[Art-lover]

Сообщение от Guriev, Igor

Comrade Art Lover, I do not understand your phrase about the overgrown baobab abstract.

Which of the abstract may well not that close to deliver, but it is even remotely placed next to Matisse, Picasso, Emil Nolde, Braque?

Imagine for a moment that of museums, collections, art books, art disappeared from the memory of all signatures on the paintings - no names, no dates, no names. Evaporated as all artistic manifestos, there were only vague memories of the big areas - realism, abstract art. Themselves carried pictures of the temples of art to the warehouse, and mixed them without any order.
And now, after the repair and whitewash, it was decided to re-hang the picture, but not anyhow, with the analysis: that no one on the wall figurativizm not side by side with pointlessness. Complicated cases are also resolved to unravel the way: those pictures where the figures are more like a real - on the wall of the realists, others - to hang abstractionist.
Comrade Igor Gurieva, of course, included in the commission of hanging, and gave him a personal mission: to choose a wall for a dozen paintings - those shown below (remember that neither the pictures nor the memory are no names there ).

As soon as Genosse Sasha hangs Matisse, Picasso, Braque and Nolde on an abstract wall is becoming clearer to us why all of these tovarischi today peacefully divide the vast shadow of the notorious baobab with citizens abstraktistami:
- A modern "abstract" free passes from abstract forms to the object and back;
- The modern "realism" is widely practiced by the synthesis of figurative and non-figurative elements.

Consider, for example, the abstractionist work Gordon Howard Hodgkin, which - thanks to her - reminded yesterday LCR.
Demarcation line would in such cases carried out on living. Therefore, to the AI ​​without any complexes include semi-abstract work today or abstract works with explicit substantive associations.


On the first page of this topic is hanging text Ingarden, which implies that in the early 50-ies the conceptual fence between the subject and pointless actively dismantled. To tov.Gurevu not going to duplicate part of the text:

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in the structure of any paintings depicting as it contains some neizobrazhayuschaya pattern (most often, however, it is subject to other compositional characteristics, adapted to what the objects they depict and how.) As its essential component and that the value of this component is essential depends aesthetic value of the whole picture. Seen this particular component in the overall picture and give yourself the power of a peculiar aesthetic values ​​that the component enters - that's the main function of adequate perception of paintings as works of art - a function, without which, strictly speaking, no aesthetic perception of the painting. The fact that in certain patterns, namely, the paintings depict the aesthetic perception of the painting does not end there, no doubt, after an earlier analysis of multilayer patterns. There are paintings that his dual nature as abstract paintings and pictures depicting reveal particularly clearly: they can perceive, respective «read," two completely different ways, because they are not subjects of the image prevails over the whole complex is colored spots. I am reminded here of paintings by Jacques Villon, exposed to the Juvenile in 1956 in Venice (in the department of French painting). Through a system of relatively large single-color stains, limited among straight lines (color), he gets on the one hand, a purely abstract, neizobrazhayuschuyu picture that can be "read" as a multi-colored planar product, leading to the creation of a specific, arose on the basis of the image. And in another mounting position taken by the viewer, the picture at some time finds that these color patches (polygons) are the shape and relative position of that amount as if the reconstruction of the form (as if one kind of cracked, like glass, many explicitly delimited from each other by plane), through which emerges to some extent illusory, some images are subject: the landscape, disappearing into the picture of old streets and etc. Both of these "people" paintings, in this case is admissible, and they both create an aesthetically valuable qualities, and the possibility of concentrating the viewer or in one or the other "face" of the picture reveals the richness of these special works of art. I should say that this perception of paintings by Jacques Villon (in any case, it seemed to me) that a uniform system of color spots emerges barely looming landscape (Prof. Tatarkevich with which we saw an exhibition in Venice, in a conversation with me about the paintings Villon noticed that they appear only "suggestion" depicted the subject. In this view there is something close to the truth: This item is not imposed on us in his rough physicality, as is the case in the paintings of Rubens.), in no way depletes the whole in its values ​​contained in the selection of colors. In other words, a well-known specification of abstract paintings by Jacques Villon not deprive them of their dignity as abstract paintings. Perhaps because of this whole complex structure of paintings of "abstract" side of its values ​​prevail over "substantive" side. But even the "hint" to the image of the object in the product makes the product more crowded than a purely abstract paintings.
The Art of the XX century has put forward many different varieties of abstract painting and the different types of abstraction. I can not here to give them a lot of attention are limited, as before, only the fundamental questions of the structure pattern. But in general it would be interesting to analyze in detail "abstract" art of the XX century, based on the concepts and distinctions, received my research.

Will express here a few comments on that particular type of pictures that appeared in European painting by Picasso. Picasso paintings are of the type as an intermediate between the purely abstract painting, decorative painting, and finally imaging, multi-layered painting.
Namely, some elements of the painting will be exactly the same as in abstract painting, with particular emphasis decorative painting, while others are like fragments of images of objects (Such a fragmented image of the object is, in turn, some type of "abstract" is, of course, in a completely different meaning than when the "abstract" is the absence of images of objects.), but not manifested by one or another kind of sense, evolved into a whole picture as a special factor, and "painted" as if "right" in their pure subject components (if at all possible) (Such "direct" to draw some things in them some sort of purely substantive terms, with the smallest component of the facilitation of species seen in the pictures Taranchevskogo in which the emphasis lies on the harmony of colors and their mutual dynamics. Despite the fact that in his paintings as many subjects, the major compositional factor is, if I may say so, what is the essence of pure abstract art. This is especially noticeable when examined a series of several of his paintings with a very close subject-layers and with different color harmony, realized like in different colors. Unfortunately, monochrome prints do not give a clue about the real person, and specific values ​​of painting Taranchevskogo.). It's like a part of things, of course, necessarily brought before us in a simplified form, but that the perception of the viewer as though nothing remains of this species, but all his attention is directed to the very thing presented to us, however, only in some of its fragment. Species factor here is so dimmed that he, for example, often leads to the constitution of the depicted three-dimensional space in which these fragments were things. However, one can also say that they are in the plane of the picture, though, and lose much of its three-dimensionality. Due to its fragmentation, they encourage the viewer to imagine some thing (the whole), but it does not reach its vision in terms of visual (visual) perception by means of knowing some (reconstructed in the picture) species, as is the case in multi-scenes in which a layer of species is the primary vehicle of comprehension image of the object. Often in the film of this type serves many such subject fragments, pieces of some things, observed from different sides to encourage the viewer's imagination add up to one whole view of the same things in a way that we present it in conjunction with the various parties or in various phases of existence.

The viewer is not so much a spectator as a poet, creates itself in the imagination of some specific items, although it must be constantly at the same time look at the picture and see that it can be seen. In this case, will be patchy as an observer and the position of the perceived object - the painting. Here the picture takes place as if on the border between painting and literature, though very differently than in the case of paintings from a literary theme, which we analyzed earlier. For in such a picture it does not reach the display and "reification" of a life situation, and even before kvazichuvstvennogo presence of people and things involved in a constant situation. Despite this, the picture is by its very structure takes the viewer outside the picture itself, introducing it to the imaginary objects and giving them much greater freedom of imagination, than in the case of paintings with literary theme, which is after all the "distractions" from the audience it ultimately attracts its attention to themselves, and in particular to the situation presented in it. Picasso as a distraction from the viewer the picture itself is a new kind of "abstract" paintings, different from those discussed above.

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