Interesting image , but I would have said . "Real " abstractionist " is a theoretical physicist and engineer , experimenter rolled into one . Two words - Nikola Tesla .
In general - yes , because the thing is to be performed at the level of the corresponding concept , so that work. Otherwise, it will have to explain words "A realization will work if the basic principles of work , based on which the artist creates a work . But the basic principles are just the basic , not applied Studi . And we all at beauty spots is discussed - that's like these spots , and these - no
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Сообщение от Cyril Syzransky
Arkady Raikin remembered makes it possible for this : " I personally sew buttons . to toggle the claim is ? "
________________ And yet it is .
About Raikin not understand . In general , in Russia, conceptual - it's just like pornography : look, but we condemn
Последний раз редактировалось artcol; 07.04.2011 в 15:58.
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abstract painting arises by virtue of an inner necessity - when the need arises from the artist ( " reason " in the terminology Gurieva ) to express the complex image , for which the figurative is neorganichnym . What is already here , " simplify " the artist's life - the ultimate sophistication .
All this applies to the " associative abstraction »
Essence . How I feel .
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draw well at the Institute of antique plaster head is as well to sew buttons in the studio indposhiva .
Buttons can be sewn on well , but the suit only on this gets better . ( On the " good painter ")
Now understood " but gave a good draftsman was, it can be seen there on his work ... And work he interesting .
Abstract paintings arise by virtue of an inner necessity - when the need arises from the artist ("reason" in the terminology Gurieva) to express the complex image, for which the figurative is neorganichnym. What is already here, "simplify" the artist's life - the ultimate sophistication.
You can, of course, so to speak "You can tell a lot. For example, as Klein writes about the paintings: "These works allow viewers to plunge into infinity, in the spiritual realm shimmering blue. Judo, interest in the teachings of the Rosicrucians, the admiration of science and the atomic age - all this has allowed Klein to create a painting with no frame, and therefore limitless. His paintings - a window in an endless and eternal spiritual space ... "
And by the way - it's just a nice blue color. And nothing more. And you can write at least a volume of beautiful clever theories, but does not convince me that picture of IKB 234 write more difficult than the "Spring" Botticelli.
I recall the words of Renoir: "Of course we have a difficult, complex craft, and all doubts are understandable to me. But requires a drop simplicity, simplicity. "
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Сообщение от Guriev, Igor
Abstract - really a problem.
Abstract art - not a problem. Problem - the dominance of abstract art. Abstract painting should occupy a narrow bed of a large field of painting. As well as the landscape. Increase in its relative amount said about the decline of culture. As well as increasing the number of landscape. Here I agree with you - no abstractionist can not be put on a par with Velázquez, Caravaggio and Rembrandt ... But, unfortunately, the figures of this magnitude has not made the twentieth century. Already Renoir said: "When I look at pictures of old masters, seem to own a midget next to them," Today we are all geniuses, let's say, but one certainly - we do not know how to draw the hand and do not know the basics of our craft " .
What to say about today's artists?
Now we discuss the "complex" problems of expression "archetypal" images with a few patches of color
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Сообщение от artcol
To paraphrase: theoretical physicist, oversimplifies the realities, that is, operates more or less simple concepts and notions. This allows us to concentrate on your core. Well, etc. But the engineer must consider many things of the physical world: friction, material properties, etc. But the progress of a move first.
To paraphrase a paraphrase "Theorist Art operates more or less simple or complex concepts and terms. This allows us to concentrate on your core. But the artist-the practice is necessary to consider many things of the physical world: the properties of materials, quality brushes and paints, technology, etc. Even so elementarschinu - how pinene added to the paint ... Theorist before and do not care, he moves the progress
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You can say a lot. For example, as Klein writes about the paintings: "These works allow viewers to plunge into infinity, in the spiritual realm shimmering blue. Judo, interest in the teachings of the Rosicrucians, the admiration of science and the atomic age - all this has allowed Klein to create a painting with no frame, and therefore limitless. His paintings - a window in an endless and eternal spiritual space ... "
And by the way - it's just a nice blue color. And nothing more. And you can write at least a volume of beautiful clever theories, but does not convince me that picture of IKB 234 write more difficult than the "Spring" Botticelli ..
