"The woman is created for a man, not a man for a woman" - such a postulate ...
Who first began to talk about the "Silver Age", why this term was so opposed to contemporaries and when he finally became a common place - Arzamas retells the key provisions of OMI Ronen "Silver Age as intent and fiction"
The concept of "Silver Age" applied to the frontier XIX-XX centuries is one of the fundamental to describe the history of Russian culture. Today, no one may have a doubt in positive (one can even say "noble", like silver itself) the color of this phrase - opposed, by the way, such "falncable" characteristics of the same historical period in Western culture as FIN de Siècle ("End century ") or" End of an excellent era. " Number of books, articles, anthologies and hostesses, where the "silver age" appears as a well-established definition, it simply cannot count. Nevertheless, the appearance of phrases, and what the importance of contemporaries invested in it is not even a problem, but a whole detective story.
Pushkin on the lyceum exam in the royal village. Picture of Ilya Repin. 1911 Wikimedia CommonsEach time - its metal
Starting with from afar, namely from two significant examples when the properties of metals are attributed to the era. And here it is worth named antique classics (first of all Hesiod and Ovid), on the one hand, and friend and dedicator Pushkin on the "contemporary" Peter Alexandrovich Pletnev, on the other.
The first presented to themselves the history of mankind as a change of various human births (in a geyode, for example - gold, silver, copper, heroic and iron; Ovid will subsequently refuse the heroes of the century and prefer the classification only "on metals"), alternately created by the gods and with the time of the disappeared From the face of the earth.
Peter Alexandrovich Plenev's criticism is the first naming of the era of Zhukovsky, Batyushkova, Pushkin and the Baratyan "Golden Century" of Russian poetry. The definition was quickly perceived by contemporaries and by the middle of the XIX century it became a common place. In this sense, the name of the next large burst of the poetic (and not only) culture of the century "Silver" is nothing but the humiliation: silver - metal is much less noble than gold.
So it becomes clear why scientists-humanitarians who came out of the cultural boiler of the centuries of centuries, the phrase "Silver Age" was deeply pretty. Such were the critic and translator Gleb Petrovich Struve (1898-1985), Linguist Roman Osipovich Jacobson (1896-1982) and the historian of Literature Nikolai Ivanovich Hardzhiev (1903-1996). All three talked about the "silver century" with significant irritation, directly calling such a name erroneous and wrong. Conversations with strengthen and lectures of Jacobson at Harvard inspired Omry Ronen (1937-2012) for a study, where the sources and causes of the popularity of the term "Silver Century" are considered in the fascinating (almost detective) form. The present note claims only to be a popular retelling of the work of a wonderful scientist-erudite "Silver Age as intent and fiction."
Berdyaev and Memoirist Error
Dmitry Petrovich Svyatopolk-Mirsky (1890-1939), one of the influential critics of Russian abroad and the author of one of the best "stories of Russian literature", surrounding his cultural abundance preferred to refer to the "second golden age". The same "silver", in accordance with the hierarchy of precious metals, Mirsky called the era of Feta, Nekrasov and Alexei Tolstoy, and here he coincided with the philosophers Vladimir Solovyov and Vasily Rosanov, who took the period from 1841 to 1881 for the Silver Century.
Nikolay Berdyaev Wikimedia Commons It is even more important to indicate that Nikolay Alexandrovich Berdyaev (1874-1948), which traditionally attributed to the authorship of the term "silver age" as applied to the openings of the XIX-XX centuries, actually imagined cultural development about the same as his colleagues in the philosophical workshop . The Pushkin Epoch of Berdyaev, according to the established tradition, was called the Golden Age, and the beginning of the twentieth century with his powerful creative rise - Russian cultural (but not a religious) Renaissance. It is characteristic that the phrase "Silver Century" is not found in any Berdyaevsky text. In attributing Berdyaev, a few lines from the memoirs of the poet and the critic of Sergei Makovsky "on the Parnas of the Silver Century", published in 1962, were to blame for the dubious glory of the Flavor of the Term.
"Tomorrow of the Spirit, the desire for the" prisoner "penetrated our age," Silver Age "(so called Berdyaev, opposing Pushkinsky -" Golden "), partly under the influence of the West."
Mysterious Gleb Marev and the appearance of the term
The first writer who was going on at the turn of the century and declared his own era of the "silver age," was mysterious Gleb Marev (almost nothing, therefore it is not excluded that the name was a pseudonym). In 1913, a brochure "Allure" was published under his name. The mittens of the modern one, "which was included by the Manifest of the" Final Age of Jace ". It is there that the formulation of the metallurgical metamorphosis of Russian literature: "Pushkin - gold; symbolism - silver; Modern - Tuskombnaya Issue. "
R. V. Ivanov-Dissenter with children: Son Lv and the daughter of Irina. 1910s Russian National Library If we take into account the quite likely parody of the writings of the Marieff, becomes a clear context, in which the original phrase "Silver Age" was used to describe modern for the writers of the era. It was in the polemic key that the philosopher and the publicist omensorily Vasilyevich Ivanov-Obesenik (1878-1946), in the article 1925, "Look and Something", poisonously mocking (under the Griboedovsky pseudonym Ippolit Udyshev) over jams, "Seraponov Brothers" "Serapionov Brothers" - Association of young Prosaikov, poets and critics, which arose in Petrograd on February 1, 1921. The members of the association were Lion Longs, Ilya Gruzvev, Mikhail Zoshchenko, Veniamin Cavery, Nikolai Nikitin, Mikhail Slonimsky, Elizaveta Polonskaya, Konstantin Fedin, Nikolay Tikhonov, Vsevolod Ivanov., acmeists and even formalists. The second period of Russian modernism, whose flourishing fell in the 1920s, Ivanov-Obsend contemptuously dubbed the "silver century", predicted further sunset of Russian culture:
Four years later, in 1929, the poet and critic Vladimir Pit (Vladimir Alekseevich Pestovsky, 1886-1940) in the preface to their memories of "Meetings" spoke about the "Silver Age" of the modern poetry to him seriously (it was possible that he did it in The procedure for a dispute with Ivanov-Obidnik) - Although very unstable and caution:
"We are far from the claim to compare our peers, the" eighties "by birth, with representatives of some" silver century "Russian, say," modernism ". However, in the middle of the eighties, a fairly significant number of people designed to "serve the muses" appeared.
The "Golden" and "Silver" century, the Pyat found in classical Russian literature - on the modern culture he tried to spread the same two-stage scheme, speaking of different generations of writers.
The silver age becomes more
"Number" magazine Imwerden.de. The expansion of the concept of "Silver Age" belongs to the critics of Russian emigration. The first was the term, applied to the description of the entire pre-Luce Epoch of Modernism in Russia, Nikolai Avdeevich Onts (1894-1958). Initially, he only repeated the well-known thoughts of the five in Article 1933, entitled "Silver Age of Russian Poetry" and published in the popular Paris emigrant magazine "Numbers". The FCUP, in no way mentioning the five, actually borrowed from the last idea of \u200b\u200bthe two centuries of Russian modernism, but he threw out the "Golden Age" from the 20th century. Here is the harassing example of Otsupa's reasoning:
"Peace in its development by the force of a number of historical reasons was forced in a short time to carry out what was done in Europe for several centuries. Inimitable ascent of the "Golden Age" in part in part and explain. But the fact that we called the "century silver", according to strength and energy, as well as on the abundance of surprise-tel creatures, almost does not have analogy in the West: it's like an arterial phenomenon that took place in three decades in France The whole nineteenth and beginning of the twentieth century. "
It was this compile article that introduced the expression "Silver Century" into the lexicon of Russian literary emigration.
One of the first specified phrases picked up the famous Paris Critic Vladimir Vasilyevich Vaidla (1895-1979), who wrote in the article "Three Russia", published in 1937:
"The most striking of the newest history of Russia is that it turned out to be the possible silver age of Russian culture, which was preceded by its revolutionary collapse."
Participants of the studio "sounding sink". Photo of Moses Podrebaum. 1921 yearOn the left - Frederica and Ida Naprebaum, in the center - Nikolai Gumilev, to the right - Vera Lurier and Konstantin Vaginov, below Georgy Ivanov and Irina Odoyevtsheva. Literary Crimea / VK.com Here the new term for the era just begins to be applied already as something obvious, although this does not mean that it was from 1937 that the idea of \u200b\u200bthe "silver century" has already become a universal property: a painful jealous OCUP in a revised version of his article, who seen the light after death, criticism Specially added words that it was his first name "for the characteristics of modernist Russian literature". And there is a reasonable question: and what about the "Figures" of the Epoch of the Silver Century thought about themselves? How did the poets themselves define themselves, represented this era? For example, Osip Mandelstam to the era of Russian modernism used the well-known term "Sturm und Drang" ("Storm and Natisk").
The phrase "Silver Century" in applied by the beginning of the 20th century is found only in two large poets (or more specifically, the poetess). In the article by Marina Tsvetaeva "Damn" printed in 1935 in the leading Paris emigrant magazine "Modern Notes", the following lines were withdrawn from publication (they were subsequently restored by researchers): "It would not be necessary for children, or, then, not We should, for us, children of silver time, about thirty Srebrenikov. "
It follows from this passage that Tsvetaeva, firstly, was familiar with the name "Silver Age"; Secondly, he perceived it with a sufficient fraction of irony (it is possible that these words were a reaction to the above arguments of the OTSUP 1933). Finally, perhaps the most famous lines from the "poems without hero" Anna Akhmatova:
On the gallery dark arc,
In summer thinly sang Flugarka,
And the silver month is bright
Over the silver century was poke.
Understanding these lines is impossible without applying to the wider context of the poet's creativity, but it does not have to doubt that the "silver age" in Akhmatova is not the definition of the era, but a clutch of a quote that carrying its own function in the artistic text. For the author "Poems without a hero", devoted to summing up, the name "Silver Age" is not the characteristic of the era, but one of its items (clearly not indisputable), these literary critics and other cultural figures.
Nevertheless, the phrase discussed quite quickly lost its initial meaning and began to be used as a classification term. Mikhail Leonovich Gasparov wrote in the preface to the poetic antholiology of the border of the ages: "The Poetics of the Silver Age", which are in question, are primarily the poetics of Russian modernism. So it is customary to call three poetic directions that announced their existence between 1890 and 1917 ... "So the definition quickly gained and was taken on faith and readers, and researchers (it is possible that for the absence of the best) and distributed to Painting, sculpture, architecture and other areas of culture.
And Russian poetry in particular call the beginning of the twentieth century. The period received its name by analogy with the golden age. This phenomenon has a clear time frame. It is believed that the silver age in Russian literature began in the 1890s, but the end of this period is controversial between researchers. Some refer to 1917, others - by 1921, the third insist on the interval between 1920 and 1930.
The silver age of Russian poetry is extremely uniform and includes a number of literary flows, each of which has some kind of features or fundamental spiritual and aesthetic principles.
Modernism in the poetry of the twentieth century
Modernism opens the silver age in Russian literature. The poets of the silver century-representatives of the modernist destination are looking for a way of self-expression and struggle to expand the framework of realistic vision of life. They want literature to be truly free and not submitted to any moral attitudes and public rules. One of the main ideological inspirations of the flow was F. Nietzsche.
Symbolism in the literature of the Silver Century
As a result of the crisis of the entire European culture, such a flow as symbolism was approved. His representatives used symbols to express ideas. The symbolists tried to know the secrets of the human soul, the secrets of the subconscious and were looking for spiritual freedom. In the works of concrete authors, symbolism found different reflection. Among the symbols of the silver century, "senior" symbols, which first began to create within the framework of this direction. These include:
- V. Bryusov
- F. Sologub.
- K. Balmont.
- D. Merezhkovsky
and some others. A little later, "Young Basins", among which the following poets were joined by
- A. White,
- V. Ivanov
- S. Solovyov
If senior representatives perceived symbolism more in aesthetic plan, then for a younger generation, he was rather a philosophy of life.
Axism in the literature of the Silver Century
A new literary course came to replace symbolism - acmeism. His founders are considered to be N. Gumilev and S. Gorodetsky. Aqmeists promoted a clear look at life, a certain cult of reality. In contrast to symbolism, representatives of the aqmeism wanted to return the specimens to the images by leaving the characters. At the same time, the works of aqmeistra are imbued with longing, decadent motives are predicted. In addition to the founders of the direction, to acmeysts also include:
- O. Mandelshtam
- A. Akhmatova
- M. Kuzmin
- M. Zenkevich
- V. Khodasevich
other.
Futurism in the literature of the Silver Century
Aqmeism was replaced by the following course in the framework of the Silver Age of Russian Poetry - Futurism. Futurism committed a certain revolution, dividing the form and content and rejected the traditional culture. He was called the art of the future. Within the framework of futurism, such areas as cubal fell and egofulurism were developed. Representatives of Cubefuturism:
- V. Khlebnikov
- V. Mayakovsky
- V. Kamensky
- A. Klychey
and others. For egohuchurists include:
- I. Northernin
- V. Sherenevich
- R. Ivnev
Imazinism in the literature of the Silver Century
Imazinism arose in the poetry of the Silver Age as a direction aimed at creating an image. The founders of the IMAZHINISM are A. Mariengof and V. Sherenevich. The main expressive means they had a metaphor with which poets created whole metaphorical chains.
Silver eyelid is not a chronological period. At least not only the period. And this is not the amount of literary flows. Rather, the concept of "silver age" is appropriate to apply to the image of thinking.
The atmosphere of the silver century
At the end of the nineteenth - the beginning of the twentieth century, Russia experienced an intense intellectual lifting, especially brightly manifested in philosophy and poetry. Philosopher Nikolay Berdyaev (read it) called this time by Russian cultural renaissance. According to the Berdyaevsky contemporary Sergey Makovsky, it is Berdyaev who owns another, the more well-known definition of this period is "Silver Age". According to other data, the phrase "Silver Age" was first used in 1929 by the poet Nikolai Ontsu. The concept is not so much scientific, how much emotional, causing an association with another short period of the history of Russian culture - with the "golden age", the Pushkin era of Russian poetry (first third of the XIX century).
"Now it is hardly to imagine the atmosphere of that time," Nikolai Berdyaev wrote about the silver century in his "philosophical autobiography" "self-knowledge." - Much of the creative rise of that time included in the further development of Russian culture and now there is a heritage of all Russian cultural people. But then was intoxication creative approach, novelty, tension, struggle, challenge. During these years, Russia was sent many gifts. It was the era of waking up in Russia of independent philosophical thought, the flourishing of poetry and the exacerbation of aesthetic sensuality, religious concern and a quest, interest in mysticism and the occultism. New souls appeared, new sources of creative life were opened, saw new dawns, combined the feeling of sunset and death with the hope for the transformation of life. But everything happened in a rather closed circle ... "
Silver Age as a period and thinking
The art and philosophy of the silver century were distinguished by elitism, intellectualism. Therefore, it is impossible to identify all the poetry of the late XIX - the beginning of the 20th century with the silver century. This is a narrower concept. Sometimes, however, taking an attempt to determine the essence of the ideological content of the silver century through formal signs (literary flows and groupings, socio-political subtexts and contexts), researchers mistakenly mix them. In fact, in the chronological boundaries of this period, the most different in the origin and aesthetic orientation of the phenomenon coexisted: the modernist flows, the poetry of the classical realistic tradition, the peasant, proletarian, satirical poetry ... But the silver century is not a chronological period. At least not only the period. And this is not the amount of literary flows. Rather, the concept of "Silver Age" is appropriate to apply to the image of thinking, which, being characteristic of artists who have begun among themselves, ultimately merged them in the minds of descendants to some kind of inseparable Pleiad, who formed the specific atmosphere of the Silver Age, which Berdyaev wrote about .
Poets of the Silver Century
The names of the poets who were the spiritual core of the Silver Age, everyone knows: Valery Bryusov, Fedor Sologub, Innokenty Annensky, Alexander Blok, Maximilian Voloshin, Andrey White, Konstantin Balmont, Nikolai Gumilyov, Vyacheslav Ivanov, Igor Northgen, George Ivanov and many others.
In the most concentrated form of the atmosphere of the silver century, he received its expression in the first and a half decades of the twentieth century. It was the flourishing of the literature of Russian modern in the entire variety of his artistic, philosophical, religious searches and discoveries. World War II, the February Bourgeois-Democratic and October Socialist Revolution partly provoked, partly formed this cultural context, and in part were provoked and formed by it. Representatives of the Silver Age (and Russian Modern in general) were striving to overcome positivism, the abandonment of the heritage "Sixties", denied materialism, as well as idealistic philosophy.
The poets of the Silver Age sought to overcome the attempts of the second half of the XIX century to explain the behavior of a person with social conditions, the environment and continued the traditions of Russian poetry, for which a person was important in itself, his thoughts and feelings are important, his attitude to eternity, to God, to love and death in the philosophical, metaphysical sense. The poets of the Silver Century and in their artistic work, and in theoretical articles and statements questioned the idea of \u200b\u200bprogress for literature. For example, one of the brightest Creators of the Silver Age, Osip Mandelstam wrote that the idea of \u200b\u200bprogress is "the most disgusting type of school ignorance." And Alexander Blok in 1910 argued: "The sun of naive realism has rolled out; It is impossible to comprehend anything outside the symbolism. " The poets of the Silver Age believed in art, by virtue of the word. Therefore, for their creativity, immersing in the element of the word, the search for new means of expression. They cared not only about the sense, but also about the style - the sound, the music of the word and the full immersion in the element was important for them. This immersion led to the cult of vital formation (inseparalism of the personality of the Creator and his art). And almost always in connection with this, the poets of the Silver Age were unhappy in their personal life, and many of them were badly cumulative.
The literature of the Silver Age is a decent government of the Golden, his classical directions and traditions. She also opens up a lot of new literary flows, artistic techniques, but most importantly - she made it possible to show their capabilities to talented writers and poets, show their gift. The change of one era of another implies not only the inheritance of the previous advances, but also to some extent the denial of the old, its rethinking. XX generates absolutely new literary directions to which, in particular, belong: avant-garde, socialist realism and modernism. Former artistic systems - somehow realism and romanticism - everyone also remained popular and in demand among readers.
The political situation in the country, the established culture, as well as various philosophical directions, was a significant impact on the development of literature of the 20th century, and various philosophical directions - on the one hand, these were the ideas of Russian religious philosophy, on the other hand, the works of Marxist ideology in close relationship with Bolshevik politics.
The new political structure and the idea of \u200b\u200bMarxism laid in it led to a tough censorship in all spheres of cultural life, including in the literature. In this regard, it ceases to be one and divided into several streams: Soviet literature, emigrant, prohibited. The reader of that time could not and imagine all the scales of national literature, the directions of which were completely isolated from each other. Fortunately, today it appeared the opportunity to get acquainted and thoroughly examine all the wealth and great diversity of Russian literature XX century.
In the process of the formation and development of the literature of the Silver Age, it is customary to allocate the following four periods:
- end of the XIX century. - Start XX century.
- 20-30s of the 20th century
- 1940s. - Mid 1950s.
- mid 50s. - 1990s.
One of the central those literary works of that time is the topic of the Motherland, the fate of Russia, which turned out to cross the epoch. Of particular interest arises to the problem of human nature, the issue of national life and national character. Solutions of these problems are represented by writers of different directions in different ways. Realists adhere to social aspects, and also actively use a specific historical admission to explore the subject of interest. These approach adhered to such well-known figures as I. Bunin, A. Kuprin, I.Shelev and others.
Modernist writers solved the problem differently - applying philosophical laws, fiction elements, thereby moving away as far as possible from the realities of a simple life. Symbols in the face of F. Sologuba and A. Belya also offered their own answers to the questions set in the literature of the XX century. The same, representatives of expressionism in the face of L. Andreev and other famous authors were occupied.
In a young and raging stream of artistic images and ingenious ideas of writing thoughts, a completely new hero "continuously growing" a person forced to fight and win in the incessant war with the oppressing and overwhelming environment of it is born. This is the very classic character of Maxim Gorky - Hero of Socialist Realism.
The XX century marked the peak of climbing social literature, in which almost every aspect of social life has a deep philosophical meaning and carries a global spiritual character.
The main characteristic features of the literature of the Silver Age are the following:
Appeal to eternal issues: reasoning about the meaning of life, about the place of each person in society and all mankind in general; Essence of national nature; religion; The relationship of man and nature.
Search and opening new artistic agents and techniques;
The emergence of new literary flows, distant from realism: modernism, avant-garde;
Movement to the maximum rapprochement of literary delivery, rethinking the classical species of the genre, giving them a new meaning and content.
- Jumping - Report on Physical Education
The jump can be called a whole process that flows in the following order: Animal, using the power of its lower extremities, repels from the ground, then moves in the air for some distance and the work of Daniel Gran
Daniel Aleksandrovich Granin is the most famous Soviet writer and a film book. In addition to creative activities, the garnis was a public figure, was awarded as state awards of the USSR
At the beginning of the twentieth century, the decadence is distributed in Russia (from Franz. - decay), which were inherent in such features, as a refusal of civil ideals and faith in the mind, immersion in the sphere of individualistic experiences, the desire to escape from reality into the world of dreams, irrationality, mystics. Decadent moods most often were inherent in modernist flows. Modernism (from Franz. - Modern) included many phenomena of the literature and art of the beginning of the twentieth century, new compared to the realism of the preceding century.
Modern style began to develop in the 90s of the XIX century and soon became a pan-European phenomenon. Modern appeared in Europe in an atmosphere of deep dissatisfaction with the world and existing art. At that time, it was to search for new forms, he gave some results, for example, in the visual arts manifested itself in impressionism, but in other areas there was chaos and decline: in architecture, applied art. The synthesis of the arts, to which still romantic, was problematic.
Modern put forward a grandiose program that is unavailable to one by art. He relied on the idea of \u200b\u200bthe newest for that time of philosophy - A. Bergson, Z. Freud, F. Nietzsche, the Russian "Philosophical Renaissance".
Modern is not just an artistic style. Modern sought to become a "artistic philosophy", expressed by the language of symbolism. The form is only a background, you need to search for a deep semantic meaning. Modernists tried to realize, in fact, the utopian project of education of a new man who was not in nature. Art tried to turn into force capable of reforming society. An attempt was made to replace the authentic social transformations by the "revolution in consciousness", that is, there was aesthetic utopism. The modernists offered a gigantic perestroika of art, seeking to break the tradition of European art in the era of reviving the tradition of European art. There was a search for more "organic art", without mania of stylization. Attokov Modern has a conflict between unique and mass. Modernists solved the task of connecting aesthetics with the conquests of the industrial era. Hence the attention to manual work, ornamentalism, interest in folklore, especially the north, attention to the east. Modern sought to equal rights to the arts, their synthesis, but was contrary to the nature of development, and forms. Contradictions between irrationalism and rationalism; intuivism and scientific calculation, technical studies; Ornamentality, refinement and simplicity. For Masters Modern characteristic of the dual attitude to reality -
acceptance and disappointment of it.
Modern, despite its short-term and utopianity, played a positive role, "overcoming" positivism, eclectics, realism, naturalism and impressionism, denying neoacadempomism, stylization, naturalism. In the future, in the 10s of the twentieth century, avant-garde developed out of it.
In Russia in the "Silver Age" literature as a whole continued to play an extremely important role in the cultural life of the country. At this time, A. P. Chekhov, I. A. Bunin, are creating in the tradition of realism.
A. I. Kubrin, A. M. Gorky, V. G. Korolenko, D. N. Mamin-Sibiryak, N. K. Garin-Mikhailovsky, V. V. Veresaev and others. Modern was not the prevailing style, he was an elite direction, for "dedicated to", mostly modernism loudly declared himself in poetry. There were various streams of modernism: symbolism, acmeism, futurism.
Symbolism has become a noticeable phenomenon of Russian poetry "Silver Century". He did not cover the entire poetic creativity in the country, but identified the stage of literary life characteristic of his time. The 80s of the XIX century - a period of vague, anxious timelessness was affected by Russian poetry that was experiencing decline. She lost her former height, tension and strength, she faded and faded. The poetic technique itself lost a truly creative start and energy. There were no big talents. The motives of fatigue, devastation, deep despondency permeated poetry.
The movement of symbolists arose as a protest against the cloing of Russian poetry, as the desire to say in her fresh word, to return to her vitality. At the same time, it carried both a negative reaction to the positivistic, materialistic views of Russian criticism, starting from the names of V. Belinsky, N. Dobrolyubov, N. Chernyshevsky, later N. Mikhailovsky and Marxists. Symbolism proceeded from idealism and religion. Among the symbolists were distinguished by D. Merezhkovsky, one of the first theorists of the new direction,
V. Bruce, K. Balmont, A. White and others.
Symbolism originated in Russia in parallel with the West, but the fact of its long-term development indicates its national roots in the spiritual culture of Russia. The Russian symbolism was sharply different from Western with all his appearance - spirituality, a variety, height and wealth of their achievements.
At first in the 90s of the XIX century, the poems of symbolists were subjected to attacks, mockery. They were considered decadents, implying under this term falnial moods of hopelessness, the feeling of the rejection of life, individualism. However, by the beginning of the twentieth century, symbolists declared themselves in full force. Mature collections were published
V. Bruce "Tertia Vigilia" "Third Guard", K. Balmont "Burning Buildings". The symbolism was the movement of romantics inspired by the philosophy of idealism, fought with materialism and believed that faith, religion is the cornerstone of human being and art.
A vast influence on the symbols was the philosopher and the poet. Solovyov. In his teaching, the idea of \u200b\u200bthe existence of two worlds - the world, earthly, and other, the highest, perfect, eternal, was laid from ancient Greek Plato. Earth reality is only the defillas, a distorted similarity of the Supreme, Foreign World, and a person is a link between the divine and natural world. Vl. Solovyov urged to escape from the power of real and temporary being to the otherworldly - the eternal and beautiful world.
