(on material painting p. Barbashova
V.S. Grikkov, artist, Moscow
Historical shifts of Outlook lead to changes in the psychology of perception of the surrounding world. It is not necessary to argue that it is primary. It is important that this is interrelated. Modern aesthetic perception has its own psychological peculiarities. To feel and verbally comprehend the elements of the mental process in the artist’s creative work is interesting and productive in many ways.
Artist Pavel Barbashov in his work, undoubtedly, managed to express some features of the modern world perception. The special approach to such traditional genre as landscape, with habitual landscape, already present in pictures of Levevan, Petrovitchev, Krymova, has allowed Barbashov to bring the picturesque intonation in this genre. The intensity and peculiarities of changes in the picture of the landscape of the middle-Russian band Barbashov can be compared only with the famous painter Viktor Sorokin.
Edmond Gusserl repeatedly formulated the rule of the phenomenological principle of cognition-not to use, to discard the already developed culture and ideologies ready images, models, archetypes. In the book of the philosopher “ideas of pure phenomenology” It is formulated: “We take the starting point, what takes place before any points of view: The cumulative area is visually, and even before any theorizing thinking, given, all that can be directly See and grasp. ”
So it is possible to realize and capture the immediacy of the meeting with others, the direct perception of nature. Use “pure consciousness”. Of course, you can not completely abandon the tradition and every time to create a “new language from scratch.” Barbashova’s painting is realized in the system of the basic rules that built the European School of painting. It also does not break with a tradition of the Russian landscape school, first of all a culture of painting levevan. Pavel lives and writes landscapes in Levanovsky places under Zvenigor. And the second theme of etudes and paintings is the Vologda region to the north of the Fiterontov, the area near the lake of Itkol. Each school of painting uses its own style. The techniques of the image become artistically honed and the spectator, already brought up by certain images, pictures of this landscape school, immediately perceives the depicted model of nature, in other words, its images, feels and admires shades, Features of the landscape, shown by the artist.
But habitual, already developed receptions-norms take away painters from direct perception, individual comprehension of ambient and expression of tactile-motor perception of a concrete landscape. Barbashov refuses to use the prevailing ways of image. His creative goal is not to form an individual figurative style, then used as a permanent reception. Creativity is always connected with comprehension. But there is a reflection and there is a certain suspension from the direct contemplation and experience, when the artist begins to visualize them, create an image. The emotion of the initial impression of the terrain disappears. And the reflections can be different. So the “philosophical view of the” image of the landscape, the idea of the design of the landscape can be realized. For example, Cezanne has a comprehension structure of the landscape, which then appears in the picture as a metaphor of “nature’s logo”.
Creativity of the painter Barbashova is not a look “from outside”. He strives to form an image, his special features, in the process, in the phase of the initial perception. The aim is to preserve in the image the intensity of the initial impression and the experience of a person who spontaneously feels his or her stay in the landscape, to capture the feeling in the picture when you are “inside” the natural environment.
Therefore, it is important to understand and understand it, to build the expression of painting in individual handwriting. Such artistic vision can be characterized again by the saying of the philosopher Gusserl: “Many cannot achieve that, living in perception, to direct the observing and theorizing view not on perceived, but on the same perception or on those Peculiarities of the method of the perceived, to take what appears in the immanent analysis as it gives itself. ”
However, the focus of the artist on his experience can lead him to a picturesque manner of the type of Impressionism or Expressionism, the Stylistics of which is performed in the event of exaltation, intense feeling. Barbashov managed to avoid hokum expression in his best works. A different visual technique was implemented.
For the art of the twentieth century is characterized by thinking with the separation of space integrity on subspace with a separate, not a common metric. A vivid picture of the unity of the world, which is present, for example, in Renaissance painting, begins to fade. The traditional method of image spatial relations today is characteristic only for academic orientation in painting.
But, conceivable and depicted subspaces, each with its own metric, can be read by invariability of a single “Structure of the world”, as different slices-pieces of a sausage “say” about its holistic form.
Barbashov uses a limited set of places for plots of his landscapes. As it has been said, it is the vicinity of Zvenigorod Monastery, or the village of the estuary of the lake of Itkol. The arrangement of a particular locality, with which the painter communicates, gradually fits into the “subconscious” and begins to be carried out in the image spontaneously, is brought into the picture “naturally”, and not by the scheme of the landscape, which joins the art of painting, Dynamics of paint strokes in a certain unity. The architecture of the area is clearly palpable, the landscape is not only a vivid sensual “impressionistic” impression. and various landscape “images” expressing different states of nature-fluctuation of light of spring day, pink twilight of evening, Autumn cold of Vologda forest-now appear phenomena of the one locality, images of invariants of its life. These landscapes were carried out by some complex, consistent, unified visual text, similar to the famous in the history of painting the Cycles “Skyrdy” or “Rouen Cathedral”, created by Claude Monet.
Working with “your” landscape allows you to abandon the techniques gained by the school, and find a method of image, which is organic to the specific experience and personality of the artist, perceiving a particular landscape. Exactly for such creativity it is necessary to become a native to the terrain. Again to explain the quote: “Wondering what should be the starting point of analysis here-being, Hedegger decides it in favor of averaging? Mediocrity and daily life, that is, those bullish ways that occur before and most often and which, in other words, we ourselves. For the first time we achieve something such as “Genesis-in”, only to the extent that we are trustful close to the former. ” The plot center of the picture is not the construction, geography of the terrain, painted sense-mood, not its “complex structure” (Cezanne), and the meeting of human perception and moments of nature. There is an image, carrying not virtual-cultural sense, defined by modelling of a nature, imposition of “systematics”, and the sense having “ontological value”.
The peculiarities of perception and visual representation as the content of painting are directly formed in the material. And the color is a necessary element of it. But the use of the phenomenon of color-is another topic for reflection on mental experience and painting.
Galerie Serge presents a collection of works of high quality landscape. Museum-level landscapes.