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Romantic and technical utopia of the production art
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Control questions
1. Give a definition of the concept of “design”
2. Tell us about the creation of design
3. What does the term “design” mean?
Lecture 2The specificity of design activity Plan 1. The specificity of design activity. Leaders and theorists of design 1. Considering the various manifestations of design we make sure that the practice of design is constantly expanding in its scope include exhibition design, print design, clothing design, which became fashionable in our country the landscaping services market not subject design constituting a large part of the design. Just in recent years the computer design appeared as a separate art. Thus, the design of industrial products is not the only and often not the main task of the designer.For the latest two decades the practice of design has been extremely complicated and to distinguish between design and other areas of professional activity of the artist is an art in its easel form becomes increasingly difficult. The new design of industrial products appeared; cosmetic changes in the appearance of industrial products without major changes in its technical characteristics; creating a corporate identity, encompassing all the spheres of the modern corporation; the decision of expositions - all this today is called design and is performed by professional designers.Attempts to clear the true nature of design through literature had significant difficulties. The difficulty lies in the fact that the design is in continuous movement like any activity that is in the process of the creating. This activity changes a task, changes the definition of its product, changing organizational forms. Naturally, therefore, that any description falls from reality changes.For the past half century the practice of design has undergone many changes: the work of individual artists in most cases has replaced the work of entire teams or departments of design in the system of the firm, or independent design companies. At the same time, setting the theoretical issues for a half of the century has not brought anything significant new.2. Art critic Herbert Read, the author, the first serious work on the design called “Art and Industry” which was published in 1934; he considers the design as the highest form of art.
In 1934 the first edition of the book of John Glogow “Explanation of industrial art” was published. Glogow considered the design from the perspective of the responsibility of the designer to the community in terms of professional ethics. At the same time he sees in the design of conventional technical operations in the production process that is equivalent to any other operation of engineering order.
V.L. Glazichev, one of the largest domestic scholars, in his book “About the design” says the product of the design as a whole, as the design of the customer value of products and the design offers the following definition: “Design is a form of organization (service), art-project activities producing customer value tangible and intangible products of mass consumption”. This definition, in our opinion, doesn’t only covers the practice of design fully, but also allows you to highlight its features in a number of other kinds of artistic activity, as in the field of design (now obvious to everyone) it products of both material and spiritual consumption.
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It would seem, according to the principles of historicism, in order to understand a phenomenon in the present it is necessary to trace its history. However, views on the history of design there is a similar divergence of views and assessments, as well as in the understanding of its nature. We will focus only on some basic approaches.
We can be considered a British artist Henry Cole as a pioneer of the design (1808-1882) who coined the term “art industry” in 1845 which means, in his own words, “the beauty of the fine arts or applied to mechanical production”. From 1849 till 1852 Henry Count published “Journal of Design” paying attention to profitability and the commercial value of the projects. But even earlier, in 1832, English industrialist and politician Robert Peel called to use art to strengthen the competitiveness of British goods.
The history of design is quite rightly associated by many researchers with the beginning of the artist, architect, designer Peter Behrens in “AES” in 1907. In this formulation the question the previous decade (Ruskin, Morris) is only just time of the theoretical teaching for future practical design. If we consider the design as a way of rebuilding the integrity of the objective world and the humanization of technical civilization that the beginning of the history of design we can be attributed to 1919 when Walter Gropius founded the Bauhaus.
Those who consider design a means of resolving the conflict between art and machine technology could lead the chronology of design, for example, by Henry Van de Velde and Frank Lloyd Wright declared that the machine can be as a tool in the hands of the artist, as well as craft tool.
At the beginning of the history of design all of these points of view converge in one: the design is considered in connection with the art, the development of artistic creativity. It is understood either as a new style of art or as a new area of application of art or as an application of the new (modern) art in the field of industrial production.
Control questions
1. What can you tell about the forms and manifestations of design activity?
2. What can you tell about the activities of design theorists?
3. What contribution was Henry Cole made in the history of design?
Lecture 3, 4
Influence of design on the artistic and architectural shaping
Plan
1. The industrial revolution in the UK. The industrial revolution in the United States, Italy, France, Germany. Standardization
1. In the 60-ies of the XVIIIth century the industrial revolution began in Britain. This was aided by the English bourgeois revolution of the XVIIth century which paved the way for the development of capitalist relations.
Initially, changes in the structure and shape of the cars produced by the artisans who worked on them and create them. Kay, Crompton, Hargreaves are all these talented mechanics who knew their craft, coming from the people.
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The development of a working machine equipping it at the same time with operating a variety of bodies creates a need for new and more advanced engines. Since the late 90s of the XVIIIIth century in the textile industry a steam patented engine “double-action” by George Watt became widely used in 1784.
Machine of Watt is a strictly logical form. Compositionally, it is clearly divided into a number of basic units. In the basement the boiler and burner are hiding, and the foundation is the capital construction, a solid foundation with some elements of architectural style. Quite clearly the space of the cylinder, balancer, flywheel is defined. They are arranged so in order not to interfere with each other and create a precise rhythm in operation. Due to the simplicity of the composition and pattern of individual elements the function of each part is read without difficulty; however, it is impossible to feel the calm rhythm of work in a static state of the machine and the working. Drawing of columns, cornices, the pedestal is not devoid of grace: Watt felt the harmony of form and beauty care of his car; it has applied elements of architectural forms.
During persistent work of Watt a number of fuel-efficient engines had built which became widespread. They were huge machines that required special large buildings. It is not surprising that hidden car in this building was allocated by features which gave her resemblance to the architectural structure and it was expressed in the form of columns, the trails in the cast-iron ornamentation. The machines were slow-moving and their spare parts were huge, all this was compounded by the similarity with the architectural object. So it began to emerge in engineering architecture - a phenomenon so typical for engineering at the first half of the XIXth century.
2. After Great Britain the USA, France, Germany and other countries, stepped on the way of rapid growth of large industry. General economic conditions for mushroom growth of capitalist production in the USA were created after victory in War for independence (1775-1783).
In Italy industrial revolution began in 40th XIX of century the Factory production developed mainly in Northlands of country, the economic backwardness of South was aggravated the same. Final victory over handicraft industry and manufactory large machine industry won an in last one third of XIX of century
Decision role in speed-up development of capitalist relations Great French revolution liquidating feudal orders played in France.
With large lateness a transition came true from a manufactory to large machine industry in Germany, where development of industry restrained temper dominant influence of feudal and полуфеодальных relations. France and especially Germany in area of large industry only dragged oneself along after Great Britain.
However, even in industrialized countries, craftsmen who worked manually created the machinery for a long time. Then it became obvious that they cannot meet the growing demand for cars: there was a need in industrial engineering. First of all, artisanal engineering lacked precision. Technology has become impossible to continue to work without a precise calculation of the machine parts and shapes. And it is well aware of the engineers of the time, try to rectify the situation. Accuracy and geometrization deprived individual style car manufactures its master, as if to depersonalize it and even more alienated from the worker, whom she had long been owned. The human eye brought samples of handicraft production could not get used to the cold precision and perceived it as something soulless and disastrous for all living things.
While in the public mind an emotional image of the machine-monsters began to develop, machines - the symbol of every kind of ugliness. Of course, the basis of this opinion was kept in the literature for over a century were social causes, but also played a role, and “strange” forms of metal, bulky machinery.
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At that time no one noticed the emergence of a new, unusual beauty machine form - the power of beauty, rhythm, exact lines with whom to replace individual master came individuality designer, a creator of new, not naturally occurring forms. While the machine hadn’t been established form yet, they appeared making his way through the forest of chance, remnants of outdated structures, searching for appropriate, cost-effective structure, overcoming the resistance of the material.
The main thing - even if no one thought about the company as a self-sufficient component. It was born spontaneously and like all spontaneous and chaotic could not cause the protest. Mechanized manufacture of parts and their geometrization were the first steps towards streamlining machine forms although as has been said, there were caused by the need for new technology. The second important lever to bring a variety of “mismatched” machine forms to a common denominator has been standardized.
3. From the middle of the XIX century the standardization has become perceived as a necessary condition for the further successful development of technology. Plant and equipment grew rapidly established itself as a leading engineering art, and handcrafted screws, rivets, wedges, and so on. N. Detail continued to do by eye separately for each machine. As soon as any screw damaged, they had to call the master to specifically cut the other is the same. The lack of unification of parts may affect the shape of the car. On large sheets of metal riveted handmade rivets of different sizes and with unequal distances produced chaotic impression.
