Vitaly Grimakov
Each artist (professional artist, unlike an amateur artist) reflects on the language of the painter, trying to create his artistic aesthetics, ane simply copies what he sees or feels.
Sometimes the artist formulates his view of the painting himself, for example, as Van Gogh in the letters to his brother Theo, sometimes, as in the case of Cezanne and Bernard, his thoughts are recorded by someone else.
Vitaly Grivkov Artist, writing and brush, and pen, throughout his life formulates his thoughts on painting not only on canvas, but also on paper, as evidenced by his publications in magazines, newspapers, almanac, books.
In addition, Vitaly Grimakov writes amazing novels, lyrical, Nostalgic, touching, but without undue pattics, wonderful Illustrating the artist’s reflections on Painting and creating your own style in painting.
Integration path in painting
The fine arts of the last decades in Russia are divided into traditional and avant-garde, opposition first.
The first arises from the academic method. This art is not related to the reflection of Socialideas, and this includes the style of “socialist realism”. Academic radio is connected with the world understanding. It focuses on expressing the bulk of the mold world and staying them in space. The method of drawing in this system is determinative. Academism preserves the developed visual culture.
The other is avant-garde: “Nonconformist”, “postangardists”, “conceptualists”… It is an art that matches the methods of “modernism” of Western Europe or the tradition of the Russian avant-garde of 10 -20.
The block of avant-garde genres chooses the language of Isystems. . The game, combinatorial elements, levels, stylistic features of different language systems and subsystems generates unexpected effects of visual perception, that is information diversity. Avant-garde-search for new development prospects, the base of virtual art.
There’s another third. It preserves the traditional “mimesis”, The Imitation of nature, and at the same time strives to balance the arising sensual image with the active expression of the conventions of the visual language. From the language, from tradition stand out, the elements are updated, able to express the new attitude of artists to the world developing in time.
The third direction is connected with the world perception. The main goal-the preservation of emotional experience, the establishment of communication sensual, ontological experience with reflexive models of consciousness. In the picturesque structure of the “third direction” the color becomes dominant. The synthesis of world understanding and perception of the world can give rise to a new direction of the visfigurative art-constructive conceptualism. (Pavel Kuznetsov, for example, what is said in the book “Traditions of Avant-garde”)
Texture in painting
Texture In painting as a metaphor of bytinosti
As mentioned above in the painting today there are two orientations. One, dominating in society, works with ready signs and styles, