[Laura]

http://www.portal-slovo.ru/art/35852.php

Compliance with forms of art to its content
Language and the secrets of painting
Smirnov, VL
The role of parts

In modern society, a widespread false belief that can not be unambiguous understanding of art that the artwork is subject to varying interpretations that each epoch, and even each person can interpret a work of art in its own way.

One of the major tasks of this publication - to show that the great works of art allow only a single correct interpretation, corresponding to the artist. Here he writes about this German art historian Hans Zedlmayr:

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"in the belief that there is one and only one correct understanding of art, it is important not only for the history of art as a science. It is extremely important for our modern attitude to art in general. For only such an approach can" keep us from sinking in the confusion and chaos (W. Furtwängler). "1

"The whole progress of modern art history in the field of interpretation is based on the fact that there is one and only one correct interpretation. This can be demonstrated with the utmost clarity the example interpretations of individual works" 2.

If the viewer, the reader interprets that generates only one, even if the product is really present in the content side, it does not mean that there is no objective content, the only appropriate to the author.

Consider, for example, a picture of A. Magnasco "Bacchanalia" of Moscow's Pushkin Museum. Pushkin. If you focus only on the image itself bacchanalia, we can conclude that the artist wanted to express their negative attitude to drunkenness, revelry, low passions.

Evidence of this bad behavior pattern of characters, some of them deliberately depicted by the artist without the people. It is a sign of loss of human traits. Among the participants bacchanalia - goat-footed satyrs (characters lower passions), dogs (shameless characters).

Such an interpretation is possible, but superficial, does not meet the intent of the artist entirety. However, if you consider all the details of the picture of unity, reveals the true intent of the artist.

Attention is drawn to the fact that the action takes place against the backdrop of the majestic ruins of Roman buildings. And these ruins, and an orgy in their background together reveal a more profound idea of ​​the artist. Represented not just a pagan festival in honor of the god Bacchus, and the lifestyle of ancient Roman society, steeped in vice and debauchery, and representing a continuous orgy. This way of life and led to the destruction of the Roman Empire, and death.

More generally, the meaning of the picture can be expressed as: decline of morals lead any country to ruin.

At the same time the artist had in mind, and Italy the first third of the XVIII century. In Italy was devastating war of the Spanish Succession, the map of Italy were repeatedly changed, invaders (Spaniards, Austrians) establish excessive taxes, industry and agriculture have declined. Despite this, the aristocracy lived in luxury, spending huge sums on festivities and entertainment. Italy was overrun by hordes of beggars and vagrants, beggars, and hunted robbery.

The need to consider all components of the picture as a whole and Hans Zedlmayr writes:

"While the first consideration in the details themselves, in isolation, they give full play to the so-called individual approach interpreters. Do I see this place one way or another, whether the topic perceive more" lyrical "or" heroic ", more elevated, inspired, or logically more thorough, in reality it's just a matter of taste, and there is no authority that would solve it. however, is quite another thing when the details are discussed in unity with the whole to which they belong, when we perceive the world in which the artist put their individual motives and themes. if to look at these relationships, where one supports the causes are different, then the inner eye of beholder will, finally, more and more open "vision" of the whole, which initially led to an artist. Then and only if all the parts are suddenly the only proper place, proper function of a whole ... "3

Attention to detail is mandatory if you want to understand the conceptual design of the author, enter his world of thoughts, feelings, emotions and moods.

In general, anyone who really enjoys the art, one must know that the good work there is nothing superfluous, every detail thought out by the artist (and writer and poet in their works), put in place, all brooded over many, many times, so that every detail has its value.

The following words of Leo Tolstoy very well explain the significance of each part in a true work of art:

"No small change can not be neglected in the art, because sometimes some half-isolated button can illuminate a certain aspect of the life of the person. Button and be sure to portray. But it is necessary that all the effort and half-isolated Button was directed solely at the inner essence of things and not divert attention from the main and important to the particulars and trifles. "

And though Tolstoy in this case says about works of literature, his judgment applies to painting, and any other form of artistic creation: carefully considering the role and place of every detail in the written work of a writer, and painter, and sculptor, and composer.