The introduction of standards for all its apparent benefits served as one more argument for opponents of technological progress in the dispute over the social role of technology and art which began in the middle of the XIX century which was attended by philosophers, sociologists and artists. Seeing the technique especially disastrous effect, they believed that the standard alien and unnatural nature of the human spirit and its highest manifestation - art. One of the major negative features was in the multiplicity of standardization, repeatability mass. However, the paradox is that the standardization was not an entirely new phenomenon: the beginnings of mass production emerged in ancient times it was the art of molding, casting, through which by means of standard forms and standard models manufactured copies of the originals. At the same time it meant the democratization of art. Subsequently, with the invention of photography, the trend has developed to a greater degree. But, appearing in the art at a time of great social changes, it is repelled by its novelty and a negation of individuality and hand-made.
The Industrial Revolution of the XVIII-XIX centuries marked the beginning of the industrial era; it has changed the old mode of production in which the artisan combines the qualities of designer and artist, designer and direct executor of his plan.
The process of division of labor and accelerated the industrial revolution led to the release of the design in a particular sphere of activity. And at once it’s found that it is difficult to make organic compounds of industrial functionality with beauty products, high technical performance - with perfect form.
To hide the technological shortcomings to the first machine-made things “applied” literally with different stamped or printed pictures, false patterns, ornaments. The specialty of the new emerging professionals - industrial artists was the invention of overhead decorations, mask the poor quality of goods and give it some resemblance to the hand-made things, which are now considered even as a kind of ideal. Therefore, the industry was violated any connection between the useful qualities of the object and its aesthetic features. Things become false in its very basis. Their technical-functional and aesthetic properties never revealed features and capabilities of the new machine technology. Given them jewelry imitated manual work and also did their best to hide the defects of machinery - an uneven surface, the presence of inclusions in the material, bad suitable parts and components to each other.
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Control questions
1. What can you tell us about the preconditions for the emergence of design?
2. What is the role of standardization in machine production?
3. What influence of standardization was imprinted the design and industry?
Lecture 5, 6
Romantic and technical utopia of the production art
Plan
1. Design as a principle and a new kind of project activity. J. Ruskin, G. Semper. William Morris
1. The first attempts at the theoretical understanding of design proceeded as a fundamentally new type of project activities in the spread of industrial production. This process had as its supporters and ardent opponents.
In theoretical terms first of all it was necessary to rethink concepts such as “man”, “medium”, “artistic”, “technical”, and so on. This period can be characterized as an intermediate: it is a transition from craft world in the formation of the foundations of world design.
The development of industrial production of household items many artists and art theorists perceived as a direct threat to good taste. The decline of the artistic quality of mass industrial production in comparison with samples of craft worried many experts dealing with art and industry. Protest against factory furniture, glassware, ceramics, decorative fabrics, traditionally formerly part of the sphere of arts and crafts emerged first in England - the most advanced at the time of the industrial country.
In England the industrialization has created tremendous new city; picturesque old villages have become a somber desert, and only factory smoke covered the ugly picture. No doubt a cheap factory production met the needs of the inhabitants, as a rule, deprived refined taste and for the majority of crafts were destroyed. To everyone’s disappointment their fate revealed at the London World Exhibition in 1851 which was first assembled products from all over the world. Everyone could then ensure that the products of industrial production in the vast majority were continuous confusion of styles. Painted without any connection with the material and shape they were made with complete disregard to the original traditions of private crafts. This situation could not cause protests.
2. This protest was expressed primarily in the theoretical studies of the English philosopher and art theorist John Ruskin (1819-1900). He was thoroughly gifted personality: a talented graphic artist, poet and brilliant publicist, which provided him and his ideas of unusual popularity.
Belonged to a generation later the English Romantics, Ruskin had the contradiction between the technique and the art and it is solved by a complete rejection of technology and machine manufacturing which gave his theory of reactionary utopian overtones. He was passionately fond of early Gothic and fought for the revival of crafts in the same form in which they existed in the Middle Ages when every artist was a craftsman at the same time and to the simplest household articles concerned with the most serious attention.
Ruskin hated the car for what it is destroying the beauty and joy that arise in the creation of man-made things. He abhorred machine products and in particular to those praises to the skies the wonders of glass and iron as railway stations and the “Crystal Palace” in London. Being consistent their own writings Ruskin printed in the countryside in a printing house which was standing in the middle of the garden. This is consistent with its ideals of craftsmanship and views on working conditions. He even sends his books to stagecoach but not trusting their train so they do not become dirty with soot during transportation. This increases the cost of the book, however, they differed in the hundreds of thousands of copies.
Ruskin died in 1900, at the eighty-first year of life, unfortunately for himself, surviving his glory because the younger generation found his looks hopelessly outdated. But he managed to sow the seeds of the new faith. Integrity Art affirmed throughout Europe. The most important evidence of this was the work of William Morris, an ardent follower of Ruskin who put into practice the idea of a teacher and has paved the blow to the revival of crafts in all European countries.