The idea of \u200b\u200bdvoemirine was deeply learned by symbols. They have established an idea of \u200b\u200bthe poet as Teurge, Mage, "Tyounidez and the Secretaker of Life", which is given the ability of admission to the otherworldly - eternal and beautiful world, the strength to see him and express in art. The symbol in art and became a means of such insight and admission.
The symbol (from Greek. Symbolus is a sign, identification sign) in art there is an image, carrying and allegority, and its real filling, and wide, deprived of strict boundaries, the ability to interpretation. He pays deep meaning, as if he glows. Symbols for Vyach. Ivanov, "This is the sign of other reality."
V. Bryusov believed that the symbol expresses what "you can not just say." In the poetry of symbols rooted not everyone affordable, rather elitarian language of hints, inexpensive. Row words characters -
"Sky", "Stars", "Zori", "Sunrises", "Lazur" - Predasted mystical meaning. Vyach. Ivanov later supplemented the interpretation of the symbol: the symbol values \u200b\u200bwith his materiality, the "loyalty of things", the symbol "leads from the earthly reality to the highest. Even the term appeared - "realistic symbolism".
The symbolists took their place in Russian art, when social reality in Russia, and throughout Europe, was extremely infable, fraught with explosions and disasters. Sharp class contradictions, female and clash of the powers, the deep spiritual crisis of society trembly threatened shocks. Symbolists lived with a feeling of the upcoming universal misfortune, but at the same time they waited and eager for some renewal ("transfigurations") of all mankind. This transformation was drawn to them in a space scale and should have been achieved through an art connection with religion.
The religious background of art recognized almost all the symbolists. "The meaning of art is only religious," said A. White. Symbolism is not a school of verse, but "the new life and salvation of mankind," he believed. D. Merezhkovsky spoke with the utopian theory of "new religious consciousness", the theory of the Third Testament, the essence of which was in some merger of the ancient paganism and Christianity. Vyach. Ivanov preached the concept of "Cattle". "Religion is, above all, the feeling of the connection of the entire existing and meaning of all sorts of life," he wrote.
Symbolists have experienced a strip of anxious waiting for the end of the world, a space catastrophe at the beginning of the twentieth century. They saw her signs in a strong glow of the zor and sunset. From their own life they worked myths.
The symbolists had a huge faith in art, in his supreme role transforming earthly. They put the art of above life, believing that it converts being. Of all the arts, following F. Nietzsche, they set music to the first place. The denying rational knowledge of reality and announcing the earthly world of the "deceptive picture created by us", the symbolists preferred irrational, intuitive. They exalted the subjective will, considered a poet free from the usual establishments and towering over the crowd to the prophet, Demiurge - the creator of his own world.
Gradually, inside the symbolism there was a split, especially after 1905, when one (Vyach. Ivanov, A. Blok, A. White) put forward the theurgic effect of "life-time", and others (V. Bryusov) believed that the "theurgs" should Be the creators of poetry, art and nothing more. Symbolism, as a flow in Russian literature, disappeared with the arrival of the revolutionary 1917.
The symbolists were people of bright individuality - the singeling balmont, the first of the symbolists who had achieved all-Russian fame and glory; multifaceted, with cast bronze stanzas, the most terrestrial, far from mysticism, the most realistic buses; before pain, a subtle psychologist, the contemplator of Annensky; joinling white; Master of grotesque in his musical styling strawberry; Multi-dust Vysh. Ivanov - Catcher of human souls, connoisseur eleventures, an inexhaustible source of sophisticated theories; Block - over the years has become a national poet, the pride of the country.
The historical importance of Russian symbolism is great. Symbols were sensible and expressed disturbing, tragic monitoring of social catastrophes and shocks of the beginning of the twentieth century. In their verses is captured by a romantic rush to the world order, where spiritual freedom would rear and the unity of people. The best works of the cornea of \u200b\u200bthe Russian symbolism are now a huge aesthetic value. Symbolism put forward world-class artists. These were poets and prose, and at the same time philosophers, thinkers, high erudites, people of extensive knowledge. They refreed and updated the poetic language, enriching the shape of a verse, his rhythm, dictionary, paints. They seem to attracted us a new poetic vision, taught the volume, deeper, more sensitive to perceive and regard poetry.
Axism (from Greek. The highest stage of something) arose on the denial of the mystical aspirations of symbolists when the symbolistic school was on the delete, but the amelists are obliged to symbols. Ambamests proclaimed the high intruders of the earthly world, its paints and forms, the name was "wrapped around" and talk about eternity as possible, about the transcendental, unrecognizable. They set their task to approve the rights of a specific sensual word in poetry, to return the word initial simple meaning, freed him from symbolic interpretations. They wanted to pick up the earthly world in all its multicolor and strength, in all the carnal, weighty certainty. Compression, suggestion of the word, strict equilibrium of dense cast stains, the love treatment of the epithet, the visible concreteness and plastic became the usual signs of acmeistic poetry in its best manifestations.
In 1911 - 1914, aqmeists united in the group "Platify the Poets", they published the magazines "Hyperbori", Apollo. The organizers of the group were N. Gumilev and S. Gorodetsky. This included A.
Akhmatova, O. Mandelshtam, M. Zenkevich, V. Narbut.
The creativity of A. Akhmatova and O. Mandelstam is most characteristic of Akmeism. A. Akhmatova began as a love lyric. Later, the latitude of her poetic horizon manifested itself, the beauty of her poetry, who made it a great master of the word. O. Mandelshtam was distinguished by the magical beauty of the verse. Fan Ella, he was looking for the Allen Language Element in Russian Poetic Speech. N. Gumilev in the early books was not still original, was excessively patestical, but in the last collections ("Krzchan", "Bonfire", "Fiery Pillars") appears as a strong poet with a characteristic, volitional, courageous intonation, bright and clear paints, chased verse. His late lyrics are philosophic and perfect in shape. B.
Narbut and M. Zenkevich, who came out of the province, brought in poetry the original, soil ideal.
Futurism declared itself in the 10ths of the twentieth century. Their empty manifestos "Sadok judges" (1910), "Social taste" (1912), "Dusty Luna" (1913) were acquiring wide fame.
Announced the classics and all the old literature as something dead, talked and not matching modernity, futurists claimed their right to arbitrary word, the word-innovation, the "self-" word, on which his domestic importance, and the meaning of which is connected only with the sound . "Only we are the face of our time," they proclaimed in the manifesto "Society to public taste," "throw Pushkin, Dostoevsky, Tolstoy, and so on. and so on. With a steamer of our time. " (Russian literature of the XX century. Pre-revolutionary period. - M.: Education, 1966. - P. 391).
Russian futurism was part of the movement engulfed all types of avant-garde art in Europe, sharply encompassing with realistic traditions and denying the social significance of art. In Russia, there were several groups of futurists who were hostile and competing with each other: egofulurists, cubobuturists, "mezzanine poetry", "Centrifuge".
Among the futurists, the most severe and numerous group of Cubal fell, where V. Klebnikov, D. Burluk, N. Burlyuk, A. Klycheykh, V. Mayakovsky, V. Kamensky and others. V. Khlebnikov, V. Mayakovsky and
V. Kamensky. V. Khlebnikov opened up new paths that part of Russian poets went in the next decades, but, in a certain sense, he still remains the "poet for poets." V. Mayakovsky made as herald of Bunte and protest against gray, everyday, unsightly reality. In his verses was a huge charge of expression, deep tragic. The form at the poet was merged with the content. A colloquial lexicon was introduced into poetry, Lyrics connected with Epos, he was often treasured. V. Kamensky was easier, he silent his life, the sun, the joy of being. The group of ego paturists was headed by I. Northerner, the only one who achieved wide fame. He was inherent in futuristic shocking, indestructible tendency to neologisms, for the invention of words, the spirit of innovation. His pop concerts used stunning success, and the books went out with significant circulations. I. Northerner is a talented emotional lyrics. After the revolution in emigration, the poet began to write easier and dreaster.
"Peasant" poets, almost the simultaneous appearance of which in the literature testified to the awakening of the Russian village -
this is N. Klyuev, S. Klychkov, S. Yesenin. The paths of these poets to know, to formations reflected the thrust of the folk bases to culture, light. They continued the peasant theme that was walking out of the XIX century. Folk song, fairy tale, epics, spiritual verse, the Bible was closed with Pushkin and Nekrasov and spent the original and colorful shaped fabric poems. Peasant poets experienced the influence of symbolism. The entry of peasant poets in the literature was an event seen by all. Russia spoke Russia. Maybe for the last time from the Russian peasantry, such wonderful poets came out of the Russian peasantry, such wonderful poets came out. The tragic fate of the majority of them was a reflection of the tragic fate of the Russian peasantry.
