Patterns in artmirozdanii.

[Chvedovski]

Exist and there are many communities and organizations in public life and in art, transformed and converted split, merging, combining and izmenyayas.Eti zakonomerny.Vozmem processes-for example, The World of Art - Art Association, formed in Russia in late 1890 - h.Gromko currently declared to organize "an exhibition of Russian and Finnish Artists" in 1898 at the Museum of the Central School of painting techniques of Baron Stieglitz. The exhibition was attended by 200 people, but the response was million.Klassichesky period in the life of union came in 1900-1904. - This time for a group of geniuses was characteristic of particular aesthetic and ideological unity of revolutionary principles. Artists exhibition staged under the auspices of "World of Art". Their motto was saying: "A work of art is not important in itself, but only as an expression of the personality of the creator." The mastermind behind the community was Leon Bakst Nikolayevich (real name - Chaim Leib Izrailevich or Lev Samoilovich Rosenberg, 1866-1924) - Russian artist, designer, book illustrator, a master of painting and theater schedules, one of the most prominent figures of the "World of Art "and the theatrical and artistic projects of Sergei Diaghilev, the main organizer and mentor Russian intellectuals. Active member of the group was Nicholas Roerich, izuchavsshy roots of Russian culture, and during World War II and the revolutionary upheavals painted and decorated cathedrals, churches, chapels, in which the Bolsheviks then constructed stables and armory. Pursuing historical research in the period of chaos and civil war Roerich draws material for metaphoric graphic language, enhances search in color, shape, and symbolic images, philosophizes and deals mystical practice. A little earlier in 1915, Nicholas Roerich makes a report to Emperor Nikolai II and Grand Duke Nicholas (Jr.) with a call to take serious measures to prevent the state of chaos in Russia. After the revolutionary events of 1917, Nicholas Roerich was going to exhibitions in Scandinavia. In 1919, he left out of the bloody events in Russia to London, hoping to go to India. Together with his wife comes into Madame Blavatsky founded the Theosophical Society. In the autumn of that year, at the invitation of Diaghilev draws in London Russian operas to music of Mussorgsky and Borodin submitted for survivors in civil spot the Laughing beloeminrantov.