And about the new and old art of talk about so many stuff that are not straining your body distinction, we will simply drown in the ocean of verbiage. Is it worth spending time on the analysis of advertising and custom writings journalists Pustozvonov?
Number of spilled sweat does not prejudge the outcome value (Mozart and Salieri), and compare the picture on the criterion of "more difficult to write" do not see the point.
Few things give the opposition and randomly snatched from rannyh time and cultural contexts thin. phenomena. But since our subject, this practice takes place, it is appropriate to recall an old text, written at the National Exhibition of Fine Arts in Madrid (1926) - the first exhibition where the paintings were well represented the Spanish avant-garde artists. Even then, the break time, there is strong enough to false extrapolation of modus vivendi (way of life), traditional art to a new was realized.
Attention is drawn to the idea that the inability to understand the intentions of contemporary art can not truly appreciate the achievements of art of the past.
Repeated reference to Velasquez creates additional resonance with our theme.
Jose Ortega y Gasset. Art in the present and past.
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I
.... To clarify the situation, I also have to resort to the paradoxical Judgement. I'll have to argue that a truly modern is such an art that is not art, from the recognition of the need to proceed, if today we are going to create true art and enjoy it. This idea may seem difficult to understand, so try, as mathematicians say, to deploy it.
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Let's start with the fact that almost every age had an art, it adequately mirochuvstvovaniyu and, consequently, her date, because to a greater or lesser extent, she inherited the art of the preceding time. This situation provides significant convenience for each of the next stage of history primarily because the traditional arts are explicitly mentioned the new generation of artists that he ought to do. For example, the infant art are encouraged to develop any undiagnosed and unrealized face prior art styles. Work in this direction was tantamount to the preservation of traditional art in its entirety. In other words, we are talking about the evolution of art and of changes therein that occurred under the influence of unchallenged power of tradition. New and modern art seemed obvious, at least as intention and easily into living connection with past forms of art. Those were happy times, since the principle of the new art can be no doubt, moreover, in such times, modern thought all or most of the art. For example, thirty years ago it seemed that the fullness of this work has a Manet, but only when he is first among others, moved into their art particularly the art of painting by Velazquez, his own painting has a distinctly modern look.
Velazquez as a great colorist nachadi "open" French Impressionists. Manet, in particular, wrote: "How I regret that you are not here with me!" What joy you brought to Velasquez! <...> Painters of various schools surrounding it, in comparison with it seem to be magicians ... He is a master of masters "(letter to Manet A. Fantin-Latour. Madrid, August 1865)
Now the situation is different. ... Tradition has exhausted itself, and art should look for another form. To solve this problem should young artists. They still do not have art, they merely declare their intention to create it. Actually, this meant when I said that true art tends not to be traditional, because art, claiming today that in order to be perfect and full-scale artistic phenomenon, in fact, is completely antihudozhestvennym just like repeating the past art.
Can say that if we do not actually contemporary art, art of the past remains, can satisfy our aesthetic tastes. It is difficult to accept. How can you enjoy the art of the past, if not necessarily associated with contemporary art. A keen interest in painting the past times has always been obliged to the new style: being derived from it, the style she herself gave a new meaning, as it did in the case of Manet - Velazquez. In other words, the art of the past remains an art in the true sense of the extent to which it is also modern art, that is, to what extent it still is a fruitful and innovative. Transforming the same in just the past, art no longer affects us, strictly speaking, aesthetically, on the contrary, it arouses in us the emotions "archeological properties. In fairness say that these emotions can also bring great pleasure, however, are hardly able to substitute for proper aesthetic pleasure. Art of the past is not "is" art, it "was" art.
It is clear that the reason for the lack of modern youth enthusiasm for the traditional art to be found not in disregard for the unmotivated. If there is no art that could be regarded as a heritage of traditions, even in the veins of this art is not flowing blood, which would revive and make us attractive to the art of the past. This is the last in on itself, becoming thus a bloodless, dead, former art. Velazquez also turned into a "archeological wonder. Deeply doubt that even a reasonable person, capable of distinguishing one condition of his spirit from the other, it is clearly able to understand the difference between its probably motivated enough enthusiasm Velasquez, ranging from the aesthetic enjoyment. Try to imagine Cleopatra, and her attractive, seductive, albeit a vague image occurs in the background of your consciousness, but hardly anyone will replace this "love" for the love he feels for his contemporary woman. Our connection to the past looks a lot like the one that unites us with this, in fact, the relationship with the past -
illusive and vague, therefore, nothing in them is not genuine: nilyubov, nor hatred, neither pleasure nor sorrow.