In the tenth years of the twentieth century, poets appear, which came from the workers' environment: E. Nehaev, F. Shkulev and others. From the workers of the poets, a great author was not distinguished, but their very much for the artistic word was a characteristic symptom of the pre-revolutionary era.
After the first Russian revolution, ideological and artistic struggle is significantly intensified. Literature and art was distinguished by the complexity and contradictory of artistic quest, a variety of different flows and groups who spent their slogans and manifestos. In the public consciousness conservative, protective moods strengthened. Among the liberal intelligentsia, the "foreigner" was spread - a new religious consciousness preaching the idea of \u200b\u200b"new Christianity". Among the part of the Social Democrats, the ideas of the Life-building - the compounds of socialism with religion (A. Lunacharsky, V. Bazarov) appear. There was an acute question about the role of intelligentsia.
In the foreground decade, modernism is intensified, naturalism with its sermon of eroticism and pornography (M. Arzybashev, A. Kamensky), is evolved, avant-garde develops. Bright individuality, not related to a certain literary flow (M. Voloshin, M. Tsvetaeva), were also worked out.
After the revolution of 1917, futurists were revived, the activities of the Ambamests were activated for a short time. The poetry of the "Silver Century" influenced the subsequent development of Russian literature. Plastic arts - painting, graphics, sculpture, architecture, decorative and applied art - during the "silver century" are characterized by the polarization of artistic interests, the existence of numerous flows and groups.
For Russia in the XIX century in the development of art, unevenness is characterized: different styles and directions in the first half of the century were mixed, layered on each other; Their movement was parallel, and not consistent, as in Europe. In the second half of the XIX
the centuries dominated, on the contrary, one style direction is a realism, which pushed romanticism and classicism.
Realism to the highest extent corresponded to the social problems that became the main and determined the meaning, the structure and shaped essence of the art of the middle and the second half of the XIX century spores around the "damned questions" of Russian life were in the center of the interests of literature and art. Realism found himself in this arena of the social struggle, having raised many momentary problems to the level of eternal, universal. But the time of the domination of realism was delayed. The disproportion was again formed, which was necessary to eliminate accelerated pace.
In the 80s of the XIX century, when young artists who open the movement to new art begins, many mature masters experienced the time of their heyday. Principles of Movies - Realism, Analytical Art - were dominant. I. Repin created his best works: "The congestion in the Kursk province", "did not wait", "Ivan the Terrible and the Son of His Ivan"; A. Surikov wrote "Morning Streletskaya execution", "Menshikov in Berezov", "Boyari Morozova". The genre artists created a picture of modern Russian life in the 70s-80s of the XIX century. They reinforced the trial of social vices, analyzed, taught, convinced. It seemed that there could be no doubt about the vitality of the principles of critical realism. However, at this time, young artists felt the need to update the artistic language, enriching art with new ideas. It became clear that the old system of art was tested by his age, as well as the possibilities of philosophical positivism that fed this art was depleted. With the crisis of the people's movement in the 90s, the "analytical method of realism of the XIX century" is believed. Many of the artist-Mobile artists experienced a creative crisis, gone into an infection of an entertainment genre painting. All kinds of art - painting, theater, music, architecture - made up the artistic language update, for high professionalism.
The development of the visual art of this period has a certain logic in its movement from "Girls with Peaches" V. Serov to the Black Square K. Malevich. The meaning of these changes was to overcome the principle of the direct image of the surrounding world characteristic of the realism, in the acquisition of a new method, with the help of which the artist transformed the visible world and, in the end, came to recreating a new reality, only indirectly reflecting modernity, without illustrative and inequality. Artists painfully looking for harmony and beauty in the world, which is based on their alien and harmony, and beauty. Many of them have seen their mission in the education of the feeling of beautiful. This time gave rise to many flows, groups, a collision of different worldviews, tastes. But it also gave rise to the universalism of a whole generation of artists who spoke after the "classic mobile phone".
The lyric concept of an artistic work is approved, which made it possible to transfer the focus from the most depicted item on the method of its interpretation. This would have liberated the artist, gave him the opportunity to "reduce" a narrative aspect, replacing the detachable plot of an explanatory motive, focus on the expression of his own feelings and dive into contemplation. Gradually, a subjective start was summed up for the fore, which, in the end, led to a peculiar apologetics of subjectivism at the turn of 1900-190s.
In parallel, the process of the liberation of art from that, in many respects the official role, which it was previously performed in Russian society, concerned about the permitting social problems. Russian art of the second half of the XIX century more often served as ideas taken from the thickness of the public struggle, from philosophical and religious disputes. At the turn of the twentieth century, art has built the idea of \u200b\u200bfull independence, self-sufficiency. The struggle for the purity and introspectiveness of the art began, the poets and artists of the World of Art. Although art has not been freed from those problems that did not fit into the parameters of "pure aesthetics", and up to the avant-garde of their manifestations remained "philosophy in paints", continued to perform a prophetic function, it was increasingly strengthened in its specifics, relying on the internal capabilities .
The attitude of the artist to the world around the world has increasingly passed through the transformation of reality. The master Creator penetrated through the outer shell of phenomena, seeking to reveal their deep essence and believing the artistic image of the intersection of real and ideal. It was counting on the versatility and the multigid of this image, its incorruptibility to some particular concept. Reality was transformed, as if passing different stages of re-creation, at the level of the plot, the means of theatricalization of reality, with the help of the revival of mythological thinking. In accordance with this changed genre structure. Genres, provided direct forms of communication of art and reality, such as a household genre or landscape, were inferior to the historical, mythological, preparing the abolition of the principle of genre structuring, which existed for many centuries.
Mythologized thinking has gained increasingly strong positions in visual art. There was a change in traditional landmarks, a turn from the classic heritage to various forms of the primitive, which gave the "Additional Law" artist to transform reality. As the purpose of the comprehension, this reality has ever more consistently lost the earth forms, the universal, cosmic character acquired. Art sought to understand such patterns of life, which accounted for some parallel the laws of being, which became the subject of science and philosophy
Twentieth century. The intuition of the artist and the "new rationalism" of the twentieth century went towards each other, opening new horizons before the art.
The first in the 1990s of the XIX century, young artists declared themselves about themselves, claiming the role of painting reformers - V. Serov, K. Korovin, A. Arkhipov, S. Ivanov. Initially, the conflict developed inside the mobile partnership: young wanted for themselves equal rights with senior heads. At first it seemed that the innovations of young painters were not so principled. But the consequences were significant.
Transient to the new art was the work of a number of artists. A. E. Arkhipov (1862 - 1930) In the picture "On the River Oka" removes any action, it is characterized by a soft plenary painting, warmth, lyricism, the feeling of beauty of the world, the artist stands on the verge of impressionism. S. V. Ivanov (1864 - 1910) in the picture "On the road. The death of the immigrant "(1889) shows the tragedy of circumstances, the plot merges with the landscape, the canvas is full of bitterness, grief, sympathy.
A. P. Ryabushkin (1864 - 1904) worked in the historical genre, depicting medieval Russia, he as if reconstructed the patriarchal beauty that disappeared in reality. In the paintings "Russian women of the XVII century in the church" (1899), "Wedding train in Moscow" (1901) there are already elements of modernity: rejection of the captivity of the film, the retreat of field elements into the background, large flatness, special significance of the contour line, color , Silhouette. M. V. Nesterov (1862 - 1942) in the paintings "Desert" (1889), "Vision of the Pattern of Bartholomew" (1890) combines conditional and natural, depicts a typical national landscape. A number of his paintings "Holy Rus", "in Russia" (1916) contained complex philosophical and religious programs, close to the problems that worried about Russian religious philosophers. K. A. Korovin (1861 - 1939) came out to the position of impressionism and remained to the end. It is typical for it: a lotudication, admiration and joyful admissance by the world and man, refusal from artworks, plot thinking, decorativeness, brightness, theatricality, entertainment - especially for the Paris cycle "Paris at night. Italian Boulevard "(1908) and others. K. Korovin worked as a theater decorator.
The people of the Russian painting of the twentieth century were V. A. Serov (1865 - 1911) and M. A. Vrubel (1859 - 1910).
