Unfortunately, we have the form and content - is, as they say in Odessa "are two big differences."
I therefore start with the piece.
I can not continue ...
Shem!
To no longer bring to the bloodshed, I still decided podkorotit "rough language" of our art, and left the arguments of Malevich and Mondrian - a bit too interesting comparison.
Everybody can read the entire story.
Thus, continued:
1914 to Mondrian becomes crucial in addition neoplastitsizma. His cubist works 1913 - 1914's border with pointlessness, leaving the reality of the basic philosophical concept. The diaries record Mondrian appear on the equivalence of reality and abstraction. Theosophical doctrine of vertical and horizontal, as articulated by Blavatsky and Shunmekerom finds expression primarily in the selectivity of the objects of reality. Criterion plot targeting becomes Mondrian line fragment of nature with the vertical-horizontal axes. Ratio of vertical and horizontal gains importance of the universal law of being, the physical laws of interaction of objects and phenomena are filled with metaphysical meaning of the triumph of harmony over chaos. Shunmeker wrote: "The two main opposition, which built the existence of the Earth and everything that is on earth - is a horizontal line energy, ie the Earth's orbit around the Sun and vertical movement (...) rays originating in the core of the Sun. (...) Opposites are different aspects of the unity of reality. Moreover, they find reality only in their relationships. ".
Mondrian, projecting the theosophical theory to concrete nature, says: "Watching the sea, sky, stars and trees, I realized that I could express their plastic function through a series of vertical and horizontal intersecting lines.
Understanding the community as the essence of Mondrian lead to a new plastic interpretation of the archetypes. The boundary between the concepts of the phenomenon and its fragment erased part of a real object can be viewed in the same proportion with the object in which the object is with the universe. The artist writes: "Universal must be sought not in the nature as such, but in the relations that exist in nature."
Facades, succeeding in 1913 - 1914's chapel and a mill of previous years - it is like the same architecture, but to take close-ups. The image of architecture in the area is losing relevance to Mondrian, as any piece of architecture comprises plastic laws of proportionality inherent in the whole. Thus arises the idea of infinity, the openness of the space, later he developed in the works of classical neoplastitsizma. Extending semantic fullness of the image is achieved by narrowing the object. A series of nearly abstract landscapes with one and it is called "Mole and the ocean varies relations verticals and horizontals in the space of art as well as in their forms. Vertical and horizontal lines alternate, and obeying the law relationships opposites, contracted in the center of the composition, forming a cross as a sign of unity. At the same time in 1914, appear numbered tracks, the confluence of the category of macro-and microcosm, of abstraction and reality. Mondrian comes close to the concept of the universe. It is characteristic that not only Mondrian, but later other neoplastiki create abstract versions of their figurative works (Duisburg, Van der Leck), thus confirming, incidentally, the idea of Mondrian that "figurative art today is the result of the figurative art of the past , while the non-figurative art - art is a product figuraivnogo modernity. "
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Mondrian experiments with color focused on finding a color structure to adequately express the concept of form. Most common black and white, pink, blue and yellow. Colors still exist separately from the linear-plastic construction, not engaging with her in a contradiction, but it is not combined into a single system. This discovery was destined to happen later. In 1917 at the Mondrian compositions appear with colored rectangles and squares, at the turn of 1917 - 1918 geometric shapes get a black stroke, ie, in other words, the final shape concept neoplasitsizma.
In 1915 Malevich exhibited his "Black Square". The question of priority open geometric formula of the universe in this context is not the salt is important. The phenomena of Suprematism and neoplastitsizma were prepared throughout the history of human thought, from ancient philosophers to the thinkers of the early twentieth century. Suprematism and neplastitsizm formed in parallel and completely apart, with similar sources.
As Suprematism and neplastitsizm have a dual nature, combining artistic and ethical postulates. Along with paintings by Malevich and Mondrian created a theoretical program, manifestos, setting out in their artistic and philosophical doctrine. The fundamental difference between systems of Malevich and Mondrian is the diametric opposite of the philosophical methods of correlation and the plastic started. These methods can be defined as extraversion and introversion of Malevich in Mondrian. Malevich created an ideal system of art and design based on it "new pictorial reality, the existing sovereign and equal value of empirical reality. "The whole world is built with the aesthetic of the action, Pattern: - feather, every piece of ornamental carved, built, and assembled an entire century."