It is obvious that the general public creative new artists are not interested, so this exhibition should appeal not to the public, but only to those individuals for whom art is continually renewed, a live issue, rather than ready-made solution, that is, in essence, a match, concern, rather than passive enjoyment. Only such people might be interested in more than a universally valid form of art, namely the movement of art, a rough training, passion for experimentation, craftsmanship. I do not think that our young artists saw in his art is something else. Those who believe that for our time cubism is the same than for the other times were impressionism, Velazquez, Rembrandt, Renaissance, and so on, admit, in my opinion, a grave mistake.
Cubism nothing more than opportunities for art painting test, launched the era that does not have a holistic art. It is therefore a characteristic feature of our times is that now comes much more theories and programs than the actual works of art.
Create all of this - the theory of the program, the ugly opus Cubists - means to make the maximum possible today. Of all the acceptable position is better than calls to surrender to the natural order of time. Moreover, in the highest degree indiscreet and naive to think that and now we can create something that will please all the time.
....
In general, it is hardly appropriate now shy away from the vision of the current situation such as it is in fact in all its drama, shall, first of all, the absence of modern art, and secondly, the transformation of the great art of past times in the historical fact .
...
All this is unfortunate, painful, sad, and there's no escape, however the position where we are, and not without merit: it consists in the fact that all of this - a reality. Try to understand what it actually is, it is truly high mission of the writer. All other initiatives are praiseworthy only to the extent that they contribute to the implementation of core mission.
Whatever it was, they say that art history does not disappear, that art is forever. Yes, say so, and yet ...
II
We often hear that art is eternal. If you also want to say that their creation and their enjoyment also include inspiration, whose value is imperishable, that objection is not necessary. But along with those hard to dispute the fact that a work of art becomes obsolete and dies before it as aesthetic value, and only then as a material reality. Something similar happens in love. It always starts with the oath of the century. But here's pass into a timeless moment of aspiration, the initial phase of love disappears in the flow of time, it crashed and sank in despair, raising his hands. For this is the past: it is a wreck and dive into the depths. Chinese speak of the deceased that he had "gone into the river." Now - it's just the surface, almost without having thick, while the depth - is the past, composed of innumerable of these, a sort of layer cake of the present moment. How finely the Greeks felt it, asserting that die - it means "to connect with all those who left."
If a work of art such as painting, are limited to what is presented on the surface of the canvas, it is, perhaps, could be eternal, though it must take into account the fact that the imminent loss of the material basis of the work. However, the point is that the picture is not limited to the frame. I would say more, of the whole organism painting on canvas is a minimal part. The above fully applies to the understanding of the poetic work.
How can there be such, you may ask that the essential part of the picture were out of it? Nevertheless, it is true. Artwork is created based on a set of certain conventions and assumptions, conscious artist. He brings to the canvas, not all of that within himself led the work. Strictly speaking, from the depths of consciousness come into being only the most fundamental data, namely, aesthetic, and cosmic ideas, inclinations, beliefs, that is all what the individual paintings is rooted both in its generic. With the help of the painter makes it clear just what is not so for his contemporaries. Everything else he tries to suppress or not to provide.
In the same way in a conversation you had all aspire oobschit
interlocutor most original, its principal premise, because without this conversation would have lost meaning. In other words, you express only companion is relatively new and unusual, considering that the rest he is able to understand myself.
It is essential that this system is capable for each epoch
assumptions or representations change over time. And changed significantly already within the lives of three generations coexisting in a certain historical time. The old man ceases to understand the young man, and vice versa. The curious thing is that strange for some people is especially clear for others. ...
Nothing deep and evident is not born out of studies and their lives there. Justified only questionable, it is unlikely that there is something in what we generally do not believe.
The deeper, the original one or another component of our beliefs, so we are less busy it is simply we do not perceive it. We live in them, he yavlyaetsyaobosnovaniem our actions and ideas. He seems to be located behind our backs or under their feet, like a piece of land on which stands our feet and we, therefore, unable to see it as a landscape painter by the same token, can not be transferred to canvas.