V. Serov carried out a transition from old art to a new one. In his work, he passes the way from traditional art to modern. In the early works of the "Girl with Peaches" (1887), the "girl illuminated by the Sun" (1888) the artist admires the real beauty of the world, his paints are saturated with light and air, radiating joy, they are given the beauty of youth. Early works glorified the author. In 1900, V. Serov has a modern style, where the nature becomes material for the image, and not an adequate item. It begins to "build" and "calculate" his paintings. His favorite ideal is a man-Creator, only the Creator, in his opinion, enjoys inner freedom, creativity makes an affordable will, in the work of man's beauty is enclosed. From here - a number of portraits of artists, artists. The artist's reality is reworked reality, transformed, deformed. From the author, the thought is required, the definiteness of the artistic plan, a generalized image. So, in the "portrait of Ida Rubinstein" (1910) the artist does not depict the model, but creates an image using the material of the model. There is a search for the connection of conditional and real, which is characteristic of modern. The outline falls right onto the canvas, only three colors are used: blue, green, brown, and they are without transitions and connections. Neither the color nor the composition nor the prospect of any space in which the figure is located. It seems that it is melt, pressed to the canvas, and with all the sharpness and extravagance of the model, the impression of its weakness and defenselessness is created. In the "portrait of O. K. Orlova" (1911) - one of the tops of the late Serovsky creativity - the bright individuality is shown and at the same time a social type is created. This is the finished style of modern. Appeal to mythology - "Abduction of Europe" - allows you to combine conditional and real. In antiquity V. Serov saw, first of all, harmony.
For M. Vrubel, the creation of symbolic images on the soil revived romanticism. It was in the work of M. Vrubel neoromantism received the earliest and consistent expression. He wrote the paintings, made painting in the temples, made the performances - that is, he argued the beginning of the artistic universalism. He is inherent mythologism, the courage of fantasy, searching for a new form, understanding the value of color, that is, the artist did not "write off" things from nature, but created a new world, built according to the internal laws of art. The image was output from under the authority of the household reality for the sake of creating a symbol that absorbs large human feelings, suffering and hope of his time. Snackingly beautiful, initially beautiful attracted Vrubel, it is inherent in picturesque decorati-vismism, ornamental rhythmic structure of works. Thus, the "demon" (1890) is a multi-valued image that cannot be reduced to some specific categories - to a tomression or thirst for beauty, to longing or humiliation, it cannot be exhausted, remains open. Vrubel's images can not be transferred to the conceptual series, mediated the feelings by logical categories, it is impossible to determine the final meaning of the work that inherent in disabilities, the inconsideration.
This is the disappearance of the identity of the idea, attachment to a specific life fact determines the installation of the artist on the conditional image and the conditional artistic language.
Vrubel stepped over impressionism, from fixing the changes of the surrounding world, he is looking for something constant in the world that is not affected by the instant change. Its paintings are inherent in mosaic, smear flatness; The overall colorful system is not in accordance with the real state of nature, but with the state of the human soul: gray, purple, blue colors express melancholy, peaceful tomression. Flowers with him - either incomprehensible, or these are evil flowers, an image of a boundless person of the elements, the merger of animated and inanimate. Vrubel Sinnotician, different directions are interspersed in his work: Academism, impressionism, post-pictureness, but it remains within the symbolism and modern.
A significant role in the culture of the Silver Century was played by the Union of Art (1898 - 1924) and the magazine of the same name, which took place in 1899-1904. The activities of "Miriskusnikov" was targeted, extremely active, not only narrowly artistic, but also the general cultural. This union has become a decisive force in the russian russian life at the turn of centuries.
In the original circle, A. N. Benois, L. S. Bakst, K. A. Somov, E. E. Lancere, S. P. Dyagilev, D. V. Philosophers, N. K. Roerich. Actively collaborated with the "world of art" V. Serov, M. Vrubel, K. Korovin. In the "World of Art" revived in 1910, B. M. Kustodiyev, Z. E. Serebryakova and others. Philosophers - D. Merezhkovsky, V. Rozanov, L. Sestov, Poets - Vycrip were associated with the "world of art". Ivanov, A. White, A. Block, F. Sologub and others.
"The world of art" was located in the very center of the cultural life of Russia. He was supported by Petsenates S. I. Mamontov, M. K. Tenicheva. Among Miriskusenikov, there were many hereditary artistic families, the St. Petersburg nobility, as well as the immigrants from the province.
In the program "World of Art", the main thing is artistic individualism, autonomy of art having their self-concrete qualities and therefore free from the problems of political and social. The problem of beauty seen as eternal, the main, most important for artistic creativity. "Miriskuseniki" were opposition to their predecessors - mobile phone. Most of all, they were not satisfied with the work of predecessors dismissive, as it seemed to them, attitudes toward painting as such, to specific artistic tasks, beauty, picturesque form. Miriskusniki criticized academic masters as a stronghold of routine.
The sources of art renewal, they saw, firstly, in the Russian art of the XVIII - the first half of the 19th centuries (Rockots, Borochko, Levitsky, Cyprian), Russian Baroque and classicism, especially blooming in St. Petersburg, and, secondly, in Western European artistic culture XIX century, including the end of the century. "Miriskusniki" believed that the Russian art of the previous period was in provincialism, and he should be attended by the achievements of Western European artistic culture, Scandinavian masters.
The most typical representatives of the association - A. Benua, K. Somov, E. Lancer, L. Bust - embodied the new style in the national version. According to S. Makovsky, they can be called "retrospective dreamers." Most of the interests of "Miriskusnikov" were addressed to the old epochs, to the beauty of the former, not capable of returning. It was not an interest in the historic drama, but the admissance of the past, weeded styles. Their historicism had the romantic basis also because the element of irony and self-irony was always joined to the love of this or that era. Romantic irony constantly accompanies their peasement in the past world.
"Miriskusniki" were not symbolists, but had a point of contact with them, trying to find the essence of the artistic image outside the external shell of life phenomena, resorting to the theatricalization of the surrounding world. They combined fantastic fiction with the study of reality, transformed and deformed her. These features of Miriskusnikov's creativity received the implementation in the style of Modern, which was as if the opposite side of the symbolism. Modern Miriskusniki Style was interpreted by narrowly, referring to it only some phenomena of artistic culture.
For the participants of the association, the search for the synthesis of arts is characteristic, the concern to historical motifs or a constructed pseudo-historical world; Choosing theatrical plots, resorting in the portrait to the comparison of the face of models from the mask, Miriskusniki sought to double the transformation of the world. The first phase was concentrated at the plot level in which the event has already performed mythologized, and the second - at the level of artistic embodiment of the plot in the specific material of the art itself. An important feature was the desire to use the features of the preceding style. The need to use different style sources is caused by the fact that Russian Modern could not use the domestic romantic tradition, for it turned out to be interrupted. Realism of the 60-80s was so strong that all other destinations were supplanted. Another feature of "Miriskusnikov" was to the iconographic images, the repetition of the same motives - operating the same in the same formulas and figurative concepts (for example, the motive of the procession, the opposition, festivities, fireworks, theater).
A. Benois (1870 - 1960) in the "Versailles" series shows the world of the XVII century. This is a dream, admiring, tomorrow, irony, grimace, the search for sharp angles, unusual points of view, there are elements of the game, theatricality.
K. Somov (1869 - 1939) demonstrates "Streetness", Irony and Grotesque, artistic aestheticism, decorativeness, to the "gallant" genre, in particular, in the paintings "Lady in Blue" (1897 - 1900), "Harlequin and Dama" (1912). In the 1900s, the artist acquired sophistication, high mastery, its color is soft and harmonious, the composition is strictly thought out and completed, the line is flexible, filled. In the "portrait of A. Blok" (1907) a face mask is shown.
L. Bakst (1866 - 1924) was fond of antiquity - the painting "Ancient Horror" (1908). He engaged in a lot of theatrical scenery, he, in particular, issued the Dyagilev seasons in Paris, who had a loud success.
The topic of the XVIII century, with some caricature, developed by E. Lancere (1875 - 1946), Color enravings on a tree with species of St. Petersburg manufactured A. Ostrumova-Lebedeva (1871 - 1955), the topic of the modern city elected M. Dobuzhinsky (1875 - 1957).
After the revolution 1905 - 1907, the masters associated with the traditions of the previous period were grouped into the "Union of Russian Artists" and the "World WORLD", which no longer played the avant-garde role. Among these masters were such large artists as I. E. Grabar (1861 - 1960), K. F. John (1875 - 1958), N. K. Rerich (1874 - 1947), B. M. Kustodiev (1878 - 1927), Z. E. Serebryakova (1884 - 1967).
A significant role in the painting of the beginning of the twentieth century was played by the Association "Blue Rosa", under the name in 1907, the exhibition of artists took place in Moscow. The association was associated with the magazine "Golden Fleece". A significant role in the "Blue Rose" was played from Saratov: P. V. Kuznetsov, K. S. Petrov-Vodkin, P. S. Utkin, A. Karev. They experienced the effect of impressionism and became innovators in painting. Next to them was the Moscow kernel - the advanced layers of the Moscow School, who were trying to carry out the synthesis of Western experience and national traditions, and they experienced a great influence of symbolist poets, although painters-symbolists did not build their theory. They were practitioners who created the artistic system with their work.