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3. William Morris (1834-1896) - English artist, writer and social activist who played a prominent role in the development of the culture of his time. Morris paid much attention to the education of artistic taste of the people. His aesthetic concept was presented in 35 lectures on art and literature and was read in different cities of England.
The art in his life took place no less than politics and poetry. Under the influence of Burne-Jones appeared intent to become a painter. More serious was the intention to choose the main Profession architect. But training in the studio of the architect George Edmund Street lasted only a few months. Dry formalism, pedantic and mindless imitation of the gothic models - it was not something that was looking for a young Morris. And he directed his attention to what is now called the applied and decorative arts, not forgetting and the architecture without which this branch of art is unthinkable.
Morris and his family lived in the “Red House” created by Morris with the close participation of friends - the Pre-Raphaelites. The architectural design was made master of the house does not have forgotten architect Street practical advice, together with Philip Webb, a professional architect. The name of the house is not supposed to be associated with the revolutionary aspirations of the owner - he was named “Red” simply because it was built of red brick, traditional English material, especially prevalent in Kent where the house was. In his architecture Morris and Webb did not imitate any gothic or any other style: their aim was to express the purpose of the building, that is, to make it more convenient, continuing the medieval tradition of truthful, fair and robust construction which was interrupted Renaissance architecture.
After the “Red House” was built it was discovered that the internal decoration and furnishings products of England, and all over Europe in the second half of the XIX century was completely unusable. Equally it seemed ugly and standard wallpaper and furniture factory and all the other parts of the interior down to the smallest. It was decided to create it all over again, in accordance with the principles of the Pre-Raphaelite brotherhood of art and architecture of the “Red House” with its natural surroundings. Artists and architects gathered at Morris on Sundays to discuss sketches of furniture, decorative fabrics, which are supposed to replace the wallpaper as well as other furnishings.
This aesthetic was the beginning of the game business which William Morris paid more than all his boundless energy and which had the greatest impact on the art and architecture of Europe. A small handicraft workshop producing furnishings for the “Red House” and others began taking orders. In 1861 Morris founded the firm “Morris, Marshall and Faulkner”. This art-industrial company manufactures products in which the traits were laid the foundations of Art Nouveau and the artistic design. It worked some of the most famous English artists. Among them were Philip Webb with whom he studied architecture Morris, Burne-Jones and Ford Maddox Brown, Dante Gabriel Rossetti, and Walter Crane. In addition, there rare craftsmen had already labored, specialists in glass, printers, woodcarvers. At the factory Morris revived an ancient loom and dyeing with natural dyes. Morris strongly encouraged the expression of the creative imagination of the workers.
Directed by Morris all of these people changed the look cluttered, flooded “beautiful” British homes. The simplicity, spontaneity and creativity became the logic of the characteristic features of their artistic activities. The basis of the decor became stylized images of fruits, birds, animals, human figures in simplified smoothly flowing robes. Often there is a peacock; the favorite colors are blue, green and gold. In some works Morris felt the strong influence of Rossetti: elegant line of long stem roses and loose women’s hair. She walked by Botticelli and artists trecento Sienese school and the Pre-Raphaelites stylized, acquired some mannerisms. Also used motives of the German and Scandinavian mythology and many figures were significantly influenced in carpet ornaments East.
Under the influence of Morris every tinsel finishing marble and other trinkets of the Victorian period were swept away in the waste basket. Designing furniture Morris guided by simple forms with their clear division into horizontal and vertical. Very interesting black chair with woven seat production “Morris and K°” which is its cheapness meant for people with the most modest incomes. The forms of this black chair show the influence of rustic furniture of the XVIII century. It was in a rustic interior the homes of workers and artisans sought Morris inspiring its design motifs devoid of any decorativism but having clarity of constructive forms. Morris opened the well-forgotten old returning him a place in the modern world.
One of the most important results of Morris was the establishment of handicraft companies and schools across England. The most famous of these was the Society of exhibitions of arts and crafts. Its first president was William Morris himself, and the first exhibition of the Society was opened in 1888 shows the Company had a tremendous impact on the countries of continental Europe. In addition the organization were created: “Guild of the century” whose interests lay in the field of printing, the Association of arts and crafts, crafts attached to the rural population of England, Royal School of Art sewing school of art of wood carving, and so on.
In England Morris’s ideas began to spread in his lifetime.
