Presentation on the topic of fine arts of the 20th century. Painting of the 20th century - a new language of art - presentation on the Moscow Art Theater. Universal learning activities

The art of the 20th century is multifaceted and ambiguous. It shocked, surprised, captivated. To understand it, you first need to at least understand its main directions.

Constructivism is an avant-garde trend in fine arts, photography, and cinema that appeared in the 1920s and 1930s.

It differs from others in the severity of lines, conciseness and solidity of the image.

Avant-gardism is an experimental trend that arose at the turn of the 19th and 20th centuries. It goes beyond classical aesthetics and is distinguished by symbolism.

The concept of "avant-gardism" is eclectic. This includes a number of schools around the world, which can be very different from each other.

The prerequisites for the emergence of avant-gardism include the rethinking by the people of Europe of the main life values, as well as the emergence of new philosophical treatises and the active development scientific and technological progress.

The music of the 20th century almost completely professed Modernism and Innovation. Modernity, drive, expressionism - that's what drove the creation of new directions.

And if at the beginning of the 20th century the main emphasis was on classical music, then by the end of the 50s people began to raise a heavy curtain and create something that could turn society upside down. On the basis of the musical revolution, the first subcultures began to appear.

The theater also developed rapidly. Musical performances have begun. Despite modern trends, the audience, nevertheless, did not betray the classics. The revival of the theater began at the end of the 20th century after the end of the protracted Cold War.

Cinematography at that time was striking in its syntheticity and generalization. Despite the attempt to synthesize photography, theatre, music, ethnicity, aesthetics and even the exact sciences, in general, only a few paintings, mostly taken after the 80s, deserved attention.

Perhaps the reason for this was the acute political situation, as well as economic crisis. It is impossible not to recall such figures of cinema of the 20th century as Marlene Dietrich, Marilyn Monroe, Marlon Brando, Clark Gable, Grace Kelly and Charlie Chaplin.

Photography in the 20th century experienced only ups and downs. Initially, the world was conquered by the Polaroid with instant development of photographs. But after Japan took over, by the end of the century, people became acquainted with the art of color photography, sepia, and also the first electronic programs for frame processing.

As you can see, the art of the 20th century is ambiguous. On the one hand, its development was strongly hampered by the war and the world political situation. On the other hand, it is the end of the last century that can be called the cradle, the starting point of all modern creative abundance.

Sections: MHK and IZO

Class: 11

Lesson type: combined

Lesson form: lesson - improving knowledge, the formation of a new problem vision.

Goals:

• Formation of aesthetic susceptibility to ideas about historical traditions and values ​​of artistic culture in Russian and foreign painting at the turn of the 19th - 20th centuries.
• Development and formation of the concept of “dialogue between the viewer and the artist” based on the works of V. Kandinsky.
• Upbringing emotional sphere students.

• To reveal and generalize the main directions of artistic trends in painting at the turn of the 19th and 20th centuries;
• To form a holistic, multifaceted, filled with various individual features artistic picture of the era;

Equipment: computer, projector, demonstration board.

Visual range: e pygraph on the board, presentation - slide show on the topic of the lesson.

Slide show: O. Renoir “Swing”, Paul Gauguin ““Vision after the sermon, or the struggle of Jacob with the Angel”, E. Munch “The Scream”, V. Borisov - Musatov “Reservoir”, A. Matisse “Red Room”, S. Dali “ Swans depicted in elephants”, P. Picasso “Avignon girls”, V. Kandinsky “Cow”, “Tables of colors”

Lesson plan:

I. Organizational moment. Presentation of the topic and tasks of the work in the lesson.

II. Main part. Repetition, classification, generalization of the material covered.

III. Acquisition of new knowledge, based on the analysis of the material covered, acquaintance with the movement "Cubism", "Abstractionism".

IV. Summing up the lesson, homework.

During the classes

I want to start the lesson with the words of the artist Henri Matisse: “To create is to express what is in you.”

I. Today our task will be to create a certain portrait of an era in the history of pictorial art, the turn of the 19th and 20th centuries, an era full of creative quests, experiments that completely changed the idea of ​​​​painting and the role of the artist in it. In this era, when a new avant-garde trend in art is born, and, unfortunately, still not fully understood by many, and not deserved, causing denial. At the beginning of the lesson, we will determine the range of questions that we should get an answer to during the lesson.

I hang these questions in front of you on sheets of paper so that, during the lesson, you can always see them and decide for yourself with their answers.

1. What artistic direction can be considered the beginning of the avant-garde?

2. With what artistic current does the breakthrough through visual reality into the world of new reality begin?

3. How does the subject matter of the artist change and why?

4. Why does the term “depict” change to the term “express”?

II. First, let's define how you understand the term "avant-garde", "avant-garde".

Avant-garde, avant-gardism is a generalizing name for currents in the world that arose at the turn of the 19th and 20th centuries. They are characterized by novelty, courage, experimental direction in art.

Let's now walk through the art exhibition, where each work is selected so that it is a milestone in the avant-garde direction.

1. The first painting by the French artist O. Renoir. We are familiar with the work of this artist, and this direction in art. What can you remember?

Impressionism. Painting “Swing”.

Ah, now, I would like you, a little differently, to evaluate this work. Imagine what would change in the artist’s writing technique if the artist wrote on such a subject in a classical manner?

The clothes of a man and a woman would be written out with flowers without spots, grass, leaves would be written out more carefully. The peculiarity of the letter of the Impressionists lies in the image real world through the play of light and shadow, the splitting of color into spectra.

This gives the impression of the work “hastily”, without its detailed study. In this way, the manner of writing the classical direction differs from the impressionists.