Mondrian displays the formula for an ideal universe, and subjects him to work, considering the art tool for expressing the unity of reality through pure forms. In this case, the semantics of the concept of the reality of both artists is almost identical: they both insist on a complete break with the reality of the physical, ie with the kind of matter, contrasting it to a metaphysical reality - the spiritual.
Malevich: "An artist can be a creator, when the shape of his paintings have nothing to do with nature (...) And the art - is the ability to create a design, does not derive from the relationship of shapes and colors and not on the basis of aesthetic taste beautiful compositions construction - but on the basis of weight , velocity and direction of movement (...) We must give shape to life and right to individual existence. "
Mondrian: The Art of the above reality and has no direct relation to it. (...) For CSOs to reach the spiritual in art, reality is not needed because it is opposed to the spiritual. Thus, we can find a logical explanation for the use of elementary forms. These forms constitute the essence of abstract art. "
Malevich and Mondrian believed to ultimate reality creation of the mind (Malevich clarifies this statement, spreading the concept of "utilitarian" and "intuitive" reason). In the definitions of Malevich and Mondrian ultimate reality there is another similar postulate. In both programs are turning to the theme of opposites, dissonance.
But the ways of artistic interpretation of dissonance in Suprematism and neoplastitsizme different. Mondrian seeking means of painting to convey the state of equilibrium, giving it the value of the archetype of the universe. "An abstract plastitsizm represents the initial ratio (opposites - TG) exactly the way through two lines forming a right angle. This relationship embodies the highest balance since it expresses the perfect harmony of opposites relations and contains all other relations. "
Malevich believed the fundamental law of dynamics of art, therefore, the reality of Suprematism interpreted them as a living organism, dynamic and ever-changing. "... Inventing new, we can not establish the eternal beauty ... Nature does not want eternal beauty, and therefore change the form and prints out a modern and new ..."
Philosophical basis of Suprematism and neoplastitsizma defines semantic fullness picturesque plastic means. Artistic equivalent of the higher reality - form, color and composition - are endowed with features elements of the universe, and their aesthetic value is disclosed in a system of philosophical categories, where the primary role played by the category of infinity as an essential attribute of the concept of the universe. For Malevich is infinite dynamic state space and color, to Mondrian - infinity of the law of universal equilibrium.
Each suprematic canvas Malevich is a model of perpetual movement Suprematist forms in space "a new pictorial reality." Laws governing the movement of colors and shapes, their relationships, every time different. The principle of pulse of ever-changing world is realized not only in dynamics, but also in the infinite variability of the models themselves. However, speculative model, as envisioned by Malevich, has become the equivalent of reality, an abstract space to become a thumb. Malevich wrote: "... the construction of pictorial forms system is necessary for their construction, the law of structural relationships of forms. Once the line up any construction, it will express a new physical output and objectivity will be along with all world beautiful plants. " Such a system is put a module that defines the coordination of all its elements. Such a module becomes a black square on a white background. Forms, connecting to the system, acquire the properties of reality and come to life. "Life Forms" in the program Malevich - not a literary turn, this notion is endowed with specific meaning.
The orientation of the movement and color in the theory and practice of Suprematism confirms the idea that the basis of its genesis are Impressionism and kubofuturizm. Neoplastitsizm by virtue of his spiritualistic and Cubist origin, has a passion and focus.
Mondrian, understanding the ultimate reality as the perfect balance shall subject to this idea the plastic and pictorial elements of his system: "a) in the plastic arts, reality can be expressed only through the balance of dynamic movement of form and color, b) the net funds provide the most effective way to achieve this goal" .
If the artistic credo of Malevich is beautiful plane, Mondrian takes as its basis a linear system. Geometric figures, obtained by crossing vertical and horizontal lines are arbitrary value: the only law governing the formation of forms - the principle of the right angle. Movement finds a balance, but not into a state of absolute rest, - a movement with constant speed and power, infinite and uniform. For Mondrian notion of movement lies in the rhythm. Rhythmic relationships of shapes and colors based on the principle of mutual neutralization: no longer shaded plane is balanced by a little color. The color is included in the architectural system, the connection of color with form creates a new concept - the intensity of the form. Self-valuable color rhythm also subject to the law equinox and neutralization - the primary colors (red, blue, yellow) are balanced by "Netsvetov" (black, white and gray). "The symmetry must be excluded" - writes Mondrian. Mutual plastic and color compensation elements of the painting creates a constant balance, symmetry and avoiding answering one of the most important principles neooplasitsizma - the obligatory presence of opposites. "Dualism is opposed to elements of the plastic means as necessary in the composition."