Soon his ideas have penetrated the European continent where there is a lively response and had a significant influence on the formation of a new style in art - Art Nouveau.
Control questions
1. Speak about industrial Exhibition of the century.
2. What can you tell about the Life and Works of John Ruskin?
3. What can you tell about the Life and Work of William Morris?
Lecture 7
Modern
1. The origin of modernity. Modern in interiors
1. “Modern” (fr. Moderne - новейший, современный) (“art nouveau”, “Art Nouveau”) is a stylistic direction in the European and American art (the end of the 19th - the beginning of the 20th centuries. The representatives of the “modern” used new technical and constructive means, free plan, a kind of architectural decoration for creating unusual, emphasized individualized buildings, all elements are subordinated to a single ornamental rhythm and imagery and symbolic plan (H. Van de Velde in Belgium, J. Olbrich in Austria A. Gaudi in Spain, Charles R. Mackintosh in Scotland, F. Shekhtel in Russia). Fine and decorative art of the “modern” distinguished poetic symbolism, decorative flexible rhythm of flowing lines, stylized floral pattern.
The confrontation between supporters of the man-made and industrial production deteriorated at the end of the XIX century in mixed nature of the production (handicraft and factory). There was a new stylistic direction - Nouveau (literally “new”).
The first tangible signs of a new style emerged in the interiors of Van de Welle - Belgian architect and artist. At the international exhibition in Dresden (1897) his works have won universal recognition giving rise to the “modern” style which soon became dominant in all European countries. In Vienna the group “Secession” appeared; it’s one of the new styles. Similar centers arose in Germany, France and England.
In Russia the term “modern” was the common name of the new style. In all major cities of the country remained famous monuments of modernism. Especially are rich in their Moscow hotel “Metropol” the former home of Ryabushinsky and many others. In the spirit of modernity and items were kept furniture, utensils and clothing at that time.
Despite of the unusual variety of forms the product of modernity characterized by certain stylistic features. The basic principle of the new ideological direction was a rejection of direct succession of styles. Some modified borrowing from folk north thread; the Japanese charts did not matter much. The dwelling and its equipment began to be viewed as a single interaction between organisms designed to meet the material and spiritual needs of man.
The motive of all innovations was to find individual solutions of the unique architecture of the interior compositions, forms, utensils, furniture ornamentation. For Art Nouveau was characterized by painterly, painting, plasticity of forms. Not by chance a number of masters of modernity came to the design of the painting (Behrens, Bury Jones, Van de Velde in the West, Vrubel, Malyutin in Russia).
Van de Velde has proclaimed the principle of the life “inherent rhythm” in the organic world. Understanding the “organic unity” led to the fact that the subjects lost their logical forms and links.
Typical for Art Nouveau flowing “vegetable” lines outline bindings windows, chairs, lamps, wavy repeated in wallpaper patterns. All utensils - cookware, serving items, fabrics, designed and traced by one author as if dissolved in an ensemble.
Moreover, these types of objects, their design schemes remained traditional. The designer was concerned only in order to oppose the traditional schemes unexpected and totally individual “envelope”, an original external form. Keeping the utilitarian sense of the subject, he often tried to get away from revealing this meaning as if to hide it. The material from which the product was manufactured, choose not according to its natural properties, but at the request of the artist to achieve a particular predetermined shape. Therefore, for example, wavy shape were attached to the same and metal, and plaster, and wood, and concrete. The artist was more interested in a combination of different surfaces: natural textures, painted wood, impossible kinds of inlays of glass and ceramics, linings of metal, polished and chased. All is subordinated to the selected rhythm, graphic theme. The shape and color combinations are usually organized on the principle of repetition, of assimilation. Contrasting comparisons to Art Nouveau style in general have not been characterized.
Silhouettes of subjects were often bold and varied unique curves. The furniture and household utensils of the modern graphically rather than sculptural and relief items flat; but behind all these external stylistic features of hiding many progressive trends. This is the of all an amazing integrity of numerous ensembles of Art Nouveau. All to the last detail is subject to a single, harmonious tune. (Moscow Art Theater - Theodore Bechtel).
2. There were a lot of new and very structure premises. Wanted to break with the traditions of the dilapidated classicist architects discarded boldly his characteristic scheme based on symmetry and enfilade; generates entirely new principles of scrap: layout was, above all, free. Recently the furniture becomes less cumbersome. Disappear bulky cabinets, wardrobes and chests of drawers, and instead there are special wardrobe and equipped niches.