One can only add that the decision of the Impressionists to paint as I see, and not as accepted, becomes the starting point for the departure from realism from the plot in painting. And if we look now at the first question posed at the beginning of the lesson, the answer is already clear.

The beginning of the avant-garde movement is impressionism. A trend in which nature is depicted as the eye sees it, and the superiority of the author's vision over the accuracy of reproduction of the visible world is already observed. This is the first small step in a new direction, this is its beginning.

2. Paul Gauguin "Vision after the sermon, or the struggle of Jacob with the Angel."

Let's decide on the artistic direction of this picture.

Paul Gauguin is classified as a post-impressionist painter.

Post-Impressionists, they go further. They refuse to claim that only what the eye sees at a given moment exists. Paul Gauguin is actively working on how to understand the laws by which human sensations are created. In other words, to find that boundary between reality and unreality, for example, the image of a person and his sensations. And this is the invisible world, the unreal world. This is clearly visible in the picture. He showed the boundary between reality (the Breton parishioners) and their vision (Jacob and the Angel).

Let's turn to our questions. The second question has just been answered. In the artistic movement of post-impressionism, the real and the fantastic are combined, and already a breakthrough into the “world of new reality” is shown”.

3. E. Munch “Scream”. This picture is already familiar to us. We are also familiar with its direction.

Expressionism, which means expression.

If expression, then what does the artist express in expressionism?

Human emotions, in this case negative: fear, pain, humiliation, hopelessness.

Are human emotions the real world or the world invisible to the human eye? Human emotions, a variety of them, strength can appear to us as some kind of reality? After all, our entire lesson is based on an understanding of reality and unreality.

As a reality, probably not.

To do this, they began to use new techniques, which are based on the deformation of the form. This technique was used by E. Munch when he wanted to convey the feelings of a mortally frightened person on canvas. What kind of world is becoming show expressionism?

Expressionism is the “invisible” world, where the main thing is human emotions.

And how do you explain the term "expression" in relation to expressionism?

Probably, human emotions can only be expressed, not depicted.

Why do they begin to pay attention to such a difficult phenomenon as emotions?

Perhaps they are interested in the inner world of man.

The birthplace of expressionism, if you remember, was Germany in the early 20th century. Violent flowering of technology, industry against the background of the degradation of cultural foundations. The suppression of the individual, never was a person as small as then, the desire of the soul, its cry for help - these are the main emotional dominants of expressionism.

3. V.Borisov - Musatov "Reservoir".

The trend of symbolism, its features: artists push the image of nature into the background, the main thing for them is their idea of ​​​​the world of their fantasies, their invisible world. The concept of “symbol” is introduced as a representative of a new reality. The new reality is only as a representation, as a fantasy, therefore it is allowed to change, it can only remind of a real object. And the symbol does not have to be similar to an object from the real world. It can be conditionally similar, and, consequently, depicted conditionally.

Conclusion: the idea of ​​the contact of two worlds - the visible and the new reality, where the new reality is a symbol of the visible world.

4. A. Matisse "Red Room".

The painting by the French artist Henri Matisse, “Red Room”, at first glance, is unusual. Let's try to understand its features. Unusual colors, flat image. In what direction do you think it is written?

Fauvism. (wild). It is characterized by an open color, lack of volume. The artists continued experiments with color, volume, to the conditional image of an object on the picture plane, abandoned the illusory reproduction of three-dimensional space, focusing on the decorative properties of the surface of the picture.

Everything said is correct. It remains to add a little that the term "Fauvism" appears thanks to the critic Louis Vauxcelles.

5. P. Picasso “Avignon girls”.

What avant-garde direction does it represent?

Remember the words of P. Cezanne: “Everything in nature is molded in the form of a ball, cone and cylinder. We must learn to write on these simple figures. If you learn to master these forms, you will do whatever you want” (MHK, grade 11, author L. Rapatskaya, p. 110). But P. Cezanne had in mind that these basic forms must be kept in mind as the organizing principle of the picture. However, Picasso and his friends took the advice literally. The appearance of the name of this trend is associated with the art critic Louis Vaucelles, who called the new paintings of Braque "cubic quirks".

Therefore, of course, we all understood what kind of course we are talking about now.

What can be said about cubism, about its features of writing?

It is based on experiments with the construction of three-dimensional objects on a plane. Construction of a new art form as a result of a geometric analysis of the object and space. Conclusion students and teacher: Experiments with form.

6. S. Dali “Swans depicted in elephants”. Let's talk about this picture, based on what we know about surrealism. The picture is understandable for its technique of writing. The author is Salvador Dali, the current is surrealism.

Surrealism. Super realism, in which the source of inspiration is in the human subconscious, based on the theory of Z. Freud. A prominent representative is S. Dali. irrational meaning. Every nature (swans, elephants, trees) in the picture is completely real. But their life together on the canvas is a complete absurdity.

Where did we come? In the depicted world of illusions, in the artist's own universe, which he showed us.

III. Teacher: Based on several works of art, we traced the logic of the development of the avant-garde, ranging from impressionism to surrealism. The turn of the 19th and 20th centuries is a time of extraordinary discoveries in the field of art, a time of outstanding experiments, a time of a new understanding of the artist as a person in painting. I want to emphasize that this development was not linear. Each artist chose what was more acceptable to him. After all, artists no longer depicted on canvases, they expressed their ideas, thoughts, fantasies, your universe. The choice of direction completely depended on the idea he had conceived. When P. Picasso was asked in what direction he would paint the next picture, he approximately answered: “In the one that best expresses my idea.” The picture ceased to depict, the picture began to express the idea of ​​the artist. The artist gradually becomes a creator and the creation of a picture is an act of creation. The visible world that the painters of past centuries used to depict was no longer inspiring. Artists began to be inspired by the “other” world, which is not visible, but it always lives inseparably next to us. The world of our feelings, experiences, fantasies. If you think about how expanding the world of images that the painter can transfer to the canvas. After all, what the artist creates is limited only by his personal imagination. Therefore, the role of the artist is changing, he is no longer a copyist of the world, “which was created by the Most High God”, he himself is the creator - the creator of his universes. Malevich said, “I am the beginning of everything, because worlds are created in my mind.” The world that God created is not interesting to them, moreover, they themselves feel like Gods - creators. And if these are worlds created by the creators themselves - the artists, then the laws of the universe there will be only those that the artist himself comes up with. But here, many difficulties appear, first of all, in understanding the idea of ​​the world that the artist created. This, to a greater extent, repels the audience from the avant-garde artists, who are used to seeing a certain literary plot in each picture. Penetrating the idea, understanding its expression in the picture is a difficult but interesting task. I would like to quote one statement: “The picture must be complex. When you look at her, you yourself become more complicated. When you climb a ladder, it is not the ladder that lifts you, but the effort you put in.” Of course, you need to make emotional, intellectual efforts to make the picture clear. But, there is also good interest in this!

But let's think further. Those images in the paintings of the artist, for example, Salvador Dali, which he shows us, will be a reality? After all, how would he create them himself? Did he paint a picture, conveying to the viewer his invisible fantasy world? After all, the image that the artist creates initially in the world of his fantasies, he sees them himself, as if with a pupil inside. And what do we see in his painted picture. Reality or its copy?

A copy, exactly, ko-pi-yu!

they will only be copies, even fantasies of their own worlds, but still copies. But if an artist is a creator, as avant-gardists understand themselves, and the world he creates should only be real, not a copy. But what can the artist himself really create? Let's try to figure it out with one example.

Painting by M. Saryan “Still Life”.

What is shown here?

Grapes, bananas, pears.

If it's grapes, bananas, pears, let's taste them.

Children come to the conclusion that this cannot be done, because. this is just a picture of fruit.

This means that we see only an image, or a copy of real objects. But this does not fit in with the idea of ​​avant-garde artists about their role as creators.

If the image is a copy, then what is real here? See what I'm holding in my hands? (reproduction in a frame). Children must come to the conclusion that:

What is real is what I hold in my hands, a canvas, and paints on it ..., i.e. the very picture that you can hold, feel like the real thing. The true reality is not in the image of the fruit in the picture, but the picture itself.

What else is real in the picture? Besides the canvas, what else do we see?

Children must come to a conclusion

Paints that currently depict fruits.

A new logic of avant-gardism is emerging: “If only colors are real in a picture, then it is necessary to depict the life of these colors on the canvas!”

Therefore, what is the conclusion?

The picture in painting began to be comprehended as a material thing in a real environment. Only paints are material, therefore, what will be depicted on a material thing (picture) is not so important (only paints are important), therefore artists refuse to depict anything other than paints on canvas. But how to understand the idea of ​​the artist? After all, the idea always comes first, and only then everything else ... And again an important understanding is put forward - a dialogue between the viewer and the artist. Let's remember the words: When you climb a ladder, it is not she who lifts you, but the effort that you make. After all, the staircase is our intellectual level, which cannot be expanded without effort. Think about it. The works of the avant-garde are not easy to understand, but this is what attracts them to themselves.

The picture ceases to depict any reality, it has become this reality itself. Therefore, we see a frame, a canvas, paints. “You see what you see” - The picture as a reality.

And now let's see the definition of abstractionism on the screen:

Abstractionism (lat. abstractio - removal, distraction) is a direction of non-figurative art that has abandoned the depiction of forms close to reality in painting and sculpture. One of the goals of abstractionism is to achieve “harmonization”, the creation of certain color combinations and geometric shapes in order to evoke various associations in the contemplator, although some paintings look like simple point in the middle of the canvas. Founders: Wassily Kandinsky, Kazimir Malevich, Natalia Goncharova, Mikhail Larionov.

On the screen is a painting by V. Kandinsky “Cow”.

Practical work “Dialogue between viewer and artist”. Table 1 is distributed with a symbolic-psychological dictionary, based on the work “On Spiritual Art” by V. Kandinsky

(The picture causes bewilderment, surprise with its incomprehensibility).

Now we will have to deal with such questions ourselves: “about what?”, And “how?”

But first, a little about the biography of the artist.

Wassily Vasilyevich Kandinsky (December 4 (16), 1866, Moscow - December 13, 1944, France) - an outstanding Russian painter, graphic artist and fine art theorist, one of the founders of abstractionism. He was one of the founders of the Blue Rider group, a Bauhaus teacher.

Born in Moscow, he received his basic musical and artistic education in Odessa when the family moved there in 1871. Parents assumed the profession of a lawyer for their son, Vasily Vasilyevich brilliantly graduated from the Faculty of Law of Moscow State University. At 30, he decided to become an artist; this happened under the influence of the Impressionist exhibition in Moscow in 1895 and the painting “Haystacks” by Claude Monet. In 1896 he moved to Munich, where he met the German Expressionists. After the outbreak of the First World War, he returned to Moscow, but, not agreeing with the attitude towards art in Soviet Russia, in 1921 he again left for Germany. In recent years he lives in France, in the suburbs of Paris.

One of important issues, which worried the artist: “What should the object be replaced with?”. The objective world in the works of the artist is still, to some extent, preserved. There is also always a certain through plot, such a small subtext that needs to be found. But the main thing in the works of the artist is his basic elements, which excite, according to the artist, “vibrations of the soul”. These are: the synthesis of paint, color, forms that are built according to the laws of composition, where objectivity (a person, a cloud, a tree) he called the real flavor of the composition.

Let's try to apply our keys - hints, first to the picture, where the pictorial element “Cow” is still preserved. Practical work “dialogue between the viewer and the artist” “The cow is considered together”.

Results at the end.

Conclusion: We need to sum up our work and answer the question of the lesson: “What kind of creative quest is characterized by painting at the turn of the 19th - 20th centuries”? Where did this creative quest begin?

The avant-garde direction in art begins with impressionism.

Post-impressionism, symbolism - a movement towards the beginning of the artists' comprehension of the invisible world.

Artists are beginning to be interested in the world of human emotions, fantasies, they create and express their own worlds of new reality on the canvas. Abstract paintings appear. A striking example of abstract painting is the painting of V. Kandinsky.

Practical work with the work “The Cow” by V. Kandinsky

At first it was said that all theories of your vision are accepted, do not be shy and afraid to say what is wrong. The canvases of V. Kandinsky, how many viewers, so many interpretations. Therefore, we, too, must definitely try.

“Cow".

• - White - Silence, silence, the beginning. But here, not pure white, white - pink. Color is characterized as the beginning of a new force, energy (connection with red).
• But there are still red-orange spots, which further emphasizes the first reasoning.
• Yellow - orange color - earthy, humane, active, healthy man(young woman).
• Above is dark blue. Causes a lot of controversy in the interpretation. They come to the conclusion - about human emotions - sadness, (“the girl is sad. The strip is yellow-orange, which means sadness will soon pass). There is a lot of sadness and longing in life.
• Green - peace, with the addition of yellow - sadness is replaced by the joy of youth, the energy of the future life
• The white color of clothes is a symbol of the beginning, rather a new life.
• Black color - death, after which life will come (girl in white).

In the distance, the white walls of buildings, similar to temples (small domes), or monasteries. The combination of black - blue and white, as submission to a single law: dying and rebirth. White color as a symbol of purity, infinity.

These images seem to grow out of a cow. The cow is the source of the law of life and rebirth.

At the end of the work, for comparison, I read out the interpretation of the painting, taken in the magazine Art, No. 1, 2010. The guys were happy with their work.

Music of the picture. White color - there are no sounds yet, but the orchestra is ready ... The tuba began to play quietly, with a growing drum rhythm. The cello and double bass enter. The flute plays slowly and sadly, the violin echoes it. A short pause, like a deep breath. The melody is repeated with slight changes, because “you cannot enter the river twice”...

“LANGUAGE OF COLOR” V. Kandinsky

The central position of Kandinsky's concept can be considered the statement about two factors that determine the psychological effect of color: "warmth-cold" and "lightness-darkness". As a result, several possible “sounds” of colors are born.
1. Attitude - yellow - blue. Yellow "moves" towards the viewer, and blue - away from him. Yellow, red orange - ideas of joy, celebration, wealth. If you add blue to yellow (make it colder, because blue is a cold color), the paint will turn greenish. Is born painful sensation of hypersensitivity(like an irritated person being interfered with). Intense yellow paint worries a person, pricks, affects the soul. If you cool yellow, then it affects to a fit of bright madness. The artist compares this color with the insane wastefulness of the colors of the last autumn. Yellow is earthy, it has no depth.

2. Blue. "Sky Paint" - call to the infinite. Movement from the person to the center. Deep blue - peace, lowered to black - sadness. Light blue - indifference, indifference.

Green - yellow and blue colors are paralyzed in it - peace: neither joy nor sadness, passive. If you add green yellow, green is getting younger , more fun. And, on the contrary, together with blue - seriousness, thoughtfulness. When lightening (adding white) or darkening (black), green “retains its elementary character of indifference and peace” (p. 48). White enhances the “indifference” aspect, while black enhances the “calm” aspect.

White for Kandinsky - a symbol of the world, where all colors, all material properties and substances have disappeared. This world stands so high above man that not a single sound comes from there. White is a great silence, a cold, endless wall, musical pause, temporary, but not permanent termination. This silence is not dead, but full of possibilities and can be understood as "nothing" that precedes beginning and birth.

The black- “nothing” without possibilities, dead nothing, eternal silence without future, complete pause and development. This is followed by the birth of a new world. Black is the end, an extinguished fire, something motionless, like a corpse, the silence of the body after death, the most soundless paint.

White clothes express pure joy and immaculate purity, while black clothes express the greatest, deepest sadness and death. White and black find (like yellow and blue) a balance between themselves in gray. It is also soundless and motionless paint. Kandinsky calls gray “ inconsolable stillness". Especially it concerns dark gray, which acts even more inconsolably and suffocatingly.

Red. Lively, vital, restless color. Expresses courageous maturity, strength, energy, determination, triumph, joy (especially light red)

Cinnabar - evenly flaming passion, self-confident strength, “flames” within itself. A color especially loved by the people. The deepening of red leads to a decrease in its activity. But there remains an inner incandescence, a premonition of future activity.

Violet. Painful sound, something extinguished and sad, and is associated with the sound of the bassoon and flute

Orange - severity of red.

And V. Kandinsky also compared color with the sound of musical instruments. Yellow color is the sound of the trumpet, light blue is the flute, dark blue is the cello, deep blue is the organ, green is the midtones of the violin; red - fanfare; Violet - bassoon and flute;

We can learn about ancient examples of Chinese painting only from archaeological excavations. Several examples of such drawings have survived to this day. Gu Kaizhi is also considered the founder of "guohua" (literally "national painting"). Later they began to depict drawings made on silk and paper. After the Cultural Revolution, there is a revival of Chinese painting. The years of the Cultural Revolution caused irreparable damage to Chinese painting. During the Qin and Han dynasties, fresco painting developed.

“White color as a symbol” - Topic: Is white color a symbol of light or sadness in Russian rituals? All colors are divided into "warm" and "cold", "heavy" and "light". We offered a stylish black dress and white. Purpose: The study of the symbolism of white in a mourning event. But why only white? Research work. Municipal educational institution MOU "Popovkinskaya secondary school". Life was presented by ancient people as a sequence of births and deaths.

"Classicism in art" - Historical conditions classicism. Portrait of Lopukhina. 1797. Classicism -. Spread of the ideas of the Enlightenment. Strengthening the state, absolute monarchy. The system of images: a clear division into unconditionally positive and negative characters. The poetic canons were formulated by N. Boileau (“Poetic Art”, 1674). Classical writers. It is necessary to turn to the eternal, unchanging (interest in antiquity as an exemplary standard). From ancient "imitation of nature" to "imitation of beautiful nature". Classicism. St. Petersburg: Kazan Cathedral. Rationalism (from the philosophy of the Enlightenment, R. Descartes).

"Abylkhan Kasteev" - In 1930, the first trip of Abylkhan Kasteev to Moscow took place. From the 1930s to the 1940s he worked on the creation of a large series of watercolors "Old and New Life", which reflect the artist's thoughts about the "leaving" past. Abylkhan Kasteev was awarded the title of Honored Art Worker of the Kazakh SSR. N.K. Krupskaya. In 1937 he was accepted as a member of the Union of Artists of the USSR. The artist died on November 2, 1973 in Alma-Ata.

"Artists of the 16th century" - The work was done by the students of the Lyceum No. 7 9 B of Khushvakhtov's class Guldasta Fedorova Kristina. Brueghel Peter. Content. Charles de Solier, Sir de Morret 1535, Gallery, Dresden. German painter, draftsman, engraver, art theorist. Cranach Lucas. Pieter Brueghel Tower of Babel, 1563 Kunsthistorisches Museum, Vienna. Lucca Madonna, 1430, Staedel Institute of Art, Frankfurt am Main. Durer Albrecht.

"The Development of Realism" - Party membership. Realism 18th century. Concreteness. Significant realist novels in the 18th century created: The principles of realism. Realism. critical realism. Principles of critical realism. As a rule, workers and peasants became the heroes of socialist realist works. A.S. Pushkin, L.N. Tolstoy, F.M. Dostoevsky, A.P. Chekhov. socialist realism. Realism in art. Lillo in France - Diderot in Germany - G. E. Lessing, young F. Schiller. The heroes of the works must be from the people.

Constructivism One of the styles is Constructivism, the Soviet avant-garde method in fine arts, architecture, photography and decorative and applied art, which was developed in 1920 in the first half of the 1930s. One of the styles is Constructivism - the Soviet avant-garde method in fine arts, architecture, photography and decorative and applied arts, which was developed in the 1920s and the first half of the 1930s.

Avant-gardism Avant-garde (fr. Avant-garde "vanguard") is a generalized name for the trends in European art that arose at the turn of the 19th and 20th centuries, expressed in a polemical-combat form. The avant-garde is characterized by an experimental approach to artistic creativity that goes beyond classical aesthetics, using original, innovative means of expression, emphasized by the symbolism of artistic images. Avant-garde (fr. Avant-garde "vanguard") is a generalized name for the trends in European art that arose at the turn of the 19th and 20th centuries, expressed in a polemical-combat form. The avant-garde is characterized by an experimental approach to artistic creativity that goes beyond classical aesthetics, using original, innovative means of expression, emphasized by the symbolism of artistic images. The concept of avant-garde is largely eclectical in its essence. This term refers to a number of schools and trends in art, sometimes having a diametrically opposed ideological basis. The concept of avant-garde is largely eclectical in its essence. This term refers to a number of schools and trends in art, sometimes having a diametrically opposed ideological basis.

Prerequisites The prerequisites for the emergence of avant-garde trends in the art and literature of Europe can be considered a general trend towards rethinking pan-European cultural property. The last third of the 19th century was characterized by the emergence of new philosophical works rethinking the moral and cultural aspects of civilization. The prerequisites for the emergence of avant-garde trends in the art and literature of Europe can be considered a general trend towards a rethinking of common European cultural values. The last third of the 19th century was characterized by the emergence of new philosophical works rethinking the moral and cultural aspects of civilization. In addition, the development of scientific and technological progress has only pushed mankind to change the perception of the values ​​of civilization, the place of man in nature and society, aesthetic and moral and ethical values. In addition, the development of scientific and technological progress has only pushed mankind to change the perception of the values ​​of civilization, the place of man in nature and society, aesthetic and moral and ethical values.

Russian music Music of the 20th century - general designation groups of trends in art of the late 19th and early 19th 20th century, in particular Modernism, acting under the motto of modernity, innovation. These currents also include Expressionism, Constructivism, Neoclassicism, as well as Dodecaphony, electronic music, etc. Music of the 20th century as a whole - a collective image Music of the 20th century - the general designation of a group of trends in the art of the late 19th and early 19th century. 20th century, in particular Modernism, acting under the motto of modernity, innovation. These currents also include Expressionism, Constructivism, Neoclassicism, as well as Dodecaphony, electronic music, etc. Music of the 20th century as a whole - a collective image

Representatives A striking representative of the modern theater is the Lenkom Theatre. Everyone knows this theater today - from Muscovites and visitors to inveterate theatergoers. Such a theater cannot be ignored, because it is a theater of stars. A prominent representative of modern theater is the Lenkom Theatre. Everyone knows this theater today - from Muscovites and visitors to inveterate theatergoers. Such a theater cannot be ignored, because it is a theater of stars.