Creativity V. E. Borisov-Musatova (1870 - 1905) was a significant impact on the symbolist artists. After having experienced the influence of impressionism, he later moved away from him, having developed his principles based on a lyrical, generalized contemplation, he had no irony, he is exquisied. It is not a direct image for him, but the construction, design of the picture is created, "artificial reality", work is rationalistic and harmonious.
P. Kuznetsov (1878 - 1968) One of the most talented artists of this association. He is poetic, seeks to express the spiritual state of the artist, he explores the mysters of the spirit, spiritualization of the visible world, he strives for harmony, higher beauty. It is characterized by rhythmic, soft paints, transparency, ease.
M. Saryan (1880 - 1972) for stylization, decoration, he is inherent in the refined taste, fantasy. His element - earthly joy that has absorbed the sophistication of the East, aphoristic.
K. Petrov-Vodkin (1878 - 1939) is one of the largest Russian masters of the twentieth century. He experienced the influence of ancient Russian art, developed his language - picturesque symbolism. The picture "Bathing of the Red Horse" (1912) is not amenable to verbal concretization, it is meaningful, it presents a fantastic reality.
In the 10s, a Russian avant-garde is formed. It is created in connection with the search for the European intelligentsia, found a response in Russia. Avangard is an integral part of the culture of the twentieth century. It is also evaluated both artistic, and as a half-death, and as an anti-death phenomenon. Domestic avant-garde is poorly studied, he is poorly systematized and learning. But in many ways it is typical and avant-garde as such.
Avangard was formed within the framework of modern and even earlier. His premonition is full of aesthetics of romanticism, which developed the concept of anti -ifying "musical painting", the ritual forms of the artist's behavior in society, expressed attention to the subconscious, fantastic, mystical. Romanticism, in a certain sense, was "protoavangard".
Avangard has always claimed the "universal alteration of people's consciousness." Being paradoxical, it does not produce ready-made formulas, does not give certain knowledge, its task in another: provoke a search, create a new experience, prepare consciousness to the most incredible stressful situations and world cataclysms.
Avangard is formalistic, but it is not the main thing in it; The main thing is information, idea. Avangard creates some objects with its semantics, some encoded information, the key on which is not. He wakes up instincts and memories, revitalizes the intellectual and sensual parties of being - this is a reflection of unrecognizable.
Avant-garde culture easily performs expansion into the world of science, technology, politicians, mythology, cultural tradition. Avangard is conducting a continuous dialogue about everyday life: he is either alternative to her or parallel. He creates the projects of the future, is engaged in new life.
Avant-garde thinking, its design methods widely penetrated into the design of things and mechanisms, in the creation of the environment, in fashion, in lifestyle.
Avangard opposed "pure art", against "art for art". The performances of the avant-garde carry a fingerprint of any ideas drawn in the form only for memory. The form must be informative, it must carry, first of all, any information. Avangard displaces traditional agents and art materials. Work can be created from anything. Avangard aims to shock the public. Avangard refuses quality. On the basis of industrialism, "insinceness" is created on the principle: "And I can". Avangard is a "approval of the creativity of each and for everyone." Avangard far from elitism, he focuses on mass. He creates inexplication. If a female body was painted before, then they are painted with a female body. There are no styles in the forefront, for there is no concept of form. Avangard creates some new philosophy, in opposition to traditional. He seeks to become a "pure intelligence", stand up between life and art, not being neither the other, is, rather, not art, and the avant-garde creativity, the essence of which is pure thinking. Politically avant-garde is to extremely "left" and "right" poles: from anarchism to fascism.
In 1910, the exhibition "Bubnov Valet" was arranged in Moscow, and in 1911 its participants united into society that existed until 1917. Its kernel made up P. P. Konchalovsky, I. I. Mashkov, A. V. Lentulov, R. R. Falk, A. V. Kubrin, V. V. Christmas.
Russian avant-garders did not suit anything in the past: "Academicians", "Mobile", "Miriskusniki" and "Golubozovtsy". They were not satisfied with symbolic uncertainty, inexpensive, nebula. They were inclined to clutch, demanding tangible, subject, imposing primitive forms in painting. In their opinion, it was necessary to rely on the experience of people's masters, who painted trays or signs. Of particular interest they caused a peasant or urban toy, lubrics and many other forms of primitive art. Their elements - Balagan, Fair. They sought to finally free the painting from the irrelevant layers - literature, shreddedness of forms, stylization, to return the ability to fully use the means - color, line, plastic only to it.
They saw beauty in the surface of the canvas covered with a colorful layer, in the most paint messenger. The first to this came Cezanne, he is the idol of "Bubnovy Valtov", which was called Russian cesanists. Until 1914, they carried out a major artistic mission, brought together Russian painting with French artistic culture. The "Bubnovaya Valnet" opposed the liteurities of the Movies and the sophisticated stylism "Miriskuseniki" healthy materialism of pictorial skills, healthy, coarse, sometimes reaching "chest", expressiveness.
"Bubnovy Vnets" perceived the experience of the walkers, the features of the Cubizm (Picasso, marriage), but they completely interconnected their achievements. They gave cubism and squeezed decorative character, to the greatestly revealed primitivism, the language of new directions was used for its own purposes.
Interest in the subject, mass, volume, flattened color and colorful "dough", to three-dimensional form - all this made the most popular genre from the "Valts" still life. It was the stage of "still lifewous perception of the world." Landscape and portrait became sometimes close to still life; Genres "lost" isolation, which is generally typical for the art of the twentieth century; They ceased to line up in a certain row, where there are the first and last. Each subject, and after him, every image received the right to talk about the essential parties of the world. Things acquired in the artist's eyes value not due to the semantic features, but due to plastic qualities, full inner value. The main for the "Valts" was a glass painting.
Their aspirations are connected with spontaneity, with a rapid expression of temperament. In their work, a gambling pressure is almost always felt. All their art ranges between street loudspeat, on the one hand, and a strict rational system - on the other.
For P. P. Konchalovsky (1876 - 1956) Painting was synonymous with the joy of being. He enjoyed contemplating the world around, and even more - when he recreated him with paints on canvas: their combinations, their sonicity, viscosity, humility. At the same time, he built his system. So, in the "portrait of Yakulov" (1910) the characteristics, beauty and picturesque power of the disgrace (imagination), grotesque are expressed.
In the works of I. I. Mashkova (1881 - 1944), such features of the master: spontaneousness, loudness, decorativeness, energy of color, celebration of health, flesh, "hero" have been emphasized.
A. V. Lentulov (1882 - 1943) - Experimentator, it is looking for a maximum, active form of plastic transformation of the visible world. It was on the verge of figurativeness and freeness, but still remained within the image. It is closely related to the search for Western European art. For his still lifes, urban landscapes are characterized by plane, bright paints, fantasies, festivity, optimistic "sound" - "Vasily Blessed" (1913), "Ivan the Great Bell Tower" (1915).
R. R. Falk (1886 - 1958) at the beginning of creativity experienced the effect of impressionism, and then Cesanna. Each thing was searched for strict, structural logic. For example, in the "Portrait of Midhat Refatov" (1915), which can be described as lyrical cubism, everything has a certain purpose: plastic, color, rhythm, all beats in one point, transmits a person's condition.
Among the avant-garders, you can still allocate the unlenized tail association, which declared itself the exhibition of 1912. Among the artists here are notable for MF Larionov (1881 - 1964) and his wife N. S. Goncharov (1881 - 1962), which can be attributed to non-rapimitivists.
Primitivistic directions were characteristic of many directions of Western European painting - for the French foamism, cubism, for German expressionism. But nowhere, except for Russia, this trend did not acquire the intrinsicity that allowed it to become an independent direction.
Russian primitivism originated in 1906 - 1907, reached the heyday around 1910 and until 1912-1913 retained its role of avant-garde course, new directions catalyst. In their programs, primitivists proclaimed the orientation on domestic artistic traditions: icons, chests, embroidery and so on. Moreover, neoprimivists have sought not to stylization, not to the imitation of people's craftsmen, but to the expression of the essential parties to folk aesthetics. There was a tendency to revive genre principle. People and their actions are in the spotlight. Here, as it were, the peasant and the city genre would be resurrected, so popular in Russian painting the second half of the 19th century M. Larionov decided on the need to connect Fabul with a picturesque form, about the merger of the subject-objective principle with the picturesque. In the brochure "Lucism" - East (Persian and Indian miniature) is considered to be the birthday of true art. Russia was identified with the East. According to N. Goncharova, the West was only the transmitter of old oriental art discoveries, the East returned in the West.