Triptych GM Korzheva "Communists" very clearly shows the importance of understanding the design details for the artist. The central part of the triptych devoted to the events of 1905 and is called "Raising the flag." On the horizontal canvas large format (156 x 290 cm) is shown just one person, but composition of the painting is built so that only one detail thanks to the exhaustive opinion of Marxists is to the events of 1905.

Details indicate that the event is shown in the picture is one of the major industrial cities in Russia. This is evidenced by the door, and sewer systems, and crossing tram tracks and cobbled streets of the intersection (or the same part of the area), and finally, the hero of the picture - a worker, a representative of the proletariat.

It explains the details and then what event is depicted in the film. Uronennoe banner, dead bodies, heavily cut the frame of the canvas (body-bearer at the bottom and work, whose legs are visible at the upper edge of the canvas), angrily threatening facial expressions of the protagonist - all point to the fact that the protesters represented a clash with gendarmes who opened fire, demonstrations. Crowds of demonstrators we do not see, but a special compositional device, namely the cut frame shape slain, whose bodies are outside the picture, and going there, beyond the picture rails - expands the picture space and compels our imagination more fully recover the missing.

However, the main idea of ​​raising the banner of the picture is working. It shows the transition point: getting ready to get up off its knees, but still did not get up, ready to hoist the flag, but not yet picked up. And such a state worker expresses the idea of ​​the picture. Kneeling in front of anyone except God in prayer, it means to be humiliated and oppressed. In ancient times the guilty a punishment of children put on their knees. Serfs on his knees, begging for mercy of their masters. Marked depression of the proletariat and the format of the picture. Horizontally stretched canvas gives the impression of the press, crushing the worker and not allowing him to straighten up, get up off its knees. And he is just going to stand up and break down the narrow confines of the living conditions. He is ready for battle: talking about it the evil, hard and merciless eyes, clenched teeth, according to Russian custom, before the fight rolled up sleeves above the elbows. In this way of working collectively represented symbolically the proletariat as a class. Red Flag, which, like the baton from the hands of the deceased advanced fighter took over the business, means that the struggle is depicted not only the economic rights as understood by the political aims of the struggle.

The 1905 revolution was crushed by the government. The Bolsheviks led by Lenin attributed the defeat of the fact that the working class was still not ready to fight and acted without the peasants. This idea is expressed in the transition state picture of the hero: he began to act, but none of its action is not brought to an end.

The second part of a triptych called "The Internationale," and here we see the image the next stage of the struggle: the October Revolution and the Civil War.

Again, very simple, strict and very well thought out composition painting with strictly selected by "talking" parts. Actors have two: the soldier and worker, standing close behind each other and constitute an inseparable unity.

The appearance of a soldier in the film means that the working class joined in the fight against the peasants and the army, which was in Russia of the peasants, constituting nearly the whole population. A dead man depicted in the upper right corner of the painting indicates that the Navy and joined the revolution.

Both paintings are a hero to his full height. Before us is convinced the men realized the ideal of the revolution, has long risen from his knees and razognuvshie "bent back" as sung about in "Dubinushka." Execution of the "Internationale" trumpeter indicates the global sweep of the revolution, wrote M. Svetlov:

To land in Grenada
Farmers pay.

Bearer - working, as the fight is headed by the working class. On the banner is clearly visible word division. And this military divisional flag in the hands of the worker, and standing face to the audience of soldiers, trumpeter with the five-pointed star on the cap means that the struggle is not spontaneous, that the rebellious people organized in military units, and thus direct the events, and they are developing according to plan. Finally, scorching the earth and shells underfoot characters in the movie, type of themselves and their behavior, fallen soldiers around them - all testify to the boundless strength and brutality of the fight to the finish.

The name of the final part of the triptych - "Homer (Working studio)." In this painting the artist has provided us with the Red Army, which immediately after the Civil War (he still wears a military uniform) in a working art studio sculpts the bust of Homer in the ancient pattern.