Theater of the 20th century New theaters appeared in Moscow. It was there that Sergei Eisenstein, Sergei Yutkevich, Sergei Gerasimov, Tamara Makarova, Boris Barnet, Vladimir Mass and many other future prominent figures took their first stage steps. Soviet art. New theaters appeared in Moscow. It was there that Sergei Eisenstein, Sergei Yutkevich, Sergei Gerasimov, Tamara Makarova, Boris Barnet, Vladimir Mass and many other future outstanding figures of Soviet art took their first stage steps.

Cinematography Cinematography as an art form differs from others in its synthetic character. It synthesizes the aesthetic properties of literature, theater, fine arts, photography, music, achievements in optics, mechanics, chemistry, physiology. The popularity of cinema lies in its inherent combination and variety of expressive means. Cinema, which originated at the turn of the 19th and 20th centuries, arose under the influence of the needs of society to comprehend its history, life and activity, and developed in line with the culture of the 20th century, therefore its styles and trends correspond to the main styles of art of the 20th century. Cinematography as an art form differs from others in its synthetic character. It synthesizes the aesthetic properties of literature, theater, fine arts, photography, music, achievements in optics, mechanics, chemistry, physiology. The popularity of cinema lies in its inherent combination and variety of expressive means. Cinema, which originated at the turn of the 19th and 20th centuries, arose under the influence of the needs of society to comprehend its history, life and activity, and developed in line with the culture of the 20th century, therefore its styles and trends correspond to the main styles of art of the 20th century.

Outstanding representatives In the first decades after its inception, cinema as an art form only gained its popularity. In the 1920s, cinema became not only a popular and fashionable art form, but also a film industry: many film studios and a film distribution network were formed. At this time, the masterpieces of the early, as yet silent films were created - "Battleship Potemkin" by S. Eisenstein, "The Big Parade" by K Vidor with Ch. Chaplin, "Greed" by E. Stroheim. The work of directors D. Vertov, Y. Protazanov, L. Trauberg, V. Pudovkin, G. Kozintsev takes shape precisely at this time. The third decade of the 20th century enters the history of cinema as the beginning of the era of sound cinema, which makes it even more massive. The US dominates the global film industry. Commercial film adaptations of Broadway musicals were very popular during this period. But real works of art are also being created: "New Times" by Ch. Chaplin, "The Grapes of Wrath" by J. Ford, "Our Daily Bread" by K-Vidor. In the USSR, masterpieces of Russian cinema “Merry Fellows”, “Volga-Volga” and “Circus” by G. Aleksandrov, “Chapaev” by the Vasiliev brothers and others are released on the screens. In the first decades after its inception, cinema as an art form only gained its popularity. In the 1920s, cinema became not only a popular and fashionable art form, but also a film industry: many film studios and a film distribution network were formed. At this time, the masterpieces of the early, as yet silent films were created - "Battleship Potemkin" by S. Eisenstein, "The Big Parade" by K Vidor with Ch. Chaplin, "Greed" by E. Stroheim. The work of directors D. Vertov, Y. Protazanov, L. Trauberg, V. Pudovkin, G. Kozintsev takes shape precisely at this time. The third decade of the 20th century enters the history of cinema as the beginning of the era of sound cinema, which makes it even more massive. The US dominates the global film industry. Commercial film adaptations of Broadway musicals were very popular during this period. But real works of art are also being created: "New Times" by Ch. Chaplin, "The Grapes of Wrath" by J. Ford, "Our Daily Bread" by K-Vidor. In the USSR, masterpieces of Russian cinema "Jolly Fellows", "Volga-Volga" and "Circus" by G. Aleksandrov, "Chapaev" by the Vasiliev brothers and others are released on the screens.

Description of the presentation on individual slides:

1 slide

Description of the slide:

2 slide

Description of the slide:

At the beginning of the 20th century, before the eyes of an astonished public, a new art was born that could capture the imagination of the most sophisticated viewers and critics. A unique phenomenon in the history of world culture has become the Russian avant-garde, which today occupies an honorable place in the expositions of the largest museums in the world. Russian artists, who brilliantly mastered the traditions of French painting of Fauvism and Cubism, found their own way. Masters of the Russian avant-garde: Vasily Vasilievich Kandinsky (1866 - 1944) Kazimir Severinovich Malevich (1878 - 1935) Pavel Nikolayevich Filonov (1883 - 1941)

3 slide

Description of the slide:

Wassily Kandinsky The future artist was born in Moscow in 1866 in the family of a successful businessman. Soon after the birth of the artist, his family moved to Odessa, where the boy began to grow up and received his first lessons in painting and music. In 1885 he moved to Moscow and entered Moscow University. Pictures at that time did not interest him much, because he wanted to devote his life to the legal business. However, 10 years later, in 1895, he decides to quit this direction and plunges headlong into art. This was due to the exhibition at which the artist saw Monet's work "Haystack". By the way, at that time he was already 30. After arriving from abroad, the artist began to actively participate in public and educational activities, however, in 1921 Kandinsky V.V. I decided not to return to my homeland. This was due to significant disagreements with the authorities. However, even despite the forced departure, the artist until the end of his days kept in his heart love for the Russian people and culture, which he expressed on his canvases.