The existence of the spiritual soil and subsoil, we learn when a daunting freezes before a new picture, not realizing it. Something similar took place thirty years ago in relation to the paintings of El Greco. Who wished to conceive them, they seemed impregnable coastal cliffs, which broke the intention to stick to them, closer to an understanding of these works. At some point, an observer and possessed a feeling that between him and the paintings of El Greco, the depths, but, fortunately, one after the other paintings were suddenly as if plowed wide open. This happened as a result of awareness of the Supervisor of the fact that the surface of the canvas to actually live in silent, unspeakable, hidden beliefs that El Greco was guided by working on his paintings.
What distinguishes a superlative works by El Greco, whose work is essentially "underground", describes in greater or lesser extent, any work of art in the past times. Only people who do not have the ability to penetrate sophisticated things, can think that they are able without much difficulty to understand the artistic creations of bygone eras. In fact the reconstruction of hidden assumptions and beliefs, the former for these creatures base, the content of the hard work of the historian or the philologist ...
It's not a whim compels us to separate the art of the past from the present art. At first glance they appear to be homogeneous in its material basis, as, indeed, by the feelings they cause, but have a superficial analysis allows judge the full difference of one and other, while, of course, provided that the researcher will not be used for the maps of the facts alone gray paint. Enjoying the art of other times is no longer self pleasure - for it is peculiar irony. The fact is that between a picture and we put the life of the era, which was established this pattern, that is, put a man - her contemporaries. From their views we are going to the views of other times and thus themselves become a kind of fictional personality: she is us enjoying the art of the past. Such a split personality in general characterized by an ironic state of consciousness. cleaning could be continued analysis of this "archaeological" fun, we suddenly discover that the "tasting" does not actually work, and life, within which it was created, and the manifestation of which is revealing. Speaking more strictly, the object of our analysis is a work of art, as if zapelenutoe in his own life atmosphere.
...
It may be objected that in the paintings of past eras there were some plastic timeless values that supposedly you can enjoy always, always perceiving them as new and modern.
Indicative in this respect the desire of some artists, for that matter, and their fans, to keep some part of the beautiful works as if for the perception of its net retina, in other words, to free her from the spiritual complexity, from what is called in literature or philosophy!
Undoubtedly, literature and philosophy is very different from the plastic, but both that and more - all is spirit, all burdened with complicated and spirit. In vain would try anything to simplify for the sake of ridding itself from difficulties in communication with this thing. Because there is no net retina, nor the absolute values of plastic. Both belong to a particular style, they are due, but the style is derived from the system of vital ideas. Therefore, any value, and in any case, those that we tend to think of timeless, represent only a minimal part of the works of art of other times, violently torn, otchlenennuyu from many like her, we just as easily arbitrarily upstaged . Instructive to try to clearly identify certain properties of the well-known paintings, truly representing the imperishable, survived while beauty. Its absence is so sharp contrast to the fate we have chosen works that this would be the best evidence made by me in this regard concerns.
If anything arising out of our difficult and unsafe era deserves condemnation, it's everything that binds itself to originate in Europe passionate desire to live without resorting to a phrase, or rather the unwillingness to see the phrase basis of life. Belief in the eternity of art, reverence for hundreds of the best books, hundreds of the best paintings - it all seemed natural for the good old days when the bourgeois considered it her duty seriously pursue art and literature. But now the art no longer viewed as "serious" cases, but prefer to see in it the beautiful game, alien pathos and seriousness, and devote themselves to the art may consider only those who truly love the art who have the pleasure of his unfathomable nonsense , from the surprises that happen to him, and finally, those who consciously and scrupulously follows the rules according to which art is made, on the contrary, banal platitudes about the eternity of art does not clarify anything and no one is satisfied. The position of the eternity of art is not firmly established position, which can be used as the absolute truth: the problem is extremely delicate. Perhaps only the priests, not quite sure that their gods exist, forgivable to wrap up their suffocating fog of lofty epithets. Art in anything so do not need it - it needs a bright afternoon, the precision of language and a bit of good humor.