The military uniforms marching hero logically, conceptually connects the third part of a triptych with the previous two, putting the series hero's picture on a par with the standard-bearer, holding the banner of the division, and especially with the trumpet. The symbolic meaning of his work is in a working studio. It indicates, in the name of which was a fierce struggle, in the name of which had been the victim, namely, for the sake of releasing the creative energy of the masses. So no wonder the studio is a bust of Homer: he embodies the creative spirit of the people of ancient Greece, as it is believed that the blind poet and singer, came from the people, and was wandering storyteller of historical folk tales, and later collected together and formed the "Iliad" and "Odyssey" .

Judging by the fact that this soldier is not in the studio shirt and leather jacket, he and the Red Army was not an ordinary soldier, and appears to the Commissioner, that is, ideological worker, or one of the "engineers of human souls", as later Stalin called the new Soviet creative intelligentsia, designed to build on the instructions of the party of the toiling masses of the new breed of people. And this thought is expressed metaphorically in this picture: back from the fronts of the civil war to peaceful constructive life-Commissioner studiets sculpts from formless clay creative person.

So, GM Korzhev in its most talented triptych in the language of well-conceived and skillfully selected parts glorified communist ideology, but it is, unfortunately, a large, although the only drawback of the triptych. A false idea of ​​reducing the interest viewers, readers of a work of art, and thus weakened his aesthetic and moral impact on society. But no matter how varied the attitude of society to the communist ideology, the triptych Korzheva "Communists" will remain one of the best achievements of Russian painting of the second half of XX century.

I hope disassembled pictures prove conclusively that the product is not in a highly random, meaningless objects, parts, that every detail, from the format of the picture, is the expression of the artist's intention.

Recall that Chekhov said about the inadmissibility of odds and ends: if, he said, in describing the study said that a gun hanging on the wall, it will at some point have to shoot. Otherwise, there is no need of it and mention it.

Here's another example from the literature. Pay attention to expressive detail of Ivan Turgenev's novel "Fathers and Sons". At the beginning of the novel is such an episode.

Two friends, Arkady Kirsanov and Yevgeny Bazarov, after the St. Petersburg State University came in Marino - Kirsanovs estate. At the nearest postal station they were met by the owner of the estate and his father Arkady Kirsanov Nikolai Petrovich, who, after a joyful meeting, presented his son's best friend. As we drove on in Marino, Arkady, leaving the other one in the carriage in which they arrived, he moved into the carriage of his father. And so it went to the Marina, father and son in a carriage, happily excited long-awaited meeting, while Bazarov alone - in the other.

Everything is so natural in this scene, meeting the characters and their grafting, only when thinking of the novel, with its repeated re-reading it becomes clear symbolic meaning of the episode: he is at the very beginning steps to the author determines the end of the novel, its ending. Indeed, developments in the novel is constantly showing us how to consistently disagree friends views on life and how Arkady, spiritually moving away from each other, moving closer to her father, finally becoming an educated landowner, and the remaining single Bazarov, infected, die. In short, the development of events in the novel shows how to Arkady the course of action has been steadily transplanted to "coach" his father, leaving the other. "Shotgun", which appeared at the beginning of the novel, fired.

Thus, all the form elements of art are the expression of thoughts of the author, conceived by the author creates an impact on the viewer, reader or listener.

Notes:

A. Hans Zedlmayr. "The Art and Truth: The Theory and Method of Art History." Published by Andrew heirs. Translated from German by JN Popov. V. Epilogue Bibihin. - St. Petersburg.: Ahioma, 2000 (Classical Art). Pp. 155.

Two. Hans Zedlmayr. "The Art and Truth: The Theory and Method of Art History." Published by Andrew heirs. Translated from German by JN Popov. V. Epilogue Bibihin. - St. Petersburg.: Ahioma, 2000 (Classical Art). Pp. 158.

Three. Hans Zedlmayr. "The Art and Truth: The Theory and Method of Art History." Published by Andrew heirs. Translated from German by N. Popov. V. Epilogue Bibihin. - St. Petersburg.: Ahioma, 2000 (Classical Art). Pp. 156.