STYLES OF ART
Posted 06-12-2013 at 19:11 by Gnesterov
Edited by Darlene
STYLES OF ART
The world is entering a new era that will be marked by a great mood change*. Societies are always changing but this impending change will affect all aspects of global life. One symptom of the shift is the global economic crisis. It is a clear indication pointing to the necessity that our way of life and how our society develops must change. The upheaval will be encountered synchronously in the spheres of economy, art, philosophy, science, ethics and politics. The process must be understood as a natural course in history that is objective and will possess enormous power. It makes no difference if people and society prepare themselves for the change, all life be swept by its magnitude. Nevertheless, it must be understood that both law and periodicity of changes predict this development and help us to define its direction.
The person who prepares himself for the sweeping change by researching a plan of action and mapping out the direction of events will be better able to ride out the storm. Observing the past three hundred years of history and how we got to where we are now will facilitate the plan of action.
The 18th century was an epoch of education, rationalism and atheism. It was a period marked by criticism of the aristocratic society with a negative attitude to the past, to the theory of equality with freedom and the independence of a person. It was followed by reorganization of a society, of revolution and social cataclysms.
The ideas of the 19th century were a reaction of disappointment in rationalism and all the sketchiness of the 18th century. In the 19th century, the ideas of integrity, of the unity of man with God, and the cosmos were put forward along with the ideas of beauty and harmony of nature. It became acknowledged that man should accept the world as it is, as it was created by the Maker and those ideas of beauty and harmony, of integrity and unity could not be apprehended by old rational thinking, or just the brain. However, though the sensory principle of life perception was put forward, the rational origin could not be completely removed from practical life. It was moved from its main position of the 18th century to a background position in the later century. An example of the relationship of the two is seen in the conflict between romanticism and classicism. In the 19th century, they were built on a sensory, tangible basis.
Nobleness, aristocratism of spirit, understanding, geniality and, compassion are not conceivable without the leading of human sensitivity. Art must be addressed not merely to the intellect of man but to his heart creating an immediate response of feeling. The response can be with deep sighs of melancholy to buoyant joy and enlightenment. It will react with spontaneous tears or sobs or in delight and ecstasy.
Reverence, gentleness and centrality of thought are qualities of the divine nature of the Creator God and are characteristics reflectively seen in the highest and best works of geniuses in recorded history. All rarities of human culture are imbrued with these character qualities.
But man is a conflicting being! We see this as the mood begins to swing as society approaches the 20th century. Notes of discord sound from bright and talented people who tire of societal uniformity and predictability. They want to be original and independent of conformity in thought and behavior to their society, to the world and to God.
The desire for self-determination and freedom from societal norms, of a governing world and God in general sets the temperament of the second great social shift. With the arrival of the 20th century, opposition to past ideas is pervasive and the fashionable freedom is a redefinition of the previous one. Its context is in escape or liberation. It is perceived as refusing and fleeing rather than embracing. An example of this perceptual conflict of the two views of freedom is that the 20th century would say, “I have the freedom not to do that” and the other would say, “I have the freedom to do that. One perceives freedom as the opportunity to resist and the other perceives it as an opportunity to embrace. The earlier generation was characterized with a freedom to love, to do what is right, (decent, fair, true) and freedom to be a citizen, a believer, a law-abiding person, etc. The later generation defined freedom as being free from these attributes of responsibilities.
And if earlier, in the 19th century, the line of conduct was defined with feeling and heart and with a positive character, the new 20th century was born with negative reactions and man’s line of conduct was defined with hardness. He was questioning and tendentious with his own viewpoint. The 20th century man opposed all things reverenced in the 19th century and all previous centuries.
A radical restructuring of society began. There was a passion to raze the “old world” to the ground. The tearing down was the starting point of the building up of a new world.
(Galena, modern or modernist may need to be changed for clearer English understanding) Modernist and vanguard art came into existence; it leaned toward abstract form and conditional character and away from actuality. The movement was steady in its departure of the tangible world leaving behind the study and appreciation of the created world to quite a different abstract imagination.
This speculative, unreal art form offers unique opportunities, for example, the breaking off the whole into parts and manipulating them easily and freely. It creates, rearranges or destroys by arbitrary rules. The realities of truth, faith, fidelity, harmony, love and beauty are nonessentials because they are components of corporeality and obsolete.
Breaking an image up into geometric lines were attributes of the new art. Techniques of children’s creativity and primitive art (a black sculpture, etc.) were actively used. Artists often refuse to depict substance in its natural form but instead creatively replace them with another form, examples would be an image replaced with a word, a blank canvas or an empty can representing an idea. If there was reality in a picture, it was chopped into parts and exhibited in the form of a collage or it was so deformed that its natural perception in reality was obliterated.
It became the fad for museums and performances to replace classical art forms with the bizarre and egregious. Examples of this were museums showing debased documentary films of a rubbish heap. The response of the public to the discordant perceptions was a view of life as absurd, fictitious and primitive. Society as a whole was directed to consumer happiness and cheap popularity for fulfillment. A sense of depression marked the cultural mood.
This third cultural shift has been resigned to the past and we are facing the next great wave of change. Indeed, much has already changed! We find ourselves in a world that has changed in social structure and in how we measure quality. We have attained much success in our strivings.
But these successes were not achieved without paying a high price. To achieve our successes we compromised the proper concepts of life and of unity. We refused the true concept of wholeness and God. Man belongs to the world and to humanity and is not a separate entity. He cannot exist alone. It is forgotten that man has a soul and can embrace the creation around him. It was arranged naturally and harmoniously. It has been forgotten that in this world there is love, kindness and beauty.
In the fluctuating development of mankind, there are no sharp borders of separation but it gradates in its change from the past to the future. With hope and belief, we look ahead, accepting the present challenges without forgetting the past.
Some tendencies of the current era:
1. Submission of reason to feeling and the heart of man
2. Acceptance of reality
3. Recognition of the depth and mystery of the world.
4. Structure and form (or the body of man) is not the most important; rather its importance is in containing the soul and communicating the soul.
5. The truth in sensitivity, sincerity, compassion and humanity
6. Culture, skill, quality of painting
Gregory Nesterov
* G. Nesterov " The hours of History or" The autumn "of Mankind " ( 2011 ) (All rights reserved quoting with attribution ) .
www.art-fakt.comgnesterof@yandex.ru gnesterov.blog.tut.by KulturArt
STYLES OF ART
The world is entering a new era that will be marked by a great mood change*. Societies are always changing but this impending change will affect all aspects of global life. One symptom of the shift is the global economic crisis. It is a clear indication pointing to the necessity that our way of life and how our society develops must change. The upheaval will be encountered synchronously in the spheres of economy, art, philosophy, science, ethics and politics. The process must be understood as a natural course in history that is objective and will possess enormous power. It makes no difference if people and society prepare themselves for the change, all life be swept by its magnitude. Nevertheless, it must be understood that both law and periodicity of changes predict this development and help us to define its direction.
The person who prepares himself for the sweeping change by researching a plan of action and mapping out the direction of events will be better able to ride out the storm. Observing the past three hundred years of history and how we got to where we are now will facilitate the plan of action.
The 18th century was an epoch of education, rationalism and atheism. It was a period marked by criticism of the aristocratic society with a negative attitude to the past, to the theory of equality with freedom and the independence of a person. It was followed by reorganization of a society, of revolution and social cataclysms.
The ideas of the 19th century were a reaction of disappointment in rationalism and all the sketchiness of the 18th century. In the 19th century, the ideas of integrity, of the unity of man with God, and the cosmos were put forward along with the ideas of beauty and harmony of nature. It became acknowledged that man should accept the world as it is, as it was created by the Maker and those ideas of beauty and harmony, of integrity and unity could not be apprehended by old rational thinking, or just the brain. However, though the sensory principle of life perception was put forward, the rational origin could not be completely removed from practical life. It was moved from its main position of the 18th century to a background position in the later century. An example of the relationship of the two is seen in the conflict between romanticism and classicism. In the 19th century, they were built on a sensory, tangible basis.
Nobleness, aristocratism of spirit, understanding, geniality and, compassion are not conceivable without the leading of human sensitivity. Art must be addressed not merely to the intellect of man but to his heart creating an immediate response of feeling. The response can be with deep sighs of melancholy to buoyant joy and enlightenment. It will react with spontaneous tears or sobs or in delight and ecstasy.