The living space of modernity was the exploration stage of the structure and image of the new dwellings. Immediate problem of mass industrial production modernist masters were not engaged in their little interest in design innovation. As a result, despite the undeniable value of ensembles and individual things, the many talented and ingenious discoveries, customized solutions, as the supreme criterion for evaluation, limited the achievements of modernity.
More and more cars were distributed, design, usually engineers gradually began to change its image and become a semblance of the carriages or crew endowed with its specific form of the car. Its body is lengthened simultaneously and tapered along the longitudinal axis in order to reduce air resistance while traveling.
As a result, at the turn of the world of machines dominated very uncertain style or rather absent any style. However, in some detail it’s felt still taste the Art Nouveau style, but it does not go beyond superficial styling.
Control questions
1. What can you tell about the emergence of modernity?
2. Tell us about the main stylistic features of modernity.
3. What can you tell about the modern architecture and industrial products?
Lecture 8
Avant-gardism
1. Trends in the emergence of radical movements
1. Avant-garde (авангард) - the name of the combined artistic trends, more radical than Modernism. Their early milestone in the visual arts was in the 1910s and designated Fauvism and Cubism. The ratio of avant-garde art from the preceding styles with traditionalism as such was particularly sharp and polemical. Citing a powerful renewal of all artistic language, avant-garde gave a special scale of utopian hope for transformation of society through art, especially since it coincided with the blossoming of wars and revolutions. In the second half of the 20th century basic principles have undergone sharp criticism in postmodernism.
As prefaced his direction of modernism, avant-garde was aimed at a radical transformation of human consciousness through art, the aesthetic revolution that would destroy the spiritual inertia of existing society - while its artistic and utopian strategy and tactics were much more decisive, anarchic, and rebellious.
2. Not satisfy the exquisite creation of “centers” of beauty and mystery opposing the low-lying material existence and introduced in the vanguard of his images gross matter of life, “the poetics of the street”, the chaotic rhythm of the modern city, nature, endowed with powerful creative-destructive force, it is not just emphasized declaratively in its work the principle of “anti-art”, rejecting thereby not only the old, more traditional styles, but also well-established concept of art as a whole. Always the avant-garde “strange worlds” new science and technology was attracted - of which he took not only the plot and symbolic motifs, but also many designs and techniques. On the other hand, the art is included increasingly “barbaric” archaic, magic, ancient, primitive and folk (in the form of loans from the Negro African art and folk popular print from other “non-classical” areas of creativity, first submitted beyond the Fine Arts). Global dialogue of cultures the vanguard gave an unprecedented sharpness.
3. Conversion embraced all kinds of art but the art is constantly acted as initiators of new movements. Masters of Post-Impressionism determined the most important avant-garde tendencies; his early front outlined by group presentations by Fauvism and Cubism. Futurism strengthened international contacts avant-garde and has introduced new principles of interaction of arts (fine arts, literature, music, theater, photography and cinematography). In 1900-10 years of the new trends are born one after the other over a wide geographic range - from Russia to the New World (with Moscow, Berlin, New York and other centers, which are strongly disputed the leading role of Paris as a legislator art events). Expressionism, Dadaism, surrealism - with their sensitivity to the unconscious in the human psyche - labeled irrational line of avant-garde, constructivism, on the contrary, manifested his rational, construction will.
However, both the beginning combined constantly in artistic experiment and also seized literature (methods of “automatic writing", “stream of consciousness” zaum), music (atonal music, dodecaphony), theater, design and other creative types.
The crisis of the avant-garde to the mid-20th century, its former “revolutionary” energy squandered largely and was an incentive for the formation of post-modernism as the main alternative to him.
Control questions
1. What trends are the emergence of radical movements do you know?
2. What’s the role of the avant-garde culture of the XX century?
3. What are the avant-garde styles and what do you know about it?
Lecture 9
Styles and currents in every culture of the 20th century
1. Abstract Art. Futurism. Non Finito.
2. Orphism. Geometric Abstraction. Abstract Expressionism.
3. Informel. Tashizm.
4. Post-painterly abstraction. Expressionism. Surrealism.
1. Abstract Art (abstract art, figurative art, non-figurative art) - a set of directions in isoculture of the 20th replacing naturalistic, easily recognizable objectivity is more or less free play of lines, colors and shapes (the story and the subject of a guessing symbolically implied or disappear at all). Since ancient times pointless work was as an ornament or non-Finito but only in recent history took shape in special aesthetic program. Among the pioneers of abstract art – V.V. Kandinsky, Kazimir Malevich, P. Mondrian, masters Orphism. There were a few variants: geometric abstraction, abstract expressionism, informel, Tachizm, post-painterly abstraction.
