vanguard
abstractionism
futurism
cubo-futurism
suprematism
rayonism
symbolism

Vanguard

The heyday falls on 1914-1922
Main directions
- abstractionism
- futurism
- cubo-futurism
- suprematism
Prerequisites for occurrence: rethinking
traditional cultural values, the development of the scientific and technological process

Union "Jack of Diamonds"

Date of appearance: 1911
At first there were only Moscow painters, then
Petersburg, later from different cities.
Denial of the traditions of 19th century realism, style: fauvism and
cubism, techniques of Russian folk toys
In 1912, a number of artists broke away, gravitating towards
abstractionism, cubo-futurism.
Participants:
- N. Goncharova
- P. Konchalovsky
- A. Kuprin
- M. Larionov

Avant-garde directions

Abstractionism
Rejection of the real image of the forms
Creation of unrealistic shapes, certain colors
combinations to evoke a variety of
associations
Founders:
- Wassily Kandinsky
- Kazimir Malevich
- Natalia Goncharova
- Mikhail Larionov
The first abstract painting was painted by Kandinsky at the end
1900 g.

Canvases by V. Kandinsky

Cossacks (1917)
Yellow-red-blue (1925)
Accent
pink (1926)
The influx of improvisation
(1913)

Futurism
Falls in 1910-1920
Artists were attracted not by content, but by form
The main artistic principles are speed, movement
energy
Painting is characterized by:
- energetic compositions
- predominance of zigzags, spirals, beveled cones
- overlaying shapes on top of each other

Cubo-futurism
Falls in 1911-1915
The paintings are made up of cylindrical, conical, cone-shaped,
having a metallic luster
Artists acutely felt the onset of a new stage of life and
realized that new means were required to express it

Suprematism
The direction was founded by Kazimir Malevich in 1910
Painting features:
- combinations of different colors
- The simplest geometric shapes (straight line, square,
circle, rectangle)
Suprematist paintings - the first step of "pure creativity"
(balancing the creative power of man and God)
Malevich created the UNOVIS group (Approvers of the New
Art), which developed the ideas of Suprematism, led
revolutionary activity.

Canvases of K. Malevich

Suprematism
(1916)
Lumberjack
Black square
Cavalry

Rayonism

The direction appeared in the 1910s.
The artists did not depict the object itself, but the rays of light,
reflected from it (which the eye perceives)
Rays are transmitted using colored lines
Artists - members of the "Donkey's Tail" association:
- N. Goncharova
- M. Larionov

Canvases by M. Larionov and N. Goncharova

Red
rayonism
Larionova
Radiant
lines
Larionova
Rayonism
Goncharova
Radiant
lilies
Goncharova

Association "Donkey's Tail"

Founders:
- M. Larionov
- N. Goncharova
Withdrew from the "Jack of Diamonds" and decided to create
their association
The artists sought to combine the "extreme currents"
painting (cubism, etc.) with the traditions of folk art

Symbolism

For artists, the main expression of beauty
Themes of the paintings are mythological, fabulous
Religious plots
Artists depicted moments of life
Symbolist artists:
- E. Borisov-Musatov
- M. Nesterov
- M. Vrubel
- K. Petrov-Vodkin
- A. Vasnetsov
- V. Vereshchagin

Contents 1 Literature 1.1 Poetesses 1.1.1 A 1.1.2 B 1.1.3 ... Wikipedia

The chronological framework of the Silver Age of Russian culture cannot be established with an accuracy of up to a year. The beginning of this period is usually attributed to the first half of the 1890s, between the manifestos of Nikolai Minsky "In the Light of Conscience" (1890) and Dmitry ... ... Wikipedia

Includes painters from the Russian Empire, the Soviet Union and the Russian Federation who were actively working abroad. Contents 1 XVIII century 2 XIX century 3 XX century 3.1 ... Wikipedia

- ... Wikipedia

Contents 1 Decembrists 2 Revolutionaries 3 Military and Heroes of the Soviet Union ... Wikipedia

- ... Wikipedia

This article is being proposed for deletion. An explanation of the reasons and the corresponding discussion can be found on the Wikipedia page: To be deleted / October 19, 2012. Until the discussion process is completed, the article can be ... Wikipedia

Exhibition of works by Leningrad artists dedicated to the 60th anniversary of the Great October Revolution Exhibition catalog Venue ... Wikipedia

Exhibition catalog Venue: L ... Wikipedia

Exhibition catalog Venue: Leningrad State Russian Museum Time: 1960 Exhibition of works by Leningrad artists of 1960 ... Wikipedia

Books

• City of the Silver Age, Volodina T.I .. Space of the city in the Russian fine arts and literature of the Silver Age. The book is the first interdisciplinary study of the topic in modern domestic science ...
• City of the Silver Age. The space of the city in the Russian fine arts and literature of the Silver Age, Volodina T.I .. The space of the city in the Russian fine arts and literature of the Silver Age. The book is the first interdisciplinary study of the topic of space in modern domestic science ...

Topic: "The Silver Age" in Russian Art.

Introduction

1. New concept of art

2. Artistic directions and representatives of trends

Conclusion

Literature

Introduction

In the first third of the last century, a powerful spiritual surge took place in Russia, throwing into the treasury of world culture many significant ideas and works in the spheres of religious and philosophical thought, all types of art. The rise of the creative activity of the Silver Age was influenced by the ever-strengthening feeling by the most sensitive thinkers and artists of the growing, global crisis, which has never happened in the history of mankind, of everything: culture, art, religion, spirituality, statehood, man himself and mankind, and at the same time - an intense expectation of some an unprecedented soaring of spirituality, culture, the very being of a person to something fundamentally new, irresistibly attracts, great, to "world prosperity", according to P. Filonov. The apocalyptic moods of an absolute end clashed with equally strong aspirations for fundamentally new revolutionary transformations.

Three directions of intellectual and artistic creativity of that time: religious philosophy, symbolism and avant-garde were the main pillars of the Silver Age culture.

After the mighty rise of Russian culture, designated in science as the "Silver Age", it is urgent to try to clarify its main parameters and characteristics, from the standpoint of the modern vision of this phenomenon, to understand the problems that worried the creators and thinkers of that amazing, spiritually and artistically rich time, to identify values.

Much is already being done in this direction, especially in terms of the study of literature, art, and religious philosophy. Therefore, the idea of \u200b\u200bthe work is to summarize the most valuable data and conclusions of modern researchers, and at the same time to turn as much as possible to the original masterpieces of the Silver Age. And, summarizing the analysis of the material of this period, sketch out the main outlines of the emerging picture of intellectual and artistic creativity.

Purpose of the work: to reveal the main achievements in Russian art of the "Silver Age" period.

1. New concept of art

A new style in Russian art emerged in the 80s. XIX century. heavily influenced by French impressionism. Its heyday was marked at the turn of the 19th and 20th centuries.

For several decades after its decline (by the end of the 10s of the twentieth century, the Art Nouveau style in Russian art, with which the Silver Age is associated, ceded its dominant role to new directions) the art of the Silver Age was perceived as decadence and tastelessness.

But towards the end of the second millennium, estimates began to change. The fact is that there are two types of flourishing of spiritual culture. The first is characterized by powerful innovations and great achievements. Vivid examples of this are the Greek classics of the 5th – 4th centuries. BC. and especially the European Renaissance.

Back in the middle of the 19th century. representatives of romanticism dreamed of creating a unified style that could surround a person with beauty and thereby transform life. To transform the world by means of art - this was the task set before the creators of the beautiful by Richard Wagner and the Pre-Raphaelites. And already at the end of the XIX century. Oscar Wilde argued that "life imitates art rather than the art of living." There was a clear theatricalization of behavior and everyday life, the game began to determine not only the nature of artistic culture, but also the lifestyle of its creators.

The Silver Age in Russian culture is not only art nouveau painting and architecture, not only symbolist theater, which embodied the idea of \u200b\u200bthe synthesis of arts, when artists and composers worked together with directors and actors on the production of the performance, it is also the literature of symbolism, and especially poetry, which is in history world literature entered under the title "poetry of the Silver Age." This is the style of the era, a way of life.

Making a poem out of your life is a super task that the heroes of the Silver Age set themselves. So, the Symbolists, first of all, did not want to separate the writer from the person, the literary biography from the personal. Symbolism did not want to be only a literary movement, but it was trying to become a vital creative method. It was a series of attempts to find an impeccably correct fusion of life and creativity, a kind of philosophical stone of art.

There were also shadow sides in this striving. Excessively mannered speech and gestures, a shocking costume, drugs, spiritualism - on the verge of centuries, all this bore signs of being chosen and gave rise to a kind of snobbery.

Literary and artistic bohemians, sharply opposing themselves to the masses, were looking for novelty, unusualness, and the acuteness of their experiences. Magic, spiritualism and theosophy attracted the neo-romanticist symbolists not only as a colorful material for works of art, but also as real ways to expand their own spiritual horizons.

A new generation of literary and artistic intelligentsia has appeared in Russia; she was noticeably different from the generation of the "sixties" not only in her creative interests; external differences were also striking.

So, a single style that originated in Russia and became synonymous with the concept of the Silver Age was truly universal, because - albeit for a short time - it covered not only all spheres of creativity, but also directly the life of people of the fin de siecle era. This is all great style.

Roerich (1874 -1947)

Nicholas Roerich was not only an artist, but also a historian. His interest in archeology is also known. This is reflected in his art. The artist was especially interested in Slavic pagan antiquity and early Christianity. Roerich is close to the spiritual world of people of the distant past, and their ability seems to dissolve in the natural world. Contour lines and local color spots play a decisive role in the image.

Bakst (1866 -1924)

Lev Bakst, more than other artists of the world, approached the European version of modernity. Flexible outline, generalized interpretation of form, laconic color and flatness of the image testify to the influence on Bakst of such Western artists as Edvard Munch, Andres Zorn and others.

The model for the lady depicted by Bakst was the wife of Alexander Benois - Anna Karlovna. "Stylish decadent ... black and white, like an ermine, with a mysterious smile a la La Gioconda," wrote the writer and philosopher Vasily Rozanov about the heroine.

Somov (1869 -1939)

Konstantin Somov is one of the brightest artists of the St. Petersburg association "World of Art". He was a master of exquisite color and sophisticated graphics.

The painting "Harlequin and the Lady" is made by the artist in several versions. In the works of the 1910s. Somov often repeats the same compositional techniques and lighting effects. He is fascinated by the art of the 18th century - the "gallant century". His paintings often feature characters from the Italian comedy of masks. Here too: a tree-curtain in the foreground, next to the figures of the main characters lit by fireworks, then a gap in the depths, where small silhouettes of mummers and ladies scurry about. A graceful art theater for art.

Borisov-Musatov (1870-1905)

In all of Borisov-Musatov's paintings, the romantic dream of beautiful harmony, absolutely alien to his contemporary world, finds expression. He was a true lyricist, sensitive to nature, feeling the fusion of man with nature.

"The Pond" is perhaps the most perfect work of the artist. All the main motives of his work are present here: the old park, the "Turgenev girls", the general static composition, the calm color, the increased "tapestry" decorativeness ... The images of the heroines of "Reservoir" depict the artist's sister and wife.

In his masterpiece Borisov-Musatov managed to portray a timeless state. The generalized-neutral name "Pond" evokes the image of a universal harmonious natural-human unity - inseparability, and the image itself turns into a sign that requires silent contemplation.

3. Literature, music, theater, art mix

The most significant image of the "Silver Age" manifested itself in literature. On the one hand, the stable traditions of critical realism were preserved in the works of the writers. Tolstoy, in his last works of art, raised the problem of personality resistance to inveterate norms of life ("Living Corpse", "Father Sergius", "After the Ball"). The main idea of \u200b\u200bTolstoy's journalism is the impossibility of eliminating evil by violence.

AP Chekhov during these years created the plays "Three Sisters" and "The Cherry Orchard", in which he reflected the important changes taking place in society.

Socially sharpened plots were also favored by young writers. IA Bunin investigated not only the external side of the processes taking place in the countryside (stratification of the peasantry, the gradual withering away of the nobility), but also the psychological consequences of these phenomena, how they influenced the souls of the Russian people ("Village", "Sukhodol", cycle of "peasant" stories). AI Kuprin showed the unattractive side of army life: the lack of rights of soldiers, the emptiness and lack of spirituality of "gentlemen of the officers" ("The Duel"). One of the new phenomena in literature was the reflection in it of the life and struggle of the proletariat. The initiator of this theme was AM Gorky ("Enemies", "Mother").

In the first decade of the XX century. a whole galaxy of talented "peasant" poets came to Russian poetry - S. A. Yesenin, N. A. Klyuev, S. A. Klychkov.

At the same time, a voice began to sound, presenting its account to the representatives of realism of the new generation, who protested against the main principle of realistic art - the direct image of the surrounding world. According to the ideologists of this generation, art, being a synthesis of two opposite principles - matter and spirit, is capable of not only "reflecting", but also "transforming" the existing world, creating a new reality.

The founders of a new direction in art, the symbolist poets, declared war on the materialistic worldview, claiming that faith and religion are the cornerstone of human existence and art. They believed that poets are endowed with the ability to join the transcendent world through artistic symbols. Initially, symbolism took the form of decadence. This term meant a mood of decadence, melancholy and hopelessness, a pronounced individualism. These features were characteristic of the early poetry of KD Balmont, AA Blok, V. Ya. Bryusov. After 1909, a new stage began in the development of symbolism. It is painted in Slavophil tones, demonstrates contempt for the "rationalist" West, foreshadows the death of Western civilization, represented, including by official Russia. At the same time, he turns to the spontaneous forces of the people, to Slavic paganism, tries to penetrate into the depths of the Russian soul and sees in Russian folk life the roots of the country's "second birth". These motifs sounded especially brightly in the works of Blok (poetry cycles "On the Kulikovo Field", "Homeland") and A. Bely ("Silver Dove", "Petersburg"). Russian symbolism has become a global phenomenon. It is with him that the concept of the "Silver Age" is primarily associated.

The opponents of the Symbolists were acmeists (from the Greek "acme" - the highest degree of something, a blossoming power). They denied the mystical aspirations of the Symbolists, proclaimed the intrinsic value of real life, called for the return of words to their original meaning, freeing them from symbolic interpretations. The main criterion for evaluating creativity for acmeists (N. S. Gumilyov, A. A. Akhmatova, O. E. Mandelstam) was impeccable aesthetic taste, beauty and refinement of the artistic word. And the formalists clearly and clearly stated that their morphological method of analyzing art arose for studying the artistry of art, i.e. to identify its aesthetic qualities. They were convinced that "literary", "poetry", i.e. the artistic essence of a work of art can be revealed only through a morphological analysis of the work of art itself, and not of what it is "a reflection" of, who created it and under what conditions, how it affects the recipient, what is social, cultural, etc. value. The main terms in their categorical apparatus were the terms material (everything that the artist makes a work of: the word, the language itself in its everyday use, thoughts, feelings, events, etc.) and form (what the artist gives to the material in process of creativity). The work itself was called a thing, because in the understanding of the formalists it was not created or was created, as classical aesthetics believed, but was done using a system of techniques.

Russian artistic culture of the early XX century. was also influenced by the avant-garde that originated in the West and embraced all types of art. This movement has absorbed various artistic trends that announced their break with traditional cultural values \u200b\u200band proclaimed the idea of \u200b\u200bcreating a "new art". The futurists (from the Latin "futurum" - the future) were prominent representatives of the Russian avant-garde. Their poetry was distinguished by an increased attention not to the content, but to the form of the poetic construction. The futurists' program settings were oriented towards defiant anti-aesthetics. In their works, they used vulgar vocabulary, professional jargon, the language of a document, a poster and a poster. Collections of poems by futurists bore characteristic titles: "Slap in the face to public taste", "Dead Moon", etc. Russian futurism was represented by several poetic groups. The brightest names were collected by the St. Petersburg group "Gileya" - V. Khlebnikov, D. D. Burliuk, V. V. Mayakovsky, A. E. Kruchenykh, V. V. Kamensky. The collections of poems and public speeches of I. Severyanin enjoyed stunning success.

Early XX century - this is the time of the creative take-off of the great Russian composers-innovators A. N. Scriabin, I. F. Stravinsky, S. I. Taneyev, S. V. Rachmaninov. In their work, they tried to go beyond traditional classical music, to create new musical forms and images.

Young directors A. A. Gorsky and M. I. Fokin, in contrast to the aesthetics of academism, put forward the principle of picturesqueness, according to which not only the choreographer and composer, but also the artist became the full-fledged authors of the performance. The ballets of Gorsky and Fokine were staged with sets by K. A. Korovin, A. N. Benois, L. S. Bakst, N. K. Roerich. The Russian ballet school of the "Silver Age" gave the world a galaxy of brilliant dancers - A. T. Pavlov, T. T. Karsavin, V. F. Nijinsky, and others.

A notable feature of the culture of the early XX century. were the works of outstanding theater directors. KS Stanislavsky, the founder of the psychological acting school, believed that the future of the theater lies in profound psychological realism, in solving the super-tasks of actor's reincarnation. V.E. Meyerhold conducted searches in the field of theatrical convention, generalization, the use of elements of the folk booth and the theater of masks. EB Vakhtangov preferred expressive, entertaining, joyful performances.

At the beginning of the XX century. the tendency towards the combination of various types of creative activity was more and more clearly manifested. At the head of this process was the "World of Art", which brought together not only artists, but also poets, philosophers and musicians. In 1908-1913. SP Diaghilev organized "Russian Seasons" in Paris, London, Rome and other capitals of Western Europe, presented by ballet and opera performances, theater painting, music, etc.

Conclusion

Art in the context of the "Silver Age" is interpreted as the result of divinely inspired creativity, and the artist as a God-chosen conductor of spiritual images, expressed exclusively in artistic form, whose actions are directed by divine powers. Artistic creativity was presented in the mainstream of this aesthetics as an ideal foundation on which not only human life and the culture of the future should be built, but also the process of creating the world through the efforts of artists-creators-theurgists should end. In its essence, art here represented an innovative development of traditional Christian aesthetic values \u200b\u200bin the aspect of bringing them closer to the realities of modern life and with an orientation towards spiritual, scientific, artistic searches and aspirations of a man of the 20th century.

Russian Symbolists played an important role in the development of the Silver Age aesthetics. Symbolism acquired a strong national coloring among the largest young symbolists Andrei Bely, Vyacheslav Ivanov, Alexander Blok, Ellis and others. Vyacheslav Ivanov was convinced that a fundamentally new stage of artistic creativity was approaching, when all the arts would be united into a kind of artistic and religious mystery - a kind of synthetic sacred action , in which both trained actors and all spectators will take an active part. A true symbolist artist of the future, according to Ivanov, must creatively realize in himself the connection "with the divine total-unity", experience the myth as an event of personal experience and then express it in his mystery art. For Andrei Bely, the essence and meaning of art had a theosophical and religious connotation, and in theurgy as the main goal of symbolism, he saw the return of art to the sphere of religious activity to transform life.

Representatives of the World of Art were united by two main ideas, two aesthetic tendencies: 1) The desire to return to Russian art its main, but thoroughly forgotten in the 19th century. quality - artistry, free it from any tendentiousness (social, religious, political, etc.) and direct it into a purely aesthetic channel. Hence the slogan l "art pour l" art, popular among the world of art, the search for beauty in everything, rejection of the ideology and artistic practice of academism and itinerant movement, interest in romantic and symbolist trends in art. 2) Romanticization, poeticization, aestheticization of the Russian national heritage, interest in folk art, for which the main participants in the association received the nickname "retrospective dreamers" in artistic circles. This was especially distinguished by K.A. Somov and A.N. Benois, who sought to resurrect and perpetuate in art the life of past centuries in its essence - beauty and "wonderful mystery." And Roerich, not without the influence of European esotericism, which was popular at that time in Russia as well, turned his spiritual gaze to the East and in his mysterious ancient wisdom gained what he did not find on European soil. In their texts, the Roerichs paid special attention to Beauty, Art, Culture as the most important and necessary phenomena on the path of spiritual development.

Miriskusniki created a solid Russian version of that aesthetically sharpened movement at the turn of the century, which cultivated a high artistic taste, gravitated towards the poetics of neo-romanticism or symbolism, towards the decorative and aesthetic melodiousness of the line, and in Russia it was called the "modern" style. The participants in the movement themselves (Benoit, Somov, Dobuzhinsky, Bakst, Lanceray, Ostroumova-Lebedeva, Golovin, Bilibin) were not great artists, did not create artistic masterpieces or outstanding works, but inscribed several notable aesthetic pages in the history of Russian art, actually showing the world, that our art is not alien to the spirit of nationally oriented aestheticism.

Literature

1. Arnoldov A.I. Civilization of the Coming Century. - M .: "Graal", 2007. - 328 p.

2. Akhiezer A.S. Socio-cultural dynamics of art in Russia // Polis.– 2001.– №5. 27-32s.

3. Gromov M.N. Eternal values \u200b\u200bof Russian culture // Problems of Philosophy.– 2004.– №1. 41-53s.

4. Gurevich P.S. Culturology. - M .: Gardariki, 2000 .-- 280 p.

5. Emelyanov B.V., Novikov A.I. Russian Philosophy of the Silver Age: A Course of Lectures. - Yekaterinburg, 2005 .-- 320 p.

6. Ionin L.G. Sociology of culture: the path to the new millennium. - M .: "Logos", 2000. - 432 p.

7. Kondakov I.V. Russian culture: a short outline of history and theory: a textbook for university students. - M .: Book House "University", 2005. - 360 p.

8. Kononenko B.I., Boldyreva M.G. Culturology: Textbook. - M .: "Shield-M", 2006. - 292 p.

9. Krichevskaya Yu.R. Modernism in Russian literature: the era of the Silver Age (textbook). - M .: IntelTech LLP, 2004. - 398 p.

10. Mamontov S.P. Fundamentals of cultural studies. - M .: Olymp, 2001.- 436 p.

11. Morozov N.A. The ways of Russia: modernization of non-European cultures. - M .: Varna, 2001. - 328 p.

12. Rapatskaya L.A. Art of the Silver Age. - M .: ZAO Publishing House EKSMO-Press, 2003. - 912 p.

13. Sarychev V.A. Aesthetics of Russian modernism. - Voronezh, 1991. –244p.

Rapatskaya L.A. Art of the Silver Age. - M .: ZAO Publishing House EKSMO-Press, 2003. - 638 p.

Sarychev V.A. Aesthetics of Russian modernism. - Voronezh, 1991. –189p.

Sarychev V.A. Aesthetics of Russian modernism. - Voronezh, 1991. –172p.

"Silver Age" of Russian poetry. // Comp. V. Dorozhkina, T. Kurnosova. - Tambov: Publishing house of the Institute of Science and Technology, 2004. –75p.

Introduction …………………………………………………………… ..2

Architecture ………………………………………………………… .3

Painting ………………………………………………………… ..5

Education ………………………………………………………… 10

Science ……………………………………………………………… 13

Conclusion ………………………………………………………… ..17

References ………………………………………………… .18

Introduction

The Silver Age of Russian culture was surprisingly short. It lasted less than a quarter of a century: 1900 - 1922. The initial date coincides with the year of death of the Russian religious philosopher and poet V.S. Solovyov, and finally - with the year of the expulsion from the already Soviet Russia of a large group of philosophers and thinkers. The brevity of the period does not diminish its significance at all. On the contrary, over time, this importance even increases. It lies in the fact that Russian culture - albeit not all, but only a part of it - was the first to realize the destructiveness of development, the value guidelines of which are one-sided rationalism, irreligion and lack of spirituality. The Western world came to this realization much later.

The Silver Age includes, first of all, two main spiritual phenomena: the Russian religious revival of the early 20th century, also known as "God-seeking", and Russian modernism, which embraces symbolism and acmeism. To him belong such poets as M. Tsvetaeva, S. Yesenin and B. Pasternak, who were not part of the named trends. The art association "World of Art" (1898 - 1924) should also be referred to the Silver Age.

Silver Age architecture»

The era of industrial progress at the turn of the XIX-XX centuries. made a real revolution in construction. New types of buildings such as banks, shops, factories, and train stations occupied an increasing place in the urban landscape. The emergence of new building materials (reinforced concrete, metal structures) and the improvement of construction equipment made it possible to use constructive and artistic techniques, the aesthetic interpretation of which led to the approval of the modern style!

