Abstract forever

[Art-lover]

Сообщение от DSF

As I understand from this text, simply put, if more lines - graphics with elements of painting, and if more spots - a painting with the elements of graphics. Net same graphics as pure painting does not exist.

Сообщение от DSF

it reminds me of the attempt to distinguish between saber and sword, they say, a hack, another stabbing, and so they are very different, because one lets blood out, while the other provides a good internal bleeding. Yes, there is some technical difference, but it all - cool weapon and as a result - the death of a guinea.
I'm looking at this situation is simpler: the line and the spot - a weapon the artist, the result of its use there is a painting. Practical difference between the spot and the line is no, in this respect, Arnheim, as a researcher, right. A Florensky too clever by half.

Something tells me that Florensky, unlike many more close to us in time writers, moved by something other than a passion for scholastic schemes and philosophising a la "rope - verv simple." But my feeble powers not get to convince those who can not convince myself Florensky. )
I note only that if they associate with the art of war, then the difference between "beautiful" and "graphic" mirootnosheny better shade comparison with strategies for the use of mines and tanks than swords and rapiers. How this difference is important for the commander in practice, probably depends upon the commander.

Added to the end of the previous post is another excerpt from Florenski complementary study of the active and passive dialectics began to design and composition.
For readers, Kojima too busy to delve into the details, bring a sample of this piece:

The composition - this is the unity that puts an artist in his work, because it takes a certain space. In other words, you can in a sense to say that the composition is a function of creating a work of the artist. On the contrary, the design is the unity of things depicted in this work, ie She also has a function, but not the artist, and some reality to which directed the work.

This, probably some of you will say that art is figurative, ie those that do not depict anything. I'm not going to argue on the merits against it. But of course that as soon as you have spent some line, made the point, the surface, you like the artists just made me, the viewer to see something more than just lines and points. This line immediately gave a known weight of the surface, was a famous stop, and no matter how pointless product in terms of the usual things around us, anyway, is that it gives, is the thing, and is the most pointless product of lead outside of himself . And the difference from his usual works is that it is something unfamiliar to us in the physical world, did not occur, and we are for it have no name.

Striking similarity between the position of Arnheim, where he writes about the concreteness of the abstract elements of painting.

Promised earlier passages stand for tomorrow.

[Peter]

Сообщение от Art-lover

complement the study of the active and passive dialectics began to design and composition.

In the famous book by N. Tretyakov, "The Image in Art" has some interesting links to the VA Tabor "... the letter" H "represents two vertical columns of the crossbar, expressing the interaction of different visible velichin.Po his opinion This track already. " And another link to the NN Volkova "... the songs are embodied two principles, logo and melosa.Melos-plastic top, logo, meaning it slovo.Chto is the art of leading start? The author replied: Of course the logo, to melos second place and has a secondary importance ... If we assume that the beginning is the leading melody, the basis of art is an abstract game of plastic forms, as very often, and engaged in contemporary art. "

[Art-lover]

I feel that I must provide justification for their recent messages, which fall out of forum format in terms of material and seem to be unreasonable extension of the topic.

Florensky beguiled. "This is a cool pop possessed a rare mix of strengths - a deep philosopher, mathematician, artistically gifted by nature, a connoisseur of art, fine mystic - which allowed him to develop a multidimensional understanding of art, far ahead of his (and our) time . He outlined a system of coordinates (wider - a method for constructing coordinate systems) that can be placed any possible lines of development of the arts - both past and future. Including abstract art that has directly relates to our topic.
Alas, the brilliant requires Congeniality. Work on the art of Georgia Florenski reader to complete: they are often concise, some ideas are just a hint, are involved in mathematical abstractions (differential equations, analytic geometry, complex function theory, etc.), and most importantly - they require the reader to independent thought. It is in the grafting of a culture of thinking, not willing to conclusions and plan for their core value (or lack of basic))).
Many of the ideas in Florenski disclosed in the context of the whole, hence the need to clarify some of the applicable paragraphs lead to abstract multi-quote. And even such large-scale citation is still vivisection: those who are interested in Florensky, worth reading his whole line art sketches.

In the hope that my apology accepted - all the same today Forgiveness Sunday)), put two announced a passage leading up conflict-track design to the extreme.
The first one is interesting - it will be surprising to many - Suprematists allocation to the direction of naturalistic painting. (From the point of view. St. Paul, each of naturalism, whether it be slavery to nature, "the truth" or the desire to adopt any predzadannuyu idea - the worst sin for an artist). It also marked with art for art's sake, who during Florenski looked only an abstract possibility but who succumbed to the art in the coming decades.

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The design is what she wanted most from the products of reality, and track - what the artist wants his work.

These two requirements, one coming from the outside world, others - from the inner, expressed independently of each other, at least in the first approach to this issue, and is self-evident, it can not happen, that the artist wanted to remove himself from the creativity and personal by itself not to make, because then it would be sufficient and the presence of reality itself. On the other hand, there is no reason to suppose that reality somehow line up or rebuilt to suit the artist.

Thus, two requirements do not have to be agreed between them. But they converge in the product and its interpenetration of the product form, as a foundation and utók intertwining fabric. However, as in tissue, possible dominance of one of two principles, or fundamentals - design or utká - track the work. Then there is the product of one-sided or objective, or, conversely, one-sidedly subjective. You can go further in easing one started.

The first way is to disengagement of the artist. The artist is there a balance of forces of reality itself, and because of its depiction of his work irksome. Depicted the action must be converted into simple steps, and consequently, the image of things - in most things. The unity of artistic contemplation, ie, composition weakens more and finally, being weakened, is disappearing. However, it is lost and the unity of the work as depicting something: the space it no longer distinguished from the surrounding space, and is only a corner thereof. Then the frame image, in fact, inevitable because of the limitations of any of the real plane, it loses its aesthetic value and is only isolation of the end of the segment or product, not aesthetically motivated: a cloth or a paper could be cut anywhere, or, alternatively, put here yet arbitrarily large piece. In an extreme naturalism, just so the task space. But naturalists have not decided to abandon the visual and therefore do not have the courage to complete the functional unity of the work before they actually depicted. In other words, running away from the unity of composition, they do not give unity and constructive. They dare not, however, to take the thing in its proper proportions and is valid until the end of the fix itself. Thus, instead of the functional unity of things by itself, is represented by an image of unity, distorted subjective opinion looking at her. However, it is here introduced by the subjective association of random and fleeting, it does not form a regular and necessary unity, able to characterize the mind of an artist as such, in short, being peripherally subjective, it does not reach subjectivity. This is a half-hearted and flabby direction, scarcely deserves the name of art, albeit a bad one. Its dignity as it holds the truth, even though it is not considered to any reason really, nor with the mind of man. It's just as little comprehend things like photography, but on the other hand, it is soulless, like a glass lens of a camera. The truth of it is loyalty to the occasion in its randomness. to eradicate the perception of the world are eternal and precious, this area wants to keep and consolidate the only depend on all that is neither dannoyu thing, nor According to intelligence is not intrinsically linked. The pursuit of random reflections and meticulous catching colored reflections seems important to this direction, although the glare, reflections, and all others like that characterizes not a thing per se, but merely setting it choppy and random, is also not shown in the product. Thus, what in the product as explained, there is not represented, and what is shown - is left without an explanation. In other words, instead of the stuff here is given a blank space on which converge the functions belonging to things outside the image field. These techniques include nihilistic and homogeneous with them within the meaning of the line prospect: because of its business - not to give the eye rest or contemplation on one thing, but always to go through each of them, the infinity of emptiness, which gradually destroys any specific visualizations and every thing is evaporated into nothingness. And the prospect, and other favorite tricks of naturalism, like the above, like greed, prompting ignore everything that is there for the sake of something else, but that's another - again, throwing for third, etc. This is - the eternal yearning of the spirit, falling in a vacuum.

But long on artistic nihilism Humanity can not, and because here is inevitable transition to such a conclusion, which was obviously destroying fine and take the thing as such and also its function as such, but not their image. So there is an inevitable shift to naturalism in art. The artist wants to now give no picture things that contain pictures feature thing and with its action. In other words, he wants direct access to his work in practical life. What makes it pretends to be no pattern and no graphics, but a thing.

Abstractly there to cover three different solutions of the problem; as we see now, the artist hardly want to follow any one of them. The first solution: to create objects of nature - the organisms, landscapes, etc. Clearly, it would be not only impossible, but really do not need. Nature exists, and doubling it would be a futile endeavor. Same here, and not useless, and probably done on the ways independent of the art in these areas, the artist would have just beat the bread from animal husbandry, horticulture, agronomy, etc. Another solution - is the creation of such things are not found in nature: such machines. And here again the artist can successfully or unsuccessfully to compete with the engineer, but in both cases he is working as an engineer, and not an artist and does not open any new areas of art. Finally, the third solution - this is when the establishment is aimed at things no physical order. Then, this product too is a kind of machine, but the machine magic. This kind of weapon magical influence on reality. Such tools do exist: thus, is an advertising and campaign posters have a purpose to compel certain actions on everyone's watching them and even get to watch them.There effects on others and a change in their mental life should have no meaning, and the immediate availability of colors and lines. In other words, these posters are the machines for the suggestion, but suggestion is the lowest level of magic. Pantakl and other magical images, as well as methods of imitative magic, and it is related to the above, the third solution of the problem of naturalism find themselves moving beyond depiction. Now is not worthless to discuss how to actually satisfactorily they serve these and similar magical machine. This discussion is required here in no more than the technical qualities such as mechanical machines, invented by the artist. good or bad machine, it is a machine, not the image. Let it just does not work - and yet it is not an image, but only a machine, but worthless. Similarly, the act or omission, magical machines entitle the inventor to be called a magician, powerful or powerless, but - no artist.
Suprematists and others in the same direction, without even realizing make an effort in the field of magic, and if they were lucky, their work is likely to cause emotional whirlwinds and storms, would have sucked, and twists of mind organism all included in their scope and turned out to be the centers of powerful unions. Can arbitrarily increase the efficiency in thought and power of this kind of magical machines and represent them as an infernal machine in the field is not physical, but nevertheless it will be just the machine, rather than works of art, and activities that created them - the magical technology, and not art.

-
So, Design is a form of the depicted product or in other words, the way the relationship and interaction of forces of reality, transfused using the product, perceived by him. On the contrary, track is a form of the image itself, as such, ie way relationship and interaction of visual, applied in this work. You can still say: design, since it is expressed in the product, gives the viewer (or listener, if it is not a product of the fine) unity of a certain part of reality, so that part of the world is perceived and understood as a closed in themselves, though relatively, the whole; Accordingly, it is likened to the body.

But to discern and convey organic samozamknutost a reality does not mean such as the unity of the work itself, ie image of this reality. For example, a photograph of a beautiful representative of any animal species, with all the typical image of an animal is, therefore, with a bright expression of his organically constructive unity, yet did not have a work of art: the image as such, there lacks wholeness.

Thus, image itself must have its unity, and by showing us the body of reality, must itself be the body. So, first of all - organic and, secondly - also organic: in First - a whole and, secondly - again whole. But these first and second are different, just as comparable to each other areas of life: between the bull under the tree and the canvas P. Potter, entitled "Young Bull" has nothing to do, no less than <between> Kern and a piece of paper with "I remember a wonderful moment." However, both unity, dating back to very different regions and leading to the integrity of the area is quite diverse, yet still bound together in a mysterious site called artwork. Both of unity, constructive and compositional , are combined in a single work, although one of the other, or vice versa, there is no direct relation does not arise. Moreover, ahead of time to think about the mutual exclusion of each other, because by no means clear, as can be the product of constructive unity if this product is subject to their own, and, moreover, does not follow from the first, the unity of the composite.

...

On the other hand, If we are gone on the transfer of constructive unity of reality itself, the introduction of yet another incomprehensible unity, the composite. It would seem that a new unity on the need to distort and destroy that which was taken as the original. But the presence of these two unities in the product not only has - in spite of the impossibility of abstract thought - but also defines the themselves the very possibility of the work: both the unity of the essence of antinomy conjugate poles works are inseparable from each other as irreducible to each other. Formula of the Perfect Symbol - "unmerged and indivisible" - also applies to any relative character - in every work of art: is this formula there is no artistry.

The second passage in the book should be directly behind the first and is dedicated to the historical vicissitudes of the ornament. From this text, it is clear that the lines of Kandinsky and Mondrian in abstractionism actually are attempts to bring an ornament - on a new basis - a mysterious force and metaphysical significance.

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But here rises objection, the closest reason for which is a branch of art, apparently, tertiary, but is able to grow the influx of new comparisons, and call into question if not correct, then in any case, the universality of the previous one. This branch of art - an ornament. When people want to convict a product of pointlessness, he equated ornament. This should be marked his neizobrazitelnost, as they say in such cases, "beautiful, but does not mean anything - the carpet." Thus, the pattern is a typical example of non-objective painting or drawing and, consequently, only a misunderstanding is one of the Fine Arts.

Perhaps, the archaeologist tries to justify such a long ongoing reckoning of ornamentation to the fine arts reference to the historical past of the ornament. Not being in the proper sense of the image, ornament, however, was the original image, and only the widening stylized etched from it similarity with the objects of nature, óbrazami were elements of the various ornaments. Hence, some will say, according to the old memory and retained a place among the ornaments of Fine Arts.

If the above archaeological considerations and was justified in itself, it still it does not justify the present assignment of the ornament to the art of fine: Wherever pattern emerged in the past, ie as a stylized human and animal figures, utensils and tools, trees, flowers, fruits and leaves, it can not be called a picture right now, if the relationship is portrayed with his torn and only archaeologically can be installed on indirect grounds, abstract argue that not perceived visually.

However, and this, archaeological, installation of objectivity ornament is more than doubtful. Not a simplification and schematization, but rather a complication and is characterized by oplotneniem history of ornament, at least in many particular cases. Ornament was originally constructed geometric lines, and only afterwards they are clothed in the flesh, according to this geometric pattern ornament, then and there in the ornament individual graphic elements, as an attempt protolkovat subject - the original is irrelevant. Perhaps this attempt and not quite arbitrary, but nevertheless, the interpretation of certain lines as the scheme is that image, rather than any other, can be carried out in various ways, and images to be selected for this oplotneniya ornament manifold. Objectivity of the ornament with this interpretation it is something secondary, to ornament dock special act of creation, let the ornament is not violence but out of it and not arising from necessity. Thus, the grounds for doubting whether attributing the ornament to the visual arts, provides an even more robust.

So, ornament, generally speaking, does not represent the external world and not in the nature of the subjects of their samples, at least depiction in this sense an ornament not necessarily inherent, if there is, it should be viewed as something secondary and secondary. This can be regarded as established. But it would be too hasty a conclusion about the irrelevance of ornament, for the subject, in the sense of the transcendent image - displays the contents do not necessarily have to be one of the sensual images of nature. After all, along with sensory images, and above them there are not sensible, but very real types and the relations between them sensual, sensual rhythms and patterns (as well as the supersensible), itself is no longer a sensual images. These rhythms of life, the laws of the world's life and the types of specificity may well be a subject, expresses or transmitted through the artwork, they have even the most worthy subject of art. «Poetry - Aristotle once said, - philosophic history." This is - for the most generalized image of poetry, as compared with the story, private, fractional, and therefore of little value.

And in general, art philosophic picture of the actual. But the same should be repeated with respect to the art of expressing the rhythms and laws of reality is much more common, and therefore whole and condensed than the images of individual things and beings are the subject of conventional art.

Thus, the pattern is not pointless, that is, is not devoid of antinomy inherent character, but on the contrary - greatly enhances the contradiction between the composition and structure and order to the highest extent strains antinomic tone between the image and portrayed. Ornament philosophic other branches of art, because it depicts not separate things, and not their private relations, and envelops clarity some world formula being. If the pattern seems devoid of the transcendent content, it is - in the low availability of its object of consciousness, not accustomed to the ups orlim nadchastnym and fractional. So, the book is profound truths can not seem dorosshemu to her readers, or confusing or empty - as if to say everything seems the same with minor changes, the meaning and value of which seem to be elusive. But there comes a time, and your own subject of the book emerges from the fog magnificent array before that - nothing all the recent joy surrounding the glades. Likewise, the ornament, created in different times, thinking of the monumental and the monumental mirochuvstviya, available in its global sense, shallow consciousness of modernity, and it uses these mysterious and majestic rich schemes being thought of as external decoration or remplissazhem voids, where the lack of creativity and sensual images. Do not you by saying - "icons cover the pots "- apparently not seeing in them nothing but the board? However, this board has captured the phenomenon of the spiritual world, and ornamentation - the deepest penetration into a rhythm and way of life. But neither the spiritual world, no Pythagorean music of the spheres are not available oplotyanivshimsya modern disgusted and ears. That's where judgments about figurative ornament.

Currently known about the origin of this branch of art can be confirmed by the above thoughts. In fact, the original purpose of ornament refers to theurgy and to magic.

Abstract decoration, be treated as such occurs only in the crushing and deprived of the organic wholeness of cultures, and, moreover, peculiar to a social strata that have lost a vital connection with the national consciousness, and therefore not knowing how to justify themselves ontologically. Here and there is only ornament in a modern, ie, omirschennom, decorative sense. A in the whole culture pattern has always been an art applied, if by such understanding in any art, is not sent directly to the abstract beauty and self-taken, but on the whole culture, where beauty is the only criterion for the embodiment of truth.If you delve further into more organic historical basis of culture, then there is definitely used as an ornamental fence sacred things, and generally throughout the life of prirazheniya evil forces, as a source of strength and vitality, as a means of sanctifying and Cleansing. In short, the ornament is here sacramental instrument, theurgic, or, alternatively, magical. In our country, impoverished and oblinyavshey culture conscious use theurgical ornament to retain only the sign of the Cross, and perhaps a tinge of the mysterious forces of the ornament is felt in the owner's initials, set out on things. But even the last resort theurgic ornament - Crest - largely lost its original strength, and mark a cross on a part of things admits conditional part of it was quite out of use. In ancient times, such as sacred ornamental built is set - double axes, the swastika, meanders, etc., and even any combination of decorative lines and dots of different colors for messages nachertyvalas thing or substance, such as, for example <Yimer>, a tattoo, special forces.

Of course, a more careful review of life to celebrate the many cases where the pattern continues to mean more than mere decoration. This half-consciously, more decorative, the moment in such ornaments confesses, and this not only as a certain value them, but as a different, more directly applicable and is not available to rational analysis of power, sometimes beneficent, sometimes, on the contrary, hostile. Nevertheless, all this is pathetic, and random pieces of great art metaphysical scheme of life, once mighty, now yutyaschegosya nedochischennyh rationalism in the corners and margins of culture.

There is another industry where there are remnants of a sacred ornament. It is a mixture of vague, but the deep devotion of the ancient esoterizma with eery clinging to the letter, no longer razumeemuyu and direct a fraud - a mixture that is called modern occultism. Here, in the so-called Pantakl attempt to thicken the individual images of the ornaments and signs of activity, in the same direction. Such Pantakl represent, according to the teachings of occultism, compressed formula exposure to certain elements and certain spirits. Leaving aside not to be here discussing the question of the actual effectiveness Pantakl, we note only that by the graphics Pantakl explicitly refer to the time of decline of the sacred ornaments: when a direct sense of mystical power and metaphysical significance of the ornament, as it achieved the art of is largely lost, then grab the pile of debris and ornaments in some almost unorganized pile. This is a heap and called Pantakl. Each of the ornamental composing it in itself is not credible, but then the less credible cluster of ornamental motifs, in which the cluster to any of the motives are not provided to deploy and organize themselves space. It's as if someone had lost a sense of power and the saving Cross, planned to arrange something like a machine for grace, piled up a lot of different types of crosses. These are namely Pantakl.

Thus, modern decoration, even in the applied its application, actually confesses a little objective, because - and little constructive. The equilibrium composition and constructive they lost, but precisely because, retaining only the memory of old, among the fine arts, he lost his rank and serioznogo art and became something of a minor and almost falling out of the area of creativity.

Yes, it is probably worthwhile to explain that the space in Florenski generally refers to the maximum - not only physical, but also as a psychological and a metaphysical and as a cultural space ...
I would also like to draw attention to the fact that Florenski parallels between music and visual art are caused not by external analogies, and genetic relatedness: all art stems from the same root and are occupied by one and the same - the transformation of the space the action of their force fields. That's the way, the maxim "beauty - it is a terrible force" is not a metaphor.
Adoption of the NN Volkova, which results in Peter, that painting, based on the melos is always just "an abstract game of plastic forms" - in the sense of internal empty classes, although justified statistically, but in fact based on the surface opposing melodies and logo. But between one and the other is the deepest connection, it is well disclosed in AF Losev: "Music is strained to the word, to the Logos." Of course, when this great music. The very idea of the ancient melody expresses its deepest synthesis of music and words, leading to higher substantiality, the foundation of human existence - whether Christian or pagan Chaos logo.
Florenski approach does not exclude the possibility of a "game of plastic forms" to convey something that is not only exciting soul, but also significant for the spirit. Another question is how often this happens in contemporary art: how much do we know Beethoven and Mozart's "abstract" painting. )

[Станиславский]

Leaving aside the intricacies of thought. Paul Florenski, the mere mention of his name in the subject of abstractionism is very significant. We can say that Florensky, philosopher, more than any other of his associates engaged issues of art, a spokesman for the aesthetic pursuit of Russian Spiritual Renaissance of the early 20 th century. These searches over time (the 10th years. The last century) miraculously coincided with the opening of representatives of Russian avant-garde and its most radical offshoots - abstract art.