2. Futurism (from the Latin. Futurum - будущее) - the avant-garde in the European art direction in 1910 - 20-ies., mainly in Italy and Russia. In an effort to create an “art of the future” declared (in manifestoes and artistic practice, the Italian poet FT Marinetti, Russian Cubo-Futurists of “Gilei” members of the “Association egofuturists”, “ Poetry of Mezzanine”, “Spin”) denial of traditional culture (heritage “the past”) cultivated aesthetics of urbanism and machine industry. For painting (Italy - U. Boccioni, George. Severini) is characterized by changes, nodules form, multiple repetition of motifs, as if summarizing the experience obtained in the process of rapid movement. For literature - interweaving of documentary material and fiction, in poetry (V.V. Khlebnikov, Vladimir Mayakovsky, A.E. Kruchenykh I. Northerner) - linguistic experimentation (“words in freedom” or “nonsense”).
3. Non Finito (from Italian. Non finito - неоконченное) - an artistic device based on the active interaction shaped object image and pointless void (the free zone of the canvas or sheet of the sculptural mass of raw material). Among the classic examples of non-Finito - Far ink landscape with its misty expanses and a number of works by Michelangelo (which forms part of a “liberated” from the stone block); this reception is particularly common in modern abstract art.
4. Orphism (fr. Orphism, from Orphee - Орфей) - for Western European painting in the 1910s close to Cubism and Futurism. The founder and theoretician of direction was a French painter Robert Delaunay. (Delone (Delaunay) Robert (1885-1941), French painter. Colorful decorative compositions (“Eiffel Tower”, 1910). The name of the river gave in 1912 Apollinaire. Orfisty (F. Kupka, Picabia F., M. Duchamp) tried to express dynamics and rhythms intersection of the planes, painted in pure, bright colors.
5. The geometric abstraction is a type of abstract art preferring the composition based on - the strict rhythm of geometric or (sculpture) stereometric figures. Its early versions (partly Orphism R. Delaunay and F. Kupka and Suprematism of Kazimir Malevich and Mondrian Neoplastitsizm AP) combine rationalism with romanticism, tending to build “absolute” colorful, graphic monumental symbols, expressing mystical laws of space. At the same time geometric abstraction absorbed technocratic pathos and Constructivism. In the second half of the 20th century in such flows as op-art and post-painterly abstraction, geometric abstraction retains its “rationalist mysticism” more closely approaching with diverse dynamics of the modern life.
6. Abstract Expressionism is a kind of abstract art. It appeared under the influence of surrealism with his idea of “automatic writing”. Most it’s manifested clearly in painting - in free compositions to create large, impulsive stroke, sometimes - in the technique of “action painting” (Eng. Action painting), when the act of painting pictures turned into a kind of performance. The most famous version of the American abstract expressionism which is developed in the 1940s. (A. Hills, W. de Kooning, Robert Motherwell, George. Pollock). European counterpart of abstract expressionism is often referred to the concept of tashizm.
7. Informel (from the French. Informel - абстрактный, нефигуративный) - the direction of abstract art that had developed in France in the mid-1940s. Images Informel as freely-Sketchy as in tashizm but unlike the latter is sharper sign-“in writing” beginning of the painting is more closely approaches the graphics. A typical example of Informel is creativity of Wols.
8. Tashizm (fr. Tachisme, from tache - пятно) which was formed in the 1950s in the direction of the abstract art which is developed in parallel abstract expressionism and informel with which it is sometimes identified. However, in contrast to the abstract expressionism which is originated in the US, Tachizm often understood as a specifically European in the first place, and the French version of the non-figurative art. His typical images (in paintings by French masters P. Soulages or H. Hartung) based on the play of powerful, large brush strokes. It rarely involves symbolically symbolic elements based (as in Jean Mathieu) of pure artistic gesture and rhythm (as in Jean Bazin) of generalized landscape impressions, which are a kind of “abstract expressionism”.
9. Post-painterly abstraction is a direction of the abstract painting that had developed in the 1950s as a reaction to abstract expressionism. Free smear, “disheveled” texture of the last change is exactly the shaded color fields calculated on the strong psychological effect of simple and monumental forms in a state of contrast or harmony. Works of masters of post-painterly abstraction (K. Noland, B. Newman, Ad Reinhardt, F. Stella, and the USA) are also referred to the concept of art “hard edge”, “hardedzha” (Eng. Hard edge) emphasizing the ascetic linear clarity of these compositions.