In the works of F.O. Shekhtel to the greatest extent embodied the main development trends and genres of Russian modern. The formation of the style in the work of the master went along two directions - national-romantic, in line with the neo-Russian style and rational. The features of Art Nouveau are most fully manifested in the architecture of the Nikitsky Gate mansion, where, abandoning traditional schemes, the asymmetric principle of planning is applied. The sloping composition, the free development of volumes in space, the asymmetric ledges of bay windows, balconies and porches, the accentuated cornice - all this demonstrates the principle inherent in modernity of assimilating an architectural structure to an organic form.

The decoration of the mansion uses such typical Art Nouveau techniques as colored stained-glass windows and a mosaic frieze with floral ornaments encircling the entire building. The whimsical twists of the ornament are repeated in the interweaving of the stained-glass windows, in the drawing of the balcony bars and the street fence. The same motif is used in interior decoration, for example, in the form of marble stair railings. Furniture and decorative details of the building's interiors form a single whole with the general idea of \u200b\u200bthe building - to turn the everyday environment into a kind of architectural performance, close to the atmosphere of symbolic plays.

With the growth of rationalistic tendencies in a number of Shekhtel's buildings, the features of constructivism, a style that would take shape in the 1920s, were outlined.

In Moscow, the new style expressed itself especially vividly, in particular in the work of one of the founders of Russian modernist L.N. Kekusheva A.V. Shchusev, V.M. Vasnetsov and others. In St. Petersburg, modern was influenced by monumental classicism, as a result of which another style appeared - neoclassicism.
In terms of the integrity of the approach and the ensemble solution of architecture, sculpture, painting, decorative arts, Art Nouveau is one of the most consistent styles.

Painting of the "Silver Age"

The tendencies that determined the development of the literature of the "Silver Age" were also characteristic of the fine arts, which made up an entire era in Russian and world culture. At the turn of the century, the work of one of the greatest masters of Russian painting, Mikhail Vrubel, flourished. Vrubel's images are images-symbols. They do not fit into the framework of old ideas. The artist is "a giant who thinks not in terms of everyday life, but in" eternal "concepts, he rushes about in search of truth and beauty." Vrubel's dream of beauty, which was so difficult to find in the world around him, which is full of hopeless contradictions. Vrubel's fantasy takes us to other worlds, where beauty, however, does not free itself from the diseases of the century - these are the feelings of people of that time, embodied in colors and lines, when Russian society longed for renewal and was looking for a way to it.

In the work of Vrubel, fantasy was combined with reality. The plots of some of his paintings and panels are frankly fantastic. Depicting the Demon or the fairytale Swan Princess, the Dreaming Princess or Pan, he draws his heroes in a world as if created by the mighty power of myth. But even when the subject of the image turned out to be reality, Vrubel seemed to endow nature with the ability to feel and think, and immensely strengthened human feelings several times over. The artist strove to ensure that the paints on his canvases shine with inner light, shine like precious stones.

Another important painter of the turn of the century is Valentin Serov. The origins of his work are in the 80s of the XIX century. He continued the best traditions of the Wanderers and, at the same time, a bold discoverer of new paths in art. A wonderful artist, he was a brilliant teacher. Many prominent artists of the nine hundredths of the new century owe their skills to him.
In the first years of his work, the artist sees the artist's highest goal in the embodiment of the poetic principle. Serov learned to see the big and the significant in the small. In his wonderful portraits "Girl with peaches" and "Girl illuminated by the sun" not so much concrete images as symbols of youth, beauty, happiness, love.

Later, Serov strove to express ideas about the beauty of a person in portraits of creative personalities, approving an idea important for Russian artistic culture: a person is beautiful when he is a creator and an artist (portraits of K. A. Korovin, I. I. Levitan). The courage of V. Serov in characterizing his models is striking, be it the progressive intelligentsia or bankers, high society ladies, high officials and members of the royal family.

Serov's portraits created in the first decade of the new century testify to the fusion of the best traditions of Russian painting and the creation of new aesthetic principles. Such are the portraits of M. A. Vrubel, T. N. Karsavina, later - the "exquisitely stylized" portrait of V. O. Girshman and the beautiful portrait of Ida Rubinstein, sustained in the spirit of Art Nouveau.

At the turn of the century, the creativity of artists who became the pride of Russia developed: K. A. Korovin, A. P. Ryabushkin, M. V. Nesterov. The magnificent canvases on the subjects of ancient Russia belong to N. Roerich, who sincerely dreamed of a new role for art and hoped that "from an enslaved servant, art could again turn into the first engine of life."

Russian sculpture of this period is also distinguished by its wealth. The best traditions of realistic sculpture of the second half of the 19th century in his works (including a monument to the first printer Ivan Fedorov) were embodied by S. M. Volnukhin. The impressionist trend in sculpture was expressed by P. Trubetskoy. The work of A. S. Golubkina and S. T. Konenkov is distinguished by humanistic pathos, and sometimes by deep drama.