... It's not a detraction art of other times. They are not going away. But even if the big set and they are really beautiful, it's still art seems somewhat stiff, monochrome, not directly related to our life, that is, as it were in brackets and became no longer valid, and in kvaziiskusstvo .
If we accept this transformation as a loss, hurt, it was only because he did not realize the grand prize, purchased along with this loss.
Strongly cutting off the past from the present, we allow the past to revive it as the past. Instead of a single measurement, which has to pass our lives, that is, measuring this, we have two dimensions, carefully separated from each other not only in concept, but also in sensory perception. Thanks to this operation, human enjoyment expands infinitely, because a truly mature is a historical person's susceptibility. When it was assumed that the old and new - the same thing, then life seemed monotonous landscape. Today's increasingly characterized by the existence of proliferating indefinitely manifold prospects in life, their true bottomless, profound and essential for our vision of becoming the world; any period in respect to the previous period, we consider now as a new vital undertaking. A new vision determines our ability to notice a far more distant, our rejection of myopia, from ordinary litter today yesterday. Purely aesthetic pleasure, which could only speak in terms of this, now complemented by a grand historic delight, creeping on the bend of the historical time his marriage bed. ...
So do not resist what it says, it would be more free from prejudices and try to understand the problem in all its polysyllabic. We must get rid of the delusional belief that the situation in the field of art today - as, indeed, at any time - depends only on aesthetic factors. And love and hate to art are conditioned by the totality of the circumstances of spiritual time. And so in our relation to art in the past since his solid voice delivers a holistic view of its historical significance,
which is born in areas far from the art of our soul.
It should be well aware that, looking at the mountain, we are able to see only that part which, as they say, rises above sea level, while a much larger mass is mountains, located below this level. And a picture viewer does not open completely, but only one of its side, above the level of representations era. Painting exposes only her face, while her torso is submerged in the stream of time, inevitably giving rise to its non-existence.
Thus, the separation of art from the art of the last date is not a matter of taste. In fact, the inability to perceive Velazquez as something outdated, but rather, used to suffer "archaeological" pleasure from the contemplation of his paintings at the same time means the inability to get near to the mysteries of the aesthetic.
Asserting this, I do not want to say that the spiritual distance between the old artists and we always remains the same. For example, here called Velasquez is one of the least "archaeological" artists. True, getting to the reason for this, we find that the property in his painting must, rather, its disadvantages than advantages.
pleasure, make us the perception of art of the past is pleasure, which gives us more living than the aesthetic content of art, whereas in our contemporary art, we perceive mainly aesthetic, but not vital.
Radical break from the past this is a fact that is totally characterizes our times, exciting at the same time a vague suspicion that he is guilty in some peculiar sense of anxiety, we are experiencing in these years. Suddenly we felt a more more lonely in our land, the dead did not die in jest, but seriously and permanently, and they are no longer able to help us. Vanished last remnants of the spirit of continuity, of tradition.
Models, norms and rules we no longer serve. We are forced to solve their problems without the active assistance of the past, in absolute actualism, whether the problem of art, science or politics. European of left alone, next to him is not those who "went into the river of history, like Peter Helmholtz, European lost his own shadow. This is exactly what happens when it's noon.
Последний раз редактировалось Art-lover; 08.04.2011 в 17:47.
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To paraphrase a paraphrase "Theorist Art operates more or less simple or complex concepts and terms. This allows us to concentrate on your core. But the artist-the practice is necessary to consider many things of the physical world: the properties of materials, quality brushes and paints, technology, etc. Even so elementarschinu - how pinene added to the paint ... Theorist before and do not care, he moves the progress
DSF, you're reduced to one, you understand the situation
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we do not know how to draw the hand and do not know the basics of our craft
But there is a craft - like doperfection, and a search for - like to open new. This is a different level of problem, and the second large-scale, its complexity is higher, because more and need to perform at the level of . And the old masters - they opened, and the modern academic artists have deprived themselves of it. And on the stand. And for me, abstract art - such as opening a new, as in time is a new so-called open old masters, Rembrandt, for example.
Threat And do not forget about those people who vote for the new ruble (dollarom. euros etc). They are not theorists - they are the most that neither is on the practice.
Последний раз редактировалось artcol; 08.04.2011 в 22:38.
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07.04.2011, 15:47
Линейный вид