M. Larionov, in his work, passed the stages of impressionism, the primitivism, "radiation". In the provincial series "Hairdressers" emphasizes the beauty of the game, freedom, fantasy, fiction, deformation to identify characters characters - this is done with love and irony. Primitivism provides for a semblance of a common look at the world, but without stylization is a consciousness of a professional who understands the charm of the primitive. In 1912 - 1913, M. Larionov worked on the design of futuristic books.
In the work "Luchism" (1913), he put forward such ideas: "Bucheism has in mind the spatial forms that may arise from the intersection of the reflected rays of various objects, the shapes allocated by the will of the artist." Items do not play any role, the essence of the painting itself is a combination of color, its saturation, texture. The raysism became one of the first options for free painting, where the main thing was the liberation of painting for purely picturesque tasks.
Although the paintings themselves are far from the rational foundations set forth in the brochure. The meaning of his work is in a peculiar self-development of the form, color, linear rhythm. N. Goncharov, as well as M. Larion, passed the way from impressionism, through primitivism, raysmism to Futurism.
In the 10th year there was a mature Russian avant-garde. For this period, an extraordinary dynamics is characterized, which determines the rapid change of generations of artists, styles and directions; The abundance of different groups and artistic associations, each of which proclaims its concept and seeks to put it in almost artistic creativity; "Manifestational" character of this process of approval of new principles; Anarchism shade in the activities of avant-garde artists.
In the European painting of the first two decades of the twentieth century there is something similar. In French, German or Italian painting, you can see a certain prototype of the Russian process. But this does not mean that Russian artists copy the French or Germans, they learn, and at the same time they open their new, and the share of these discoveries is quite large.
Russian painting, despite the declarations of many of its representatives to abandon tradition, remains within these traditions. All that was accompanied by the development of Russian art for two centuries, starting with Petrovsky reforms, has found its concentrated expression in the years preceding the First World War. Suggescence, the unevenness of the movement was revealed here with complete certainty and received such forms that took place only in Petrovsky. The intersection of the old and new, combustion of different styles, several stages determined the "multi-stacking" of Russian art, which could be observed in previous periods and which now reached the highest point. In the 10s, Academism of the XIX century flourished to some extent, there was still large realists such as Repin and Surikov, Miriskusniki, members of the "Union of Russian Artists" still worked. Each of these lines or trends in painting occupied his place in artistic life, some experienced flourishing. Many masters of the younger generation with extraordinary swiftness moved from style to style, from stage to stage - from impressionism to modern, then the primitivism, cubism or expressionism, passing many steps, which was atypically for the masters of French or German painting. Similar mixing, "confusion" were unknown to European art, where the movement was much more consistent. The Russian situation due to complexity and intricacy was fraught with unexpected, which was aggravated by a special pre-revolutionary historical situation, when the features inherent in the entire European art of that time, in Russia, called an "explosion".
Conditionally, Russian painting of the 10th anniversary can be divided into two trends: the first - thrust for the expressionistic concept of creativity, the other is a tendency to cubism.
The expressionistic line did not give style unity. Negremivists headed by M. Larionov defended the "Russian idea", but there were other, in particular, V. Kandinsky, M. Shagal, P. Filonov, who, although not related to a single grouping, but expressed a European expressionistic line in accordance with Russian Traditions and national tasks.
V. V. Kandinsky (1866 - 1944) became an unusual phenomenon in the history of artistic relations between Russia and Western Europe: he was simultaneously a Russian and a German artist. Two artistic powers - Russia and Germany on equal rights fed the work of a great painter and enjoyed his fruits. V. Kandinsky studied Russian and German (Gothic) primitive. He studied in Germany, exhibited in various countries. He passed through modern, romanticism, expressionism. In 1912, his book "On Spiritual In Art" was published, where it was said about the achievement of new ways to express the spiritual principle, freed from the material shackles, which in the representation of the artist was identified with objectivity. To the place of the relationship of real objects with each other, it was necessary to put the relationship of the net expressants of emotions and spiritual representations, expressive, based on their capabilities on abstracted forms, lines, colors. The world of an artistic work, whether it is subject or impossible, has its general internal laws. V. Kandinsky represented his birth of the work as the birth of the world - through the act of creation, through a catastrophe, through the creation of a miracle. The main expressive sense is transferred to colorful and composite dramaturia. It is actually actually means of pure painting, special features of the line, stains, each individual and their combinations, color relationships and shapes. Hence the impression of cosmic, the multiplicity of worlds that felt in cosmic being. There is a merger of mystical and rational, or rather the rational way of comprehension of mystical.
The artist was fond of the ideas of E. Blavatskaya and R. Steiner, theosophy, anthroposophy, who sought magical power to substantiate practical experience and turn into natural science.
The method and style of V. Kandansky finally formed in the first half of the 10th, mastering the necessary means to express the most intimate, he enjoyed them freely. Having put forward in the form of the main beginning in the art of its spiritual content, and making the main means of expressing this content by making a combination of impremit forms, although the artist often returned to the subject rate, V. Kandinsky turns attention to the problem of "that", and not "how." He spoke of a new creative principle, the prophet, whose prophecy went far beyond the framework of artistic problems.
The works "Clarity", "Twilight", "vague" and others - as if revived in the paints music. They express the condition of the soul, imbued with deep inner feelings, carry the personality of the artist, but at the same time implement objective intellectual situations and spiritual categories disclosed in the outside world.
M. Z. Shagal (1887 - 1985) - Natives of Vitebsk, studied in Russia and France. It is characterized by grotesque-absurd orientation, alogyrism. The roots of his creativity - in reality then
Russia with its contrast of the crucible town of Jewish life, which was a nutritious environment of Shagalovsky creativity, and an alienating person with the life of the capitals. The separation from the "reality" led to "supercrosy". Mythologism M. Stegal Household, it retains life, hypertrophies it, fills the symbols. Everything remains within the borders of life, but it is fantastic. Out of life, which is permeated all the work of the artist, this fantasy would be lifeless and abstract. His primitivism overflowing through the established norms of folk art, his element - fantasy and grotesque, its means - symbols and metaphors, its soil - life, his goal is the eternal truths. Slave all this goal, in every way to identify the final instances of the human being, M. Shagal wakes up life, wakes up the usual clutch, and then in its own way connects open pieces into the holistic paintings of the world.
P. N. Filonov (1883 - 1941) special attention paid to creative effort, the result of creativity, in his opinion, is the fixation of the process of thinking. The main meaning of Creativity P. Filonova - in prophecy. He climbed over reality and from height overlooked the past, present and future. He showed an interest in ancient art. The views were close to Philosopher N. Fedorov and Poet
V. Khlebnikov, believing that the world is filled with symbols, the real world is encrypted, he is full of mystical signs.
Cubism and futurism in Russia merged into Cubaturism. Here is typical creativity K. S. Malevich (1878 - 1935) and V. E. Tatlin (1885 - 1953). Suprematism as the art of pure forms was a critical point in the history of Russian painting. Clergeless art develops, a waste from materialism, "crossing the world", the transition from the symbol to the sign acquiring the originality. Here is typical "Black Square" K. Malevich. In the works of V. Tatlin, the approval of the material, the new genus of art is a sculpture-writing. Artistic work should not depict anything. It is the object itself. They exist, and this is exhausted by their purpose. V. Tatlin was a constructivism.
In the domestic sculpture of the Silver Century, as in painting, there was a significant rise associated with the names of P. P. Trubetsky, A. S. Golubina, S. T. Konenkov and others who left a noticeable mark in domestic science.
One of the most important parties to the intensive artistic life of Russia of the beginning of the twentieth century was the abundance of art exhibitions: up to 10 - 15 per year. New museums opened: the Russian Museum in St. Petersburg in 1898; In 1892, P. M. Tretyakov transferred its collections as a gift to Moscow, on the basis of which the National Art Museum of Russian Art arose - Tretyakovsky Gallery; In 1912, the Museum of Fine Arts opened in Moscow - Pushkin Museum. Museums and in the province - Saratov, Kiev opened.
The architecture of the late XIX century reflected new phenomena associated with the appearance of materials such as reinforced concrete, steel frames, ceramics; With increasing cities, huge civil and industrial construction. Changes the technology of construction, its assortment. New architectural styles appear: Modern (House Ryabushinsky), Novorusky style (Yaroslavsky station), Neoclassicism (Pushkin Museum). Architects sought to tie the building material, design and shape. Architecture refuses facade, strict axial compositions, symmetry and traditional harmony. Freedom, discrepancy in the composition of buildings, subordination to the functional purpose determines the plan, decor, color gamut. The architects to the synthesis of the arts: elements of painting and sculptures are introduced into the architecture of generously. The visible architects of this period were F. O. Shechtel, A. V. Schusev,