But all these processes could not unfold outside the social context. Themes - Russia and freedom, intelligentsia and revolution - permeated both the theory and practice of Russian artistic culture of this period. The artistic culture of the late 19th - early 20th centuries is characterized by many platforms and trends. Two vital symbols, two historical concepts - "yesterday" and "tomorrow" - clearly dominated the concept of "today" and determined the boundaries in which the confrontation of various ideas and concepts took place.

The general psychological atmosphere of the post-revolutionary years caused some artists to mistrust life. Attention to form is increasing, a new aesthetic ideal of contemporary modernist art is being realized. The schools of the Russian avant-garde, which have become known to the whole world, are developing, based on the works of V.E. Tatlin, K. S. Malevich, V. V. Kandinsky.

The artists participating in the 1907 exhibition under the bright symbolic name "Blue Rose" were strongly promoted by the magazine "Golden Fleece" (N.P. Krymov, P.V. Kuznetsov, M.S.Saryan, S. Yu. Sudeikin, N. . N. Sapunov and others). They were different in their creative aspirations, but they were united by a desire for expressiveness, for the creation of a new art form, for the renewal of the pictorial language. In extreme cases, this resulted in the cult of "pure art", in images generated by the subconscious.

The emergence in 1911 and the subsequent activity of the artists of the Jack of Diamonds reveals the connection of Russian painters with the destinies of all-European artistic movements. In the works of P. P. Konchalovsky, I. I. Mashkov and other "diamonds" with their formal quests, the desire to build a form with the help of color, and composition and space on certain rhythms, the principles that were formed in Western Europe find expression. At this time, Cubism in France came to a "synthetic" stage, moving from simplification, schematization and decomposition of form to a complete separation from the depiction. Russian artists, who in early Cubism were attracted by an analytical attitude to the subject, this tendency was alien. If Konchalovsky and Mashkov show a clear evolution towards a realistic perception of the world, then the tendency of the artistic process of other artists of "Jack of Diamonds" had a different meaning. In 1912, the young artists, having separated from the Jack of Diamonds, named their group The Donkey's Tail. The defiant title emphasizes the rebellious nature of the performances, which are directed against the established norms of artistic creativity. Russian artists: N. Goncharov, K. Malevich, M. Chagall - continue their search, do it energetically and purposefully. In the future, their paths diverged.
Larionov, who refused to depict reality, came to the so-called rayism. Malevich, Tatlin, Kandinsky embarked on the path of abstract art.

New tendencies in the art of the first decades of the XX century are not exhausted by the searches of the artists "Blue Rose" and "Jack of Diamonds". A special place in this art belongs to KS Petrov-Vodkin. His art flourishes in the post-October time, but already in the nine hundredth years he declares his creative originality with his beautiful paintings "The Playing Boys" and "Bathing the Red Horse".

The work of most Russian artists of this period can hardly be attributed to a particular style. All of them combined features of different trends and styles in their works - from realism and impressionism to symbolism and modernity. So, Mikhail Vasilievich Nesterov (1862-1942) began to write in the realistic manner of the Itinerants, but the spiritual crisis he was experiencing forced him to turn to the images of the holy ascetics of the past. This is how one of Nesterov's most famous works appeared - "The Vision to the Youth Bartholomew" (1889-1890), written on the basis of an episode from the life of Sergius of Radonezh. The landscape carries a huge load in this picture, creating a mood of contemplation and tranquility. This picture was the beginning of the "Sergius Cycle" (1892-1899), which included a number of works dedicated to the Monk Sergius. At the same time, many works appeared, the heroes of which were monks, hermits, hermits, also painted against the background of a low-key Russian landscape ("Under the Gospel", "Great tonsure", etc.).

M.V. Nesterov Holy Russia

The paintings "Holy Russia", depicting Christ surrounded by Russian saints and the people, and "In Russia", showing the procession of the cross, became milestone for the artist's work. In them, Nesterov managed to create a generalized image of the Russian people.

A very important part of the artist's creative heritage was the portrait genre. Particularly interesting are the portraits of prominent Russian philosophers and religious figures - P.A. Florensky and S.N. Bulgakov, painted by those strolling at the Trinity-Sergius Lavra, as well as a portrait of I.A. Ilyin. A large number of portraits of Moscow scientists and artists were created by Nesterov in Soviet times (he did not paint anything else after the revolution).

For creativity Konstantin Alekseevich Korovin (1861 - 1939) Impressionism greatly influenced. In his paintings, there is a subtle play of light and shadow and the ability to convey fleeting impressions and sensations. This creates the atmosphere of joy and fullness of life inherent in Korovin's paintings. He was purely impressionistic in his indifference to the plot and content and heightened attention to form, the desire to solve purely pictorial problems ("Portrait of a chorus girl", landscapes "Paris. Boulevard des Capucines" "In winter", still lifes "Fish, wine and fruits").