I think a comparison of the Russian spiritual renaissance and the Russian avant-garde art can provide answers to many questions. Despite the seeming antagonism between attitudes and God-seeking, and avant-garde sought to open new research perspectives. And a closer look, the contradictions between them are not so insurmountable. And they both tried to pave the way to the "hyperreal", which lies beyond the visible world of forms. Watershed, rather, is in the field of aesthetic and wider - ideological ideal.

It is appropriate to recall Florensky developed the concept of reverse perspective in the iconography. Reverse perspective on Florensky - nothing more than an attempt to "obespredmechivaniya" Art. And if this obespredmechivanii Florensky theocentric method uses a global mystic symbolization (sophiology), the abstract - the occult and anthropocentric method associated with "cosmic energy" and mediumistic properties of the artist as a conduit to other worlds.

Recall also the desire of both approaches mathematically verified correctness, the geometry in an amazing way linking with mystical revelation, such as the "Black Square" by Malevich.

And Florenski and abstract world of objects - only a mask hiding the true reality, and only the discovery of this reality is the foundation of a true act of creation in all its purity and nezamutnennogo. Figuratively speaking, a true act of art is something like a Cheshire cat smile.

M. Epstein, in his usual flamboyant even dared to compare the abstract ideal of strict execution of the commandment "Do not make yourself an idol" than automatically ranked abstract artist as a saint. According to the Florensky holy elders should be considered as the main subjects of the perception of art. This not the mysteries of abstract painting?

[iside]

Now it's a mailing list, but time and effort to translate no, sorry.





As a psychologist and the group of monkeys, children and Elephants proved that abstract art requires talent.

[fabosch]

Сообщение от Samvel

The "people" to whom I belong to at least a week, if nothing else to do to master prtsentov 10, is writing about Florensky, and this is the case when not knowing what it was about, I am confident in genius thought of this themselves teksta.t e took the text of the abstract.

Have not visited this thread. I wanted to jump into the last car, but realized that the engine during this time have already gone far enough. Discussion, I think, a little went beyond the boundaries of what may be decided not entirely free from earthly responsibilities mind, so that there is only accede to the wise words of Samvel.
Nevertheless, I welcome "madness of the brave" - will try to continue to closely monitor whimsical twist "abstraktomudriya"

[I-V]

Сообщение от fabosch

I jump into the last car, but realized that the engine during this time have already gone far enough.

Not the word ... I still dream that just about will have enough time to sit down and read everything from cover to ... in short, just to read and delve. Honestly, looking forward to this moment with pleasure and even delight that "the train is coming. Know: is that read this summer

[Art-lover]

Сообщение от fabosch

I jump into the last car, but realized that the engine during this time have already gone far enough. Discussion, I think, a little went beyond the boundaries of what may be decided not entirely free from earthly responsibilities mind

fabosch, in the company of your travel a pleasure, and that you can catch a train along the tracks, we slowed down and at the time digress from the "serious material."
Here iside proposed an excursion to the American elephants and monkeys

Сообщение от iside

As a psychologist and group of monkeys, children and Elephants proved that abstract art requires talent.

, but our open spaces are Zoo and Circus:

How to PhD in Contemporary Art Fedorov-Davydov, and the Soviet people have shown that abstract art does not need a talent :

Abstract art (or abstract art) - negative, deeply reactionary trend of modern bourgeois art. Abstract - antigumanistichen hostile to all truly human. He is a realist and the enemy, an enemy of socialism and all generally good, progressive art.