4 slide

Description of the slide:

5 slide

Description of the slide:

In the late 1920s, the artist moved to Murnau, a small town near Munich. Here, in the quiet of a rural outback, he creates one of his the best works- "Lake". The picture is written in the spirit of expressionism. Despite the fact that the canvas was actually created from nature, it has nothing to do with the real views of the lake. The painter rightly believed that his brush should capture not just individual objects, people, plants, but their aroma and taste, feelings and emotions. It is important not to show, but to make you feel and understand. When writing the picture, deep blues, oranges and even greens were used. A riot of colors extends everywhere where the human eye is enough. The lake occupies the entire canvas of the picture, on the right side of it you can see several small boats. Apparently, they belong to fishermen, or lovers of evening walks. The lake was painted at sunset, because its smooth surface is stained with the sun's rays. the picture is light, emotional, bewitching.

6 slide

Description of the slide:

7 slide

Description of the slide:

Written on the eve of World War I and the revolution, this painting is considered a variation on the theme of the Apocalypse. According to art historians, this particular composition represents the destruction of the world. Despite the apparent multicolor, the main contrast is clearly visible - between black and white. For Kandinsky, these colors symbolize birth and death, respectively. Thus, the composition embodies the struggle between light and darkness. White, spreading over the entire plan of the picture, triumphs over darkness, pushing it to the upper left corner, symbolizes development and transformation. The artist called the Flood the initial motive. Gradually, the original plot was dissolved in colors and moved to an internal, independent, purely pictorial state. In all the work of Kandinsky, as well as in this composition, there is no doubt a connection with the icon. As the basis for his canvases, he often used scenes from the Old and New Testaments. This picture, along with "Composition No. 7", conceived as an image of the whole world, the cosmos at the time of the catastrophe, is considered the pinnacle of Kandinsky's creative evolution.

8 slide

Description of the slide:

9 slide

Description of the slide:

Composition 7 You can look at the picture only from the position of Kandinsky's attitude to form and color - only in this case the composition acquires a huge deepest meaning. The dominant colors of the canvas is red - a symbol of strength, purposeful immense power; blue is the color of peace, and white is the personification of eternity, pre-primal being. Also in the work there is a yellow color, which the author has always characterized as frivolous and rapidly scattered. Art historians and researchers, based on diary entries and a study of Kandinsky's work as a whole, came to the conclusion that Composition VII combines several themes in its plot-emotional understanding at once - the Last Judgment, the Deluge, the Resurrection from the Dead and the Garden of Eden.

10 slide

Description of the slide:

11 slide

Description of the slide:

The painting "Dominant Curve" is one of the most striking and characteristic in the artist's work. It shows the influence of surrealism. Along with the geometric forms familiar to abstract art, Kandinsky introduces some bright biomorphic objects and images on this canvas. The artist believed that every work of art is a thing in itself that does not require the understanding of the audience, and, as if to confirm this idea, he endlessly experimented with form and color. The multi-colored "dominant curve" in this painting is done mostly in red and green paint. To the left of it are large yellow and green circles, which absolutely unexpectedly give something like a dark crimson hue at the connection. In the upper right corner are perfectly shaped black and white circles, reminiscent of gramophone records. In the lower right corner there is a blue-and-white cubical staircase. The remaining details of the picture seem to have a biological origin; pink and white roundness, similar to claws of crustaceans; two multi-colored formations resembling a human profile; black and dark green elements, in appearance - the stems and leaves of plants. The painting is currently in the Guggenheim Museum in New York.

12 slide

Description of the slide:

13 slide

Description of the slide:

The canvases of Kazimir Malevich are known to millions, but understandable to a few. Some of the artist's paintings frighten and annoy with their simplicity, others admire and fascinate with depth and secret meanings. Malevich created for a handful of the elect, but did not leave anyone indifferent. Kazimir Severinovich Malevich was born in 1879 in Kyiv. He came from a family of ethnic Poles. The family was big. Casimir was the eldest of 14 children. The family spoke only Polish, and communicated with neighbors in Ukrainian. In 1905 Malevich left for Moscow. He tried to enter the Moscow School of Painting, but he was not enrolled in the course. In 1906, he made a second attempt to enter the school, failed again and returned home. In 1907 the whole family moved to Moscow. Casimir began attending art classes. In 1910-1914, a period of recognition of Malevich's neo-primitivist work began. He took part in a large number of Moscow exhibitions (for example, "Jack of Diamonds"), exhibited in a Munich gallery.

14 slide

Description of the slide:

15 slide

Description of the slide:

The famous painting divided into two periods not only the life of the artist, but also the history art. On the one hand, it is not necessary to be a great artist to draw a black square on a white background. Yes, anyone can do it! But here's the mystery: The Black Square is the most famous painting in the world. Already 100 years have passed since its writing, and disputes and heated discussions do not stop. Why is this happening? What is the true meaning and value of Malevich's "Black Square"?

16 slide

Description of the slide:

1. The "Black Square" is a dark rectangle Let's start with the fact that the "Black Square" is not at all black and not at all square: none of the sides of the quadrangle is parallel to any of its other sides and none of the sides of the square frame that frames the picture . And the dark color is the result of mixing various colors, among which there was no black. It is believed that this was not the negligence of the author, but a principled position, the desire to create a dynamic, mobile form.