Reverence, gentleness and centrality of thought are qualities of the divine nature of the Creator God and are characteristics reflectively seen in the highest and best works of geniuses in recorded history. All rarities of human culture are imbrued with these character qualities.
But man is a conflicting being! We see this as the mood begins to swing as society approaches the 20th century. Notes of discord sound from bright and talented people who tire of societal uniformity and predictability. They want to be original and independent of conformity in thought and behavior to their society, to the world and to God.
The desire for self-determination and freedom from societal norms, of a governing world and God in general sets the temperament of the second great social shift. With the arrival of the 20th century, opposition to past ideas is pervasive and the fashionable freedom is a redefinition of the previous one. Its context is in escape or liberation. It is perceived as refusing and fleeing rather than embracing. An example of this perceptual conflict of the two views of freedom is that the 20th century would say, “I have the freedom not to do that” and the other would say, “I have the freedom to do that. One perceives freedom as the opportunity to resist and the other perceives it as an opportunity to embrace. The earlier generation was characterized with a freedom to love, to do what is right, (decent, fair, true) and freedom to be a citizen, a believer, a law-abiding person, etc. The later generation defined freedom as being free from these attributes of responsibilities.
And if earlier, in the 19th century, the line of conduct was defined with feeling and heart and with a positive character, the new 20th century was born with negative reactions and man’s line of conduct was defined with hardness. He was questioning and tendentious with his own viewpoint. The 20th century man opposed all things reverenced in the 19th century and all previous centuries.
A radical restructuring of society began. There was a passion to raze the “old world” to the ground. The tearing down was the starting point of the building up of a new world.
(Galena, modern or modernist may need to be changed for clearer English understanding) Modernist and vanguard art came into existence; it leaned toward abstract form and conditional character and away from actuality. The movement was steady in its departure of the tangible world leaving behind the study and appreciation of the created world to quite a different abstract imagination.
This speculative, unreal art form offers unique opportunities, for example, the breaking off the whole into parts and manipulating them easily and freely. It creates, rearranges or destroys by arbitrary rules. The realities of truth, faith, fidelity, harmony, love and beauty are nonessentials because they are components of corporeality and obsolete.
Breaking an image up into geometric lines were attributes of the new art. Techniques of children’s creativity and primitive art (a black sculpture, etc.) were actively used. Artists often refuse to depict substance in its natural form but instead creatively replace them with another form, examples would be an image replaced with a word, a blank canvas or an empty can representing an idea. If there was reality in a picture, it was chopped into parts and exhibited in the form of a collage or it was so deformed that its natural perception in reality was obliterated.
It became the fad for museums and performances to replace classical art forms with the bizarre and egregious. Examples of this were museums showing debased documentary films of a rubbish heap. The response of the public to the discordant perceptions was a view of life as absurd, fictitious and primitive. Society as a whole was directed to consumer happiness and cheap popularity for fulfillment. A sense of depression marked the cultural mood.
This third cultural shift has been resigned to the past and we are facing the next great wave of change. Indeed, much has already changed! We find ourselves in a world that has changed in social structure and in how we measure quality. We have attained much success in our strivings.
But these successes were not achieved without paying a high price. To achieve our successes we compromised the proper concepts of life and of unity. We refused the true concept of wholeness and God. Man belongs to the world and to humanity and is not a separate entity. He cannot exist alone. It is forgotten that man has a soul and can embrace the creation around him. It was arranged naturally and harmoniously. It has been forgotten that in this world there is love, kindness and beauty.
In the fluctuating development of mankind, there are no sharp borders of separation but it gradates in its change from the past to the future. With hope and belief, we look ahead, accepting the present challenges without forgetting the past.
Some tendencies of the current era:
1. Submission of reason to feeling and the heart of man
2. Acceptance of reality
3. Recognition of the depth and mystery of the world.
4. Structure and form (or the body of man) is not the most important; rather its importance is in containing the soul and communicating the soul.
5. The truth in sensitivity, sincerity, compassion and humanity
6. Culture, skill, quality of painting
Gregory Nesterov
* G. Nesterov " The hours of History or" The autumn "of Mankind " ( 2011 ) (All rights reserved quoting with attribution ) .
www.art-fakt.comgnesterof@yandex.ru gnesterov.blog.tut.by KulturArt
Total Comments 0