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Abstract art in its negation of reality, in the extreme subjectivity of art, the cult of the subconscious and the unconscious represents the decay and degeneration of bourgeois art. In abstractionism formalism took his last ugly form, which was, after all, the very negation of art.
Abstract art, in fact, goes even beyond the art ceases to be what is art - an aesthetic development of humanity itself and the surrounding world.
A. Persistent in his book convincingly argues that abstraction is supported by sponsors, governments and the church in the capitalist countries, because the modern bourgeoisie is afraid of the realistic and democratic art and prefers another art, one that would have been able to divert at least for a time from the problems of reality full of sharp social contradictions. Most reactionary strata of the imperialist bourgeoisie to an art that would have blunted the sense of responsibility to the people and history, would justify the inhuman military podzhigatelskuyu policy. "
Not for nothing abstract art, originated in 1910's, became dominant after the Second World War. Bourgeoisie supports and promotes creativity, and these artists who, having experienced the horrors of war and fascism, fear of the modern capitalist reality and not seeing out of her way out, "want to create a world", and those who embraced experimentation for its own sake, and such , who argue the inevitability of the impending nuclear disaster, wants to infect humanity "fervor of destruction, anti-communism." The bourgeoisie uses its own purposes and genuine despair artists lone individualists, refined aesthetes, and conscious of the reactionaries, sadists, and erotomania.
From what would, at times even sincere intentions and the search may come from abstract artist, abstract art - and anti-humane. Even a talented artist, the attractiveness of different combinations of colors, lines and shapes in his work does not save us from the fact that his work is essentially antiestetichesky character. Since the abstractionist denies any resemblance to reality, this art is still unclear and arbitrarily interpreted by others. Sometimes the same abstractionist and does not want to say anything. Surprising and even osharashivaya seemingly abstract paintings and sculptures will soon tire and get bored.
Hence - the desire to abstract artists to seek new and stunning facilities, is quite beyond the art. All this opens a wide field of activities for all sorts of quackery and tryukachestva, computed on advertising.
In abstractionism we first encounter the "creativity" in which the quality of products can not be objectively established and talent and mediocrity can equally serve and qualify for recognition. Public reactionary, anti-humane and antihudozhestvennost abstract make necessary the most decisive and merciless fight with him. Exposing the abstract - the first responsibility and the need to combat the socialist culture and ideology cotsialicticheskoy with decadent and bourgeois.
This struggle is all the more necessary that abstraction prevails not only in capitalist countries, but sometimes gets in the socialist countries. This is the most disgusting tendency of modern bourgeois ideology - the corrupting influence on advanced socialist ideology.
... Even in Soviet art as a hobby, he said some young people formalistic Western art. There were people who were to imitate it or justify it, wrongly seeing in him the art of "the age of cybernetics, the expansion of the atom and the mastery of outer space." The party has given a sharp rebuff to these harmful errors and clearly indicated that they are a concession to bourgeois ideology.
Fighting abstractionism can not simply confine its denial, and especially ridiculing his absurd manifestations. Such derision often applies only to notorious charlatans and incompetent adventurers. Must be strictly scientific and objective way to prove and explain the ideological and artistic failure and the reactionary nature of abstract art, infidelity of his theories, false claims for reflection and expression "new reality" on the alleged compliance with meaningless combinations of forms in sculpture, spots and lines in the painting - modern physical concepts and laws. The scientific objectivity and depth of analysis should be combined with the party's intransigence and integrity. Recently we have started to appear such work. Among them, a book by A. Stoykova occupy an important place and play an important positive role.
The book is a young Bulgarian scientists has grown from a written and defended dissertation in Moscow and published today in the Bulgarian language.
...

... Along with loyalty to the main provisions, something that can cause both private disputes and objections. ...
Thus, the author only slightly regard to the substantive question of what art is different from science, not only the method, the shape, but also by subject. Insufficiently noted and criticized his one sin of abstract art, which is in its samodovleemosti, lack of focus.
The author correctly points out that, for example, in the decorative arts neizobrazitelnyh or use of geometric forms is fundamentally different from the abstract. It is important to emphasize, as some have believed that abstract art, false in painting and sculpture, is applicable in the decorative arts. But we would have more to develop and emphasize the viciousness of the comparison of abstract painting and sculpture to architecture and decorative arts, which consists in the substitution of concepts, the deliberate confusion between the role depiction in things practical purpose, and in fine arts. Here «neizobrazitelnost" makes a painting or sculpture senseless uselessness.
This affects the nature of the formalist abstraction. It formalistic separation of life received the final completion, which means the death of art.
... Completely in doubt are its provisions that abstract art grows out of the glaring contradictions of modern capitalism, reflecting its general crisis. This - the decay of bourgeois culture, closely linked to imperialist ideology and anti-communism. ...
It should draw your attention to the exposure of A. Stoykova false claims of bourgeois theorists and historians of abstraction that the homeland of abstract art is supposedly Russia, and in particular they are clearly defamatory statements that the alleged in the first years of Soviet power it was recognized and even encouraged us art that he even allegedly patronized by Lenin.
Exposing the slanderous allegations that the fight against abstractionism have been associated with changes in artistic policy of the party and government after Lenin's death - is extremely important and politically relevant. We must dramatically prevent the bourgeois reactionary ideology of smuggling in their own little idea, using the authority of Lenin and the October Revolution. This is nothing like coarse deceit. And the party, and Lenin had always had a very negative attitude to any kind bespredmetnichestvu.