As well as Malevich, Mondrian understands the track, not as a way of organizing the canvas, as well as a perfect formula for expressing the ultimate reality. This image is the archetype of the ultimate reality perceived by the Mondrian in the parameters of harmony, balance and infinity. Malevich creates an image of infinity as a fragment, snatched from the variety of forms of higher reality, Mondrian displays a formula for endless demonstrates the universal principle of expression. Mondrian canvases are an open-loop system, where the lines and color planes may be extended beyond the picture. Infinity colors realized in the infinite possibilities of further transactions with him - the basic colors contain all the necessary components for steel-colored spectrum, white connects them, black - absorbs.
As well as a mathematical formula operates signs suggesting the substitution of numerical values and compositions of Mondrian give a definable expression of the law, where the color, shape and design are the signs and their possible combinations is equivalent to filling a numeric formula.
Focusing on the "original sample", Mondrian dismisses the existence of deviations in shape and color as such, lie outside the law of equilibrium. Merging the concept of the typical and mythical, creating an archetype of the ultimate reality, it operates with the basic colors and non-colors, as the only means possible, connecting his theory of the universe with the practice of the painting. Using different colors is thought to them as a violation of the principle plane ("... a clean and a certain color ... stays flat on the plane"). Introduction of complementary colors creates, according to Mondrian, the effect of space not only optically, but like in the semantic field of color values. It is noteworthy that while Malevich perceives as the white peak of perfection and gives it a value of infinity, Mondrian does not identify it with the notion of space, and uses as a surface, in proportion and rhythmically balancing planes of primary colors. Law equivalence of elements of the picture neplastitsizma apparent in the fact that none of the colors does not have an independent and hierarchical values. Mondrian provides a versatile color structure, where all components are equal, and each new combination of plastic color value is determined by the proportions of the composition.
Software versatility art systems and neoplastitsizma Suprematism of Malevich and Mondrian leads to the idea of expanding the boundaries of their actions. Both masters have their fundamentals adherents and followers, around each of them formed the society, serving the dissemination and embodiment of their ideas - "Supremus" and "De Style". But Suprematism and neplastitsizm claim to be much more than just artistic direction. Their own sense of anticipation of history, of belonging not only to art but also to the socio-cultural processes of modernity leads to the fact that art theory acquire the character of the social and aesthetic utopias. Artistic approach developed and tested in "laboratory" conditions of pure art, endowed with an aesthetic sense and needs to be implemented in larger forms. A means of transforming the world see their theory and Malevich, and Mondrian. On the one hand, it is possible to use artistic principles of Suprematism and neplastitsizma in the design aesthetic environment - in architecture and design, on the other - projecting the concept of supreme reality in empirical reality.
Radicality of utopian thinking of Malevich and Mondrian reducible both to almost the same thoughts - the inability to limit the scope of pure art and, consequently, rejection of him. Malevich: "On Painting in Suprematism can not be considered. Painting has long been eliminated, and the artist himself - the last prejudice. " Mondrian: "Not interested in form and color - that neoplastitsizm ... interested solely relationships, creating them and trying to find balance in art and life, to prepare the future - that's really busy"
Utopia Malevich and Mondrriana not come true. Both of them have returned to a pure painterly creativity, practical implementation of their architectural and design ideas did not correspond to the global designs of artists, social and ethical program of Suprematism and neoplastitsizma also remained unfulfilled. However, the value of art of Malevich and Mondrian is determined on a different plane. This, above all, their creations are unique, despite the universality of the method programmed by the authors, who gave impetus to further development of geometric abstraction and directions have become among the most significant cultural phenomena of the twentieth century.
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Maroussia, in the Russian tradition, the name Shunmeker, written Shoyenmeyker. The text is written about him so that he almost Theosophist, while he nothing to do with Madame Blavatsky or to Theosophy has not, he is quite a professional philosopher (if I may say about the philosopher), an idealist, of course, are commonly viewed as to the Neoplatonists.
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10.10.2010, 20:21
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