The most famous piece of creative heritage Valentina Aleksandrovich Serova(1865-1911) - portraits. Among them are the famous "Girl with Peaches", a portrait of S.I. Mamontov, in which he fully managed to convey the feeling of freshness, youth and purity. The artist skillfully placed his models in their familiar environment, which emphasized the exact psychological images created by the artist. That is why, although many sought to order a portrait from a fashionable and famous artist, at the same time they feared his merciless look and the characteristics that he gave to his characters. Thus, the artist's irony is clearly visible in the portraits of S.M. Botkina, Z.N. Yusupova, Grand Duke Pavel Alexandrovich. Most of all Serov loved to paint artists, writers, actors (in the 1890s he painted portraits of K.A.Korovin, N.S.Leskov, I.I. Levitan, N.A.Rimsky-Korsakov, and in 1905-1911 years - M.N. Ermolova, F.I. Shalyapina, O.K. Orlova, M.A.Morozova, V.I.Kachalova, T.P. Karsavina).

Serov's landscapes, painted in an impressionistic manner, are no less interesting. He perfectly managed to convey the discreet beauty of the Russian landscape ("Winter in Abramtsevo. Church", "Overgrown Pond", "October. Domotkanovo", etc.). Taking part in exhibitions of the World of Art association, Serov became interested in historical subjects. This is how a cycle of pencil drawings, gouaches, watercolors, tempera and oil paintings appeared. Small compositions seem unusually vital, as if they were written from life ("Departure for the hunt of Peter II and Elizabeth Petrovna", "Peter I"). Serov's paintings, painted by him after a trip to Greece in 1907, are very interesting. Among them is the famous work “The Rape of Europa”, written in the Art Nouveau style, with its characteristic clean, bright colors, a subtle combination of convention and reality.

He combined the features of impressionism with his own observations of nature in his work Victor Elpidiforovich Borisov-Musatov (1870-1905). He was interested not so much in the plot as in the painting technique. He tried to capture the play of air and color. By the end of the 1890s, a circle of topics of interest to the artist was determined - the idealized world of the old "noble nests", in which he was hiding from the upheavals of our time. Borisov-Musatov's paintings are painted in pastel and tempera technique, giving gentle, muted tones - "Self-portrait with my sister", "Autumn motive", "Harmony", "Walk", "Tapestry". In the artist's later works, the mood of nagging longing for the past gradually grew into anxiety, longing and despair - "Pond", "Emerald Necklace", "Ghosts", "Requiem".

V.A. Serov

Portrait of Ida Rubinstein

The portrait reflects the theme of "show-off life" that captivated the artist. Ida Rubinstein is a famous dancer and actress, whose life passed under the scrutiny of the public

V.E. Borisov-Musatov. Self-portrait with sister

In his canvases, the artist, like the impressionists, tried to capture the play of air and color

K.S. Petrov-Vodkin. Sleep

The painting is done in the spirit of symbolism. The awakening of the sleeper awaits, like two destinies, two virgins

M. Vrubel. Pan

Silence and mystery are full-fledged characters in Vrubel's canvases

I was looking for my own path in painting all my life Mikhail Alexandrovich Vrubel (1856-1910), who also worked a lot as a decorator, majolica master, interior designer. His pictorial manner of crushing the form into edges, painted from the inside with light and color, was close to symbolism. Vrubel's muse was the singer Nadezhda Zabela, who later became his wife. We find its features in many famous works of the artist - "The Swan Princess", "Lilac". Very often Vrubel turned to folklore, mythology, medieval motives ("The Judgment of Paris", compositions "Faust", "Margarita" and "Mephistopheles", "Mikula Selyaninovich", "Princess of Dreams"). A significant place in the work of Vrubel is occupied by the image of the Demon, in which the artist tried to embody the idea of \u200b\u200ba challenge to the world, a personality's impulse to freedom. The artist again and again returned to the Demon, painting him in different ways ("Demon defeated", "Demon sitting"). Vrubel was also an excellent portrait painter, easily conveying portrait likeness and character traits of a person. In 1902, Vrubel fell seriously ill, and spent the rest of his life in hospitals, destroying almost all of his drawings and sketches.

A consistent symbolist was Kuzma Sergeevich Petrov-Vodkin (1878-1939). Serov, Vrubel, Gauguin, Chavannes, and the Nabists had a serious influence on his creative manner, but gradually the tradition of ancient Russian art became the main one for him. He became a mature master in the 1910s. Then there were such famous of his works as "Dream", "Boys". The painting "Bathing the Red Horse" became the programmatic one in the artist's work, which embodies the dream of beauty and readiness for future trials. Paints play a special role in Petrov-Vodkin's paintings, color becomes the basis of a symbol, an expression of the artist's peculiar mythological thinking. Later, other works of the artist appeared, in which he developed the same principles - "Mother", "Girls on the Volga", "Morning. Bathers "," 1918 in Petrograd "," Death of the Commissar ". The artist remained faithful to his creative manner even in Soviet times.