Stoics rightly identified as a criticism podglavki study patterns of abstract art and primitive art primitive and criticism of theories of its origins in classical art. Such justification of abstract art, in which past art being entirely false interpretation - are particularly harmful, since it sometimes can lead to one or another partial recognition of abstract art and its principles, even progressive historians and theorists of art.
...
Some people, especially young people, it seems that they do not depict lines and spots, those compositions of abstract shapes that they see in abstract painting and sculpture, as if to convey to some extent, new ideas about the matter, passed a new sensation and feelings of the people to whom opened the invisible, not tangible world of splitting the atom, opened sverhskorosti, space, space, and which were contemporaries of the "electronic brain".
A. Persistent convincingly shows that the methods of abstract art has nothing to do with the methods of modern physics. Matter is not "breaks" as a result of new scientific discoveries, but only deeply comprehended. He correctly points out that our art can not and must not step over our earth coordinate system and that attempts to abstract in this respect has nothing to do with science but are quackery. In fact, abstractionists do not know contemporary physics and Cybernetics, and do not seek to learn new phenomena, and naively believe that they can open a new world, bypassing the intellect and scientific experience.
Just correctly criticizes A. Stoics and approval of abstract, though in their works the artist finds "freedom." This allegation Stoics in opposition, first, a well-known dependence of the artist in bourgeois society from the "money bag", and, secondly, internal unfreedom abstract.
genuine freedom of the artist only gets in a socialist society that is associated with people and with them their own means of participating in the construction of communism.

... Of course private comments and do not agree with the author. Not all of it equally developed.
But overall - this is true in its outlook, in his aesthetic position and direction of his criticism of the book. Its scientific seriousness and the party of principle make it useful and necessary in our common struggle with the insidious and dangerous enemy in the arts - with abstractionism.

This book usefully read our Soviet reader, and it is largely his arm, will help the formation of a negative attitude toward abstract art, which is naturally the vast majority of Soviet people.

A. Fedorov-Davydov.
From the preface to the book Atanas stand. "The criticism of abstract art and his theories." , 1964

Statistical base for researchers from Boston in the experiments with elephants and so on. was only a few dozen students, and those of their counterparts in Moscow - the Soviet people. In addition, our elephant - the largest in the world. Can there be a doubt, whose scientific conclusions accurate?

[Игорь Гурьев]

Abstract painting - it's a matter of faith.


Some believe that the abstract can be art, while others (myself among them) do not believe in it.


In art, the main thing - the transfiguration of the world, rather than creating it is not clear why.

[Самвел]

Dear Igor Sasha. I, too little to understand in the abstract, and honestly have never seen, except with the screen, but to deny it, the same as rejecting all that has neither reason nor the consequences, but this is the most interesting, mysterious, there remembered for some reason the line Mandelstam, can not quite similar, but close to our conversation. (All the works of world literature, I'm sharing the resolution and written
without permission. First - this is filth, second - stolen air. Writers
who write the pre-authorized by the things I want to spit in the face, I want to beat them
stick to the head and put all the table in the House of Herzen, before placing
Every cup of tea and a policeman giving everyone in the hands of a urine sample Gornfelda.
These writers, I would forbid to marry and have kids. How can
they have children) Once, while walking one strange city, I was looking for something different. Long sought, took a long walk, and suddenly flashed something, I looked at this subject, it was a piece of tin that covered the roofs of houses, and for some reason this time I remember, some slight excitement gripped me, then gone. Then I learned that what I'm looking for, or who I am looking for a tinsmith.