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In America, Roerich earned a reputation as a seer, guru and opponent of the war, especially among wealthy people, who provided him with the means kolosalnye. By providing a means Roerich among other things founded the corporation "Belukha", which fought for the acquisition of mining concessions and land near Belukha mountain in south-western Altai. Were also based cultural and educational organizations. In November 1921, in New York opened Master Institute of United Arts, the main aim of which was the rapprochement of peoples across cultures and iskusstvo.V November 1923 opening of the New York Museum of Nicholas Roerich, which contains a large collection of paintings by Nicholas Roerich Russian hudozhnika.U as and his eldest son George after attending séances developed a negative attitude towards spiritualism, and world Roerich already has influence in the occult and spiritualistic "revelation," as some critics claim. N.Rerih himself did not consider himself a mystic (as well as some of his co-workers), assuming that the desire for "cognition subtle energy" is not mysticism, but a search istiny.Oba his son graduated from university at Harvard and became an artist and prominent public figures , prosvetitelyami.Syn Svyatoslav became an associate of the family business. At the heart of science interests of Svetoslav Roerich lay the philosophical understanding of nature as a whole, is inextricably linked to the most important space закономерностями.Каксказано in one of the books of Living Ethics, whose ideas have mastered Roarichs that truth in beauty - Cosmos establishes evolution on this formula, directs the world to mastering Beauty.
Great works are storehouses of enormous energies, which can activate and change millions of viewers, to influence countless generations through the message of beauty radiates from them. Untold aura of glory radiates great work - said Svyatoslav. - This is an emanation of the hidden vibrations fixed in the structure of the great works of art. Magic of feelings, thoughts, and strong desires of the great masters of captivity in the product is released by the viewer, and awakens in us a sense of similar responses in addition to clean energy and spiritual understanding of what they say. We respond to more advanced combinations and call them beautiful. Such is the extraordinary power of art, hidden power, always present and active in the great work. Beauty can not be created without a higher ideal. The destruction of this ideal - spiritual or aesthetic - leads to disfigurement of life, the death of its evolutionary core. Oh no! Look how beautiful, intelligent, talented people around! Look how beautiful the woman's face and the smile of a child! Check it out! .. It gives us joy. And with joy gives hope. In the artist is always a wish to merge with the web into one, enter in the space he creates with his own hands, physically feel the unity of the world's creation, dissolve in it, in the words of George Shishkin - Russian artist from Monaco.
Then the part of artists formed a group of "Jack of Diamonds" which included such artists as Kandinsky Bob and his companions Malevich Kazik, Sasha Exter-avangardistki and others, who then broke away from abstraction to cubism, futurism and supremacy. In 1914, Kandinsky in Munich meets with Russian artists: AG Jawlensky, MV Verevkina, VG Behteevym, Kardovsky, MVDobuzhinsky, Ivan Bilibin, K. . Petrov-Vodkin, Grabar. What is interesting is that one of the students of Leon Bakst was Marc Chagall, but in 1910 they severed relations and Chagall poshagal away, creating their own groups, societies and associations. Marc Chagall (born Moishe Segal) In 1911, Chagall for scholarships went to Paris. After his appointment as an authorized Commissioner for the Arts, the fall of 1923 at the invitation of Ambroise Vollard family Chagall went to Paris. In 1937 the Russian artist Marc Chagall received French citizenship. In 1941, the management of the Museum of Modern Art in New York, invites artists to move from Nazi-controlled France in the U.S., and in the summer of 1941 Chagall's family moved to New York. and later a committee Chagall.
Are hundreds of examples where communities are formed in the universe and break the structure of creative individuals. At first glance it seems random events, but when you look and analyze, we come to the conclusion that there is nothing spontaneous, even in art.
. To community can be a work of art, or could live, they should be able to absorb from the environment the energy that they need for this life. And it needs to create the conditions for the entities within etoih it easier and easier to come to equilibrium and peace, than in the environment browsers. That is, provided that the products and their huzhozhnikam lower hierarchical levels of significance, it is easier to live in communities, exhibitions, than outside in groups, government agencies and overseas. Then they, these anomalies are smaller hierarchies themselves will seek inside the relevant circles of experts and connoisseurs with the least for the creators of effort and cost, that is, to create the conditions for voluntary absorption of energy quanta and money.
All seek the place where it is easier to survive and establish themselves. The lower the cost of the more efficient and longer lived product. By the way, this condition ensures that this enduring phenomenon in the arts, elementary laziness - as a means of trying to save the mindless forces to maintain their own lives and the lives of community members. This is achieved by rotating the organization within the community with engaging in a significant persons of means, where everything that goes into a fund chooses its orbit budb own life-the idea, or a painting ..
And the fact that the very endeavor to get in to the interests of members and there is a flow of absorption, as the ability of the growth and development of culture.
The inner sphere of art associations, where there is a redistribution of cash flow in their orbits between the center and the community to find sustainable meytsenatov existence and those who create works, those who sell and those who collects them in the inner balance that allows all stakeholders to be (live) forms a sphere of uncertainty in their environment.
But the artists themselves can not rush around to organize the pictures, because they do not have such power, because many do not have stredstv and skills, but by groups, associations or associations may be.
Therefore the organization of the community (the center) future life products and their promotion is the responsibility of environment that can create it.
This is the necessary and sufficient natural ability and the duty of any cultural environment as a subject in its own self-preservation. This is what is called artificial reproduction.
And this is happening in the border area between the center of the community of the creators and the world of art lovers, there is everything that an artist can give a new idea in his works. Up until the creation of the opinion of the picture, around which starts forming novayaotvechayuschaya consumer demand atmosphere.
And it is possible to assign a name - the sphere of reproduction, although it is part of the scope of uncertainty cultural trends ..
A group or association of artists must bring new ideas by the possibility of their paintings to live independently and become outstanding, having the capacity and the ability to copy and reproduce.
Naturally, the union, as well as the artists themselves, can not reproduce the new trends and styles in the hierarchy of these communities, but only among beginners or new equal themselves. But it takes time. Since the provision of means of the cultural environment is a task and of itself and as a subject of the highest artistic hierarchy. To do this, it uses the same principles as any sufficiently independent, recognized and held artistic credibility.
And so it builds a hierarchical chain of cause-effect relationships of artistic life in the universe of art. >

[zarajara]

Chvedovski, You should have the text into paragraphs separated.


This brick completely unreadable.
>

[Pablo]

niasilil >

[Магнолия]

Сообщение от Chvedovski; 2481991"

And so it builds a hierarchical chain of cause -effect relationships of artistic life in the universe of art .

That is so, but not quite, The hierarchy chain of cause -effect relationships of artistic life.
You, dear , for some reason omitted facts and reasons N.Reriha remove at will "of philanthropic environment of America" ​​in the Himalayas, and the facts and reasons difficult litigation , enormous material and moral damage to property of the artist.
There are many other examples where the genius of suffering and dying from abuse is not only lower, but higher hierarchy . This is seen and expressed from ancient times legends ( Egypt and about his brother Dan) , poems ( begging for mercy ), and other forms of information .

In this case, thank you for your vision of a sufficiently high vantage point and frank expression of views on the division of human mass into hierarchical layers.