10. Expressionism (from Latin Expression - выражение) - the direction in art and literature of the 1st quarter of the 20 century proclaimed the only reality subjective spiritual world and its expression was the main purpose of the art. The pursuit of the “expression” heightened self-expression, intensity of emotions, grotesque affectation, the irrationality, the most clearly manifested in the culture of Germany and Austria (writers G. Keiser, W. Hasenclever in Germany, F. Werfel in Austria, painters E. Nolde, F. Mark P. Klee in Germany, O. Kokoschka in Austria, the Austrian composer A. Schoenberg, Berg, German film directors FW Murnau and R. Wiens, P. Leni). As part of Expressionism emerged the earliest examples of abstract art (Kandinsky); a number of artists especially German expressionism was an anti-war and anti-imperialist bright color (E. Barlach, G. Gross, O. Dix).
11. Surrealism (Fr. Surrealism - сверхреализм) - the direction in the art of the 20th century proclaimed a source of art realm of the subconscious (instincts, dreams, hallucinations) and its method - a gap of logical connections replaced by free associations. Surrealism emerged in the 1920s developing a number of features of dadaism (writers A. Breton, F. Soupault, T. Tzara, the artists Max Ernst, Jean Arp, Jean Miro). With the 1930s (artists Dali, P. Blum, J. Tanguy) and the main feature of surrealism became a paradoxical combination of illogical things and events which gives the appearance of virtuoso subject-plastic authenticity.
Control questions
1. What can you tell about the Abstract Art?
2. What can you tell about the Futurism?
3. What can you tell about the Non Finito?
4. What can you tell about the Orphism?
5. What can you tell about the Geometric Abstraction?
6. What can you tell about the Abstract Expressionism?
7. What can you tell about the Informel?
8. What can you tell about the Tashizm?
9. What can you tell about the peculiarities of Tashizm?
10. What can you tell about the Post-painterly abstraction?
11. What can you tell about the Expressionism?
12. What can you tell about the Surrealism?
Lecture 10
Constructivism
The origin of the constructivism. Figures of the constructivism.
1. Constructivism as a trend in the visual arts, architecture and design of the 20th century. It’s set out to the artistic development opportunities of the modern scientific and technological progress. It’s formed it in 1910-ies, primarily on the basis of Cubism and Futurism soon divided into two separate (though constantly interacting) stream:
“Constructivism social” is linked to the “social engineering” to create a new person through the radical transformation of the surrounding objective-material medium (this line is the most intensively developed in Soviet Russia of the 1920s in the theory and practice of LEF in the manufacturing arts) and “philosophical constructivism” (a characteristic of Western Europe and America) putting socio-transforming goals into more abstract and contemplative plan (first of all - in a variety of the geometric abstraction). Both traditions entered Kineticism, parody reflected in deconstruction.
2. Production art whose adherents were Osip Brik, AM Gan, Rodchenko, Stepanova VF etc. have put forward the socio-utopian ideal of transforming the old way of life, “the artist-engineer” which rejecting traditional forms of art easel was to create a new, functionally caused by everyday things to reform the visual advertising, ornamentation of fabrics and printing, designing the exhibition space as a visible prototype of the future. Image was allowed only in the form of photo and film documents. The “producers” was the basis of educational facilities of VKhUTEMAS. The architecture of Constructivism closely adjoined to rationalism and functionalism. Constructivist principles formulated by A.A. Vesnin and M. Ginzburg the first embodied in the created the project of Vesnin’s brothers of the Palace of Labour (Moscow, 1923). In 1925 it was founded Association of modern architects the organ of which was the magazine “Soviet architecture”. Constructivists were searching for new methods of planning of residential areas have developed new types of public buildings - the Palace of Labor, House of Soviets, workers' clubs, factories, kitchens and so on. N. (Vesnin brothers and voice, M. Ginzburg, KS Melnikov, I. Leonidov, A. Nikolsky et al.).
Конструктивисты вели поиски новых приемов планировки населенных мест, разрабатывали новые типы общественных зданий — Дворцы труда, Дома Советов, рабочие клубы, фабрики-кухни и т. п. (братья Веснины и Голосовы, М. Я. Гинзбург, К. С. Мельников, И. И. Леонидов, А. С. Никольский и др.).
Control questions
1. What’s the origin of constructivism?
2. What figures are in the constructivism?
3. Tell us about the activities of the Constructivists
Lecture 11
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