17 slide

Description of the slide:

2. "Black Square" is a failed painting For the futuristic exhibition "0.10", which opened in St. Petersburg on December 19, 1915, Malevich had to paint several paintings. Time was running out, and the artist either did not have time to complete the painting for the exhibition, or was not satisfied with the result and rashly smeared it over by drawing a black square. At that moment, one of his friends came into the studio and, seeing the picture, shouted: “Brilliant!” After that, Malevich decided to take the opportunity and came up with some higher meaning for his “Black Square”. Hence the effect of cracked paint on the surface. No mysticism, just the picture did not work out.

18 slide

Description of the slide:

3. "Black Square" is a multi-colored cube Kazimir Malevich repeatedly stated that the picture was created by him under the influence of the unconscious, some kind of "cosmic consciousness". Some argue that only the square in the "Black Square" is seen by people with an underdeveloped imagination. If, when considering this picture, you go beyond the traditional perception, beyond the visible, you will understand that in front of you is not a black square, but a multi-colored cube. The secret meaning embedded in the "Black Square" can then be formulated as follows: the world around us, only at the first, superficial, look looks flat and black and white. If a person perceives the world in volume and in all its colors, his life will change dramatically. Millions of people who, according to them, were instinctively attracted to this picture, subconsciously felt the volume and multicoloredness of the Black Square. Black color absorbs all other colors, so it is quite difficult to see a multi-colored cube in a black square. And to see white behind black, truth behind lies, life behind death is many times more difficult. But to those who succeed in doing this, a great philosophical formula will be revealed.

19 slide

Description of the slide:

At the same time, the "Black Circle" and "Black Cross" were created and exhibited at the same exhibition, representing the three main elements of the Suprematist system. Later, two more Suprematist squares were created - red and white.

20 slide

Description of the slide:

21 slide

Description of the slide:

As for the meaning of the picture, Xana Blank dared to compare the Suprematism of Kazimir Malevich and the work of Leo Tolstoy. In one of Tolstoy's stories, there is a description of a room where the protagonist is overcome by longing. The room looks like this. The walls of the room are whitewashed. The space itself had a square shape, which greatly influenced the person. There was only one window, on which they hung a red curtain. Thus, it is believed that the red square symbolizes longing. Previously, Malevich explained the meaning of his first Black Square. It consisted in the fact that the square was a kind of feeling for the author, and the white background acted as a void hiding behind this feeling. In this regard, Xana Blanc came to the conclusion that the painting "Red Square" symbolizes the fear of the imminent death and the fear of emptiness in a person's life.

22 slide

Description of the slide:

In 1916, he organized the Supremus society, where he promoted the ideas of moving away from cubism and futurism to suprematism. After the revolution, he, as they say, "fell into the stream" and began to deal a lot with the development of Soviet art. By this time, the artist had already lived in Petrograd, worked with V. Meyerhold and V. Mayakovsky, taught at the People's Art School, led by M. Chagall. Malevich created the UNOVIS society (many of Malevich's students faithfully followed him from Petrograd to Moscow and back) and even called his newborn daughter Una. In the 1920s he worked as director of various museums and institutes in Petrograd, conducted scientific and teaching work, exhibited in Berlin and Warsaw, opened several exhibitions in leading museums in Petrograd and Moscow, taught in Kyiv, where a workshop was opened especially for him.

23 slide

Description of the slide:

K.S.Malevich. Peasant woman. 1928 - 1932 State Russian Museum, St. Petersburg.

24 slide

Description of the slide:

Kazimir Malevich created Peasant Woman in 1928-1930s. He remained true to his traditions: voluminous geometric shapes of colorful shades, disproportionate parts of the body, a minimalistic background, people completely devoid of individuality. . The artist depicts his character with a black oval in place of the head, limp and powerless lowered hands, a white robe indicates that this is a woman. The figure stands on contrasting stripes of a colored field. Against the background, there are no other bodies: here the author also remained true to his style. However distinctive feature"Peasant woman" is the outline of her dress. Comparing a black and white woman with a general multicolor, one can testify that her image is gloomy. The picture symbolizes the way of life of the peasants - the working people. Their slave labor, endless worries and torment from a difficult life - that's what such canvases depict. Malevich depersonalizes his heroes, shows their mass character, sameness, insignificance and pettiness of human life.

25 slide

Description of the slide:

In 1930 Malevich was imprisoned. He was charged with spying for Germany. But the investigators and friends in the authorities did everything to ensure that the artist was released six months later. Few people know that in addition to the “Black Square”, there is also the “Black Circle” and “Black Triangle”, and the master rewrote the “Black Square” several times and only the last, fourth version, completely satisfied him. In the 30s he worked at the Russian Museum, exhibited a lot, but painted mostly portraits, although he was interested in architecture and sculpture. In 1933 he fell seriously ill and died in 1935. Buried near the village of Nemchinovka, where for a long time lived and worked.

26 slide

Description of the slide:

27 slide

Description of the slide:

The fate of Pavel Nikolayevich Filonov is truly dramatic. During his life, he did not sell any of his paintings, believing that everything he created should belong only to the people. Ten years before his death, impoverished and half-starved, the artist continued to paint without interruption. Misunderstood, rejected by his contemporaries, forgotten by some students, unable to exhibit, he still dreamed of transferring his paintings to the state. After the blockade of Leningrad began, Filonov was on duty in the attic, dropping incendiary bombs from the roof: he was very afraid that the paintings would die in the fire - that was all that he created in his entire life. According to the recollections of eyewitnesses, Filonov, wrapped in rags, stood for hours in the attic blown by all the winds and peered into the snow flying in the square of the window. He said: “As long as I stand here, the house and the paintings will remain intact. But I'm not wasting my time. I have so many ideas in my head." Filonov died of exhaustion at the very beginning of the blockade.