, a nurse, a double statement in Russian and Romanian. It could also be a reproduction of incoherent baby babble. In any case, something completely meaningless, which from now on became the most successful name for the entire movement."
Characteristic
Dadaism arose as a reaction to the consequences First World War, the cruelty of which, according to Dadaists, emphasized the meaninglessness of existence. Rationalism and logic were declared to be one of the main culprits in devastating wars and conflicts. Based on this, Dadaists(in particular, A. Breton) believed that modern European culture must be destroyed through decomposition of art(in particular, artistic word and language).
The main idea Dadaism was consistent destruction of any aesthetics. Dadaists proclaimed: “The Dadaists are nothing, nothing, nothing, undoubtedly they will achieve nothing, nothing, nothing.” 
Basic principles Yes Yes there was irrationality, denial of recognized canons and standards in art, cynicism, disappointment and lack of system. Dadaism It is believed that was the predecessor surrealism
, which largely determined his ideology and methods. Dadaism Mainly
presented in literature, but also received some reflection in cinema.
Representatives of Dadaism Hans Arp (1886-1966)
, Germany, Switzerland and France Marcel Duchamp (1887-1968)
, France Max Ernst (1891-1976)
, Germany and USA Otto Freundlich (1878-1943)
, Germany, France Marcel Duchamp (1887-1968)
Philippe Soupault (1897-1990) Marcel Duchamp (1887-1968)
Tristan Tzara (1896-1963) Hugo Ball (1886-1927)
, Germany Hugo Ball (1886-1927)
Raoul Hausmann (1886-1971) Hugo Ball (1886-1927)
Kurt Schwitters (1887-1948) Cubism - avant-garde direction in the fine arts, primarily in painting, which originated at the beginning of the 20th century and is characterized by the use of emphatically geometrized conventional forms, the desire to “split” real objects into stereometric primitives.
The emergence of cubism
Emergence cubism traditionally dated to 1906-1907 and associated with creativity Pablo Picasso And Georges Braque. Term "cubism" appeared in 1908, after art critic Louis Vaucelle named new paintings Marriage "cubic quirks" (French: bizarreries cubiques).
Since 1912 in cubism a new branch is emerging, which art critics called "synthetic cubism". A simple statement of the main goals and principles cubism quite difficult to give; in painting one can distinguish three phases this direction, reflecting different aesthetic concepts, and consider each separately: Cézanne's (1907-1909), analytical(1909-1912) and synthetic (1913-1914) cubism.
Major Achievements
The most famous cubist works of the early 20th century were paintings Picasso "Les Demoiselles d'Avignon", "Guitar", works by artists such as Juan Gris, Fernand Léger, Marcel Duchamp, sculptures Alexandra Archipenko and etc. Kurt Schwitters (1887-1948) developed outside France; especially fruitful in Czechoslovakia.
Cezanne Cubism
This is what the first phase is usually called. cubism, which is characterized a tendency towards abstraction and simplification of the shapes of objects. According to one of the first researchers contemporary art Andre Salmona, cubism was a reaction to the lack of form in impressionism, and its development is due to the ideas post-impressionists, especially symbolist artists, which were opposed to purely picturesque goals and interests impressionists phenomena of semantic order. Following transcendentalism late 19th century, they argued that The real reality is the idea, and not its reflection in the material world. The role of the artist, therefore, is to create symbolic forms to embody ideas, rather than imitate the changing appearance of things. This concept became the reason for analyzing the means at the artist’s disposal, clarifying their expressive capabilities and establishing the ideal of purely expressive art, like music, which depends little on outside world. U Symbolists experiments in this field primarily concerned line and color, but such an analytical approach, once applied, inevitably led to shape analysis.
Direct influence on the formation cubism experimented with form in painting Paul Cezanne. In 1904 and 1907, exhibitions of his works were held in Paris. IN " PPortrait of Gertrude Stein", created Picasso in 1906, the passion for art is already felt Cezanne. Then Picasso painted a picture "The Girls of Avignon", which is considered the first step towards cubism. It probably embodied the artist’s interest in primitive Iberian and Negro sculpture. During 1907 and early 1908 Picasso continued to use forms of Negro sculpture in his works (later this time began to be called "Negro" period in his work).
In the fall of 1907, two important events took place: a retrospective exhibition Cezanne and acquaintance Marriage And Picasso. Summer 1907 Marriage spent in Estaque, where he became interested in painting Cezanne. From the end of 1907 Marriage And Picasso started working in cubist style.
Cubists, were under strong influence some postulates formulated Cezanne and published Emile Bernard in the fall of 1907, sought identify protozoa geometric shapes underlying objects. To more fully express the ideas of things, they rejected the traditional perspective as optical illusion and sought to give a comprehensive picture of them through form decompositions and combining several of its types within one picture. Increased interest in problems of form has led to differentiation in the use of colors: warm - for protruding elements, cold - for distant ones.
Analytical Cubism
Analytical Cubism, second phase cubism, characterized the disappearance of images of objects and the gradual erasure of distinctions between form and space. In the paintings of this period appear iridescent colors, translucent intersecting planes, the position of which is not clearly defined. The arrangement of forms in space and their relationship to large compositional masses is constantly changing. As a result, there is visual interaction of form and space.
Elements analytical cubism appeared in works Marriage already in 1909, and in the works Picasso- in 1910; however, a stronger impetus for the development of this phase of the style was given by the artistic association "Golden ratio" , which was founded in 1912 Albert Gleizes, Jean Metzinger and brothers Marcel Duchamp, Raymond Duchamp-Villon And Jacques Villon. The book was published that same year Gleza And Metzinger "About Cubism", and in 1913 poet Guillaume Apollinaire published a book "Cubist Artists". They outlined the main principles of aesthetics cubism, which was based on the concept of a dynamic, constantly changing universe Henri Bergson, as well as the discoveries of natural sciences and mathematics made at the dawn of the industrial age. The artist was given the role of creator of a new way of seeing the world.
Synthetic cubism
Synthetic cubism noted a radical change in the artistic perception of the movement. This first appeared in the works Juan Gris, who became an active supporter cubism since 1911. Synthetic cubism sought to enrich reality by creating new aesthetic objects that have reality in themselves, and are not just an image of the visible world. This phase of style is characterized by And denial of the importance of the third dimension in painting emphasizing the pictorial surface . If in And analytical hermetic cubism All artistic media should have served to create an image of the form, then in synthetic cubism color, surface texture, pattern and line are used to construct (synthesize) a new object. The first signs of this trend appeared already in 1912, but it received its most complete embodiment in the collages of 1913. Fragments of paper of different shapes and textures were pasted onto the canvas - from newspapers and notes to wallpaper. The artists argued that the surface of the painting is not an illusory reproduction of reality, but a self-sufficient object. Soon, however, cubists left the equipment
appliqués cubism, because, as it seemed to them, the artist’s imagination can create richer combinations of elements and textures, not limited by the capabilities of paper.
By the 1920s
By the 1920s practically ended its existence, having had a noticeable influence on the development of art of the 20th century. Metaphysical painting
(Italian: Pittura metafisica)
- direction in Italian painting of the early 20th century. De Chirico and the formation of the group Forefather metaphysical painting is Giorgio de Chirico, who, during his stay in Paris in 1913-1914, created desert cityscapes, anticipating future aesthetics metaphysics; his series "Piazzas d'Italia" gave a fantastic dimension to the conventional Italian classical architecture, which he recreated in his paintings. In 1915, Italy entered the first desert cityscapes world war , the artist was forced to return to Ferrara, where he awaited mobilization. Formation of a group of artists who professed aesthetics, happened in 1916, when destinies converged in a hospital in Ferrara Giorgio De Chirico, who broke up with Futurism by Carlo Carra Filippo de Pisis and younger brother De Chirico, Andrea who took a pseudonym Alberto Savinio.
. In the 1920s he joined them briefly
Giorgio Morandi De Chirico and the formation of the group Aesthetics, and the contrast between the realistically accurately depicted object and the strange atmosphere in which it was placed enhanced the surreal effect.
Metaphysical movement was born on the basis of this new approach to painting, and in 1916-1922 united artists and writers around the magazine "Valori Plastici" (Plastic values), in which a series of theoretical works was published De Chirico And Savinio dedicated to metaphysical painting. In my work "Anadyomene" by Alberto Savinio formulates two basic principles of metaphysical poetics: "spookiness" and "irony". Subject "mannequin", which becomes the leitmotif of the paintings De Chirico And Carra, also appeared for the first time in the entries Savinio. By the 1920s relied on images of previous art, and included various cultural elements of the past. Savinio And De Chirico were clearly influenced neoclassical painting Arnold Böcklin; Carlo Carra, who moved away from futuristic experiments, returned to the ancient "Piazzas d'Italia" traditions - Trecento and Quattrocento paintings(this can be seen in his constructions of perspective in landscapes). Famous Italian art critic Roberto Longhi once wittily noted that "Quattrocento has become for metaphysical puppets and stone guests opera stage" . The artists sought to find metaphysical line between the world of living and nonliving, therefore in their paintings living things look like inanimate things, A inanimate objects live their own secret lives. At all "secret" - favorite word Giorgio De Chirico.
Two trends
Giorgio Morandi metaphysical movement stood out two trends: one is especially rich symbolic and literary meanings and reminiscences (De Chirico, Savinio), the second is less doctrinaire, but more conditional picturesque fantasy (Carra, Morandi). The movement created neither its own school nor certain group, it was rather a reaction to futurism, an expression of his crisis, and it was in this capacity that he had influence in Italy, where some other artists began to profess similar aesthetics at that time (Mario Sironi, Ardengo Soffici, Massimo Campigli, Atanasio Soldati), as well as throughout Europe.
End of school
Metaphysical movement disappeared from the scene pretty quickly. The last picture in this style De Chirico wrote in 1918, Morandi in 1920, and Carra in 1921. However, a number of ideas metaphysicians were picked up surrealists. Metaphysical movement Two large exhibitions in Germany, held in 1921 and 1924, were devoted to painting.
Works metaphysical artists especially fully represented in Milanese museums and private collections (collections of Ucker, Toninelli, Mattioli); in London (collection of Roland Penrose); in NYC (Modern Art Museum); in Chicago (Art Institute); in Stockholm (National Museum) and in Venice (Peggy Guggenheim Foundation).
Group "Style"
Expressionism (from Latin expressio, "expression") - avant-garde movement in European art, developed in late XIX- the beginning of the 20th century, characterized by a tendency to express the emotional characteristics of an image(s) (usually a person or group of people) or the emotional state of the artist himself. Expressionism represented in a variety of artistic forms, including painting, literature, theater, cinema, architecture and music.
“Expressionism, as one of the most influential artistic movements of the 20th century, was formed mainly on German and Austrian soil. Having emerged in the fine arts (the group “Bridge”, 1905; “The Blue Rider”, 1912), it acquired its name only in 1911 after the name of the group French artists, which appeared at the Berlin Secession exhibition. At the same time the concept of "expressionism" spread to literature, cinema and related fields of creativity as a designationa system in which, in contrast to naturalism and aestheticism, the idea of direct emotional impact, emphasized subjectivity of the creative act, increased affectation, condensation of motives of pain, scream is affirmed, and thus the principle of expression prevails over the image."
Prerequisites for the emergence and origin of the term
It is believed that expressionism originated in Germany, and played an important role in its formation German philosopher Friedrich Nietzsche, which drew attention to previously undeservedly forgotten trends in ancient art. In the book "The Birth of Tragedy or Hellenism and Pessimism" (1871) Nietzsche lays out his theory dualism, constant fight between two types of aesthetic experience, two beginnings in ancient Greek art, which he calls Apollonian and Dionysian . Nietzsche argues with the entire German aesthetic tradition, which optimistically interpreted ancient Greek art with its light, Apollonian basically the beginning. For the first time he talks about another Greece - tragic, intoxicated with mythology, Dionysian, and draws parallels with the destinies of Europe. Apollonian beginning represents order, harmony, calm artistry and gives rise to plastic arts (architecture, sculpture, dance, poetry), Dionysian beginning - this is intoxication, oblivion, chaos, ecstatic dissolution of identity in the mass, giving birth to non-plastic art (primarily music). Apollonian beginning opposes Dionysian how the artificial opposes the natural, condemning everything excessive and disproportionate. Nevertheless, these two principles are inseparable from each other, they always act together. They fight according to Nietzsche, in the artist, and both are always present in any work of art.
Influenced by ideas Nietzsche German (and after them other) artists and writers turn to chaos of feelings, to the one, that Nietzsche calls "Dionysian beginning". In the most general view term "expressionism" refers to works in which artistic ways strong emotions expressed, and that itself expression of emotions, communication through emotions becomes the main goal of creating a work.
It is believed that the term itself "expressionism" was introduced by a Czech art historian Antonin Mateshek in 1910 as opposed to the term "impressionism": "The expressionist wants above all to express himself...<Экспрессионист отрицает...>instant impression and builds more complex mental structures... Impressions and mental images pass through human soul as through a filter that frees them from everything superficial in order to reveal their pure essence<...и>unite, condense into more general forms, types, which it<автор>rewrites them through simple formulas and symbols."
Expressionism in architecture
The largest representatives - Erich Mendelsohn, Finns Ero Saarinen And Alvar Aalto; key works - Sydney Opera theatre(architect Jorn Utzon) And Olympic Center in Tokyo (architect: Kenzo Tange).
Representatives of expressionism
art
Hans (Jean) Arp (1887-1966)
Alexander Archipenko (1887—1964)
Ernst Barlach (1870—1938)
Max Beckmann (1884-1950)
Georges Gros (1893-1959)
Otto Dix (1891-1969)
Heinrich Campendonk (1889—1957)
Wassily Kandinsky (1866—1944)
Ernst Ludwig Kirchner (1880—1938)
Paul Klee (1879-1940)
Oskar Kokoschka (1886-1980)
Alfred Kubin (1877-1959)
August Macke (1887-1914)
Franz Marc (1880—1916)
Amedeo Modigliani (1884—1920)
Edvard Munch (1863-1944)
Otto Müller (1874—1930)
Ernst Wilhelm Nye (1902—1968)
Emil Nolde (1867—1956)
Max Pechstein (1881-1955)
Christian Rolfs (1849-1938)
Georges Rouault (1871-1958)
Chaim Soutine (1893-1943)
Erich Heckel (1883—1970)
Ossip Zadkine (1890-1967)
Egon Schiele (1890-1918)
Karl Schmidt-Rottluff (1884-1976)
Alexey von Jawlensky (1864-1941)
Konrad Felixmuller (1897—1977)
Wilhelm Morgner (1891-1917)
Gustav Klimt (1862-1918)
Frida Kahlo (1907-1954)
The origin of Cubism is largely due to the fact that classical art was going through a crisis. Search new form to reflect feelings and emotions, it made it possible to find a new way and method in painting and allowed us to look at creativity in a new way.
The emergence of cubism, along with impressionism and surrealism, was an attempt to look at painting from a new angle and revise what had been created before.
Origins of Cubism
Origins of Cubism are closely associated with the name of the famous Pablo Picasso.
Picasso's cubism was inspired by the artist's interest in primitivist African sculpture. He became interested in her at the turn of 1907-1908. The chopped forms of African art consolidated Picasso’s desire for abstract generalization of images, based on this he can be considered the forerunner of Cubism as a style. The first painting in the Cubist style was Les Demoiselles d'Avignon, painted in 1907.
This work was the first personification of the basic principle of Cubism. Picasso, creating this work, stopped with the “conventions of optical realism” and discarded nature and abandoned perspective and chiaroscuro.
Birthday of Cubism in art they consider the meeting of Picasso and the young artist Georges Braque.
It happened with the participation of the poet Guillaume Apolinaire, who invited Braque to Picasso’s studio. Picasso and Braque became the founders of Cubism, and before the First World War they actively worked with each other, while creating the history of Cubism.
Over time, many other young poets and painters from Montmartre joined them. Around that period, a group that joined Picasso and Braque, known as the Bateau-Lavoir, proclaimed the birth of a new movement in art, which soon received its name.
The term “Cubism” itself was introduced by the French critic Louis Vexel.
Soon he took root.
Founders of Cubism The basis of their creativity was the decomposition of objects on a plane, as well as the various combinations of these planes in space. They refused to convey reality using standard linear perspective and color and air environment. They believed that they could achieve an interesting artistic effect by alternating planes, and professed the principle that the analytical way of comprehending reality allows us to more deeply reveal the essence of certain phenomena. Many representatives of cubism used an interesting approach when creating cubist paintings, which consisted in the fact that the same object was depicted at the same time from several points of view - this made it possible to achieve a versatile analysis when considering the subject.
Cubist artists
Alexander Archipenko, Gino Severini, Georges Braque, Lyubov Popova, Marevna, Nathan Altman, Ossip Zadkine, Pablo Picasso, Rafael Zabaleta, Richard Linder, Roger de la Frenais, Fernand Léger, Juan Gris, Yuri Annenkov, Yiannis Moralis.
Cubist artists deliberately limited their use of color palette. Cubist paintings truly seem limited in color, since the tonality of Cubist paintings is reduced to gray, black, and also brown tones. Excluding the color system, cubism in art is also distinguished by the fact that the paintings of the cubists are comparisons of different geometric planes and surfaces with a very distant resemblance to the original. The founders of Cubism did not consider the art form to be completely comparable to the real one, which is why the objects in Cubist paintings seem more abstract.
Cubism in painting is not just an image of an object, it is an image of an object that is mentally destroyed and re-created in the mind of the artist.
Most often, objects on canvases in the Cubist style completely lose touch with their actual prototypes and turn into abstract symbols, which, it turns out, are perceived only by one author.
If we talk about Pablo Picasso's cubism, it should be noted that Picasso's cubist paintings were not the only direction in his work. Picasso's cubism replaced the interest in impressionism in his work and later transformed into a surrealist view of the world.
The Cubist style had a huge influence on the development of painting, changing the artists’ understanding of ways to convey texture, volume and space.
If we talk about Russian cubism, it should be understood that the development of this direction in this country followed a slightly different path than in European countries. The works of Chagall, Malevich, Archipenko, Altman and Lentulov are often considered Russian cubism, however, their works can also be taken as an example of other movements in art.
Undoubtedly, cubism in painting produced a tremendous shock. It was he who opened the way to abstract creativity and gave viewers the opportunity to interpret for themselves the symbols depicted in the works of the Cubists. Cubism in painting prepared the mass consciousness of viewers and artists, serving as the basis for the development of such abstract art movements as futurism, constructivism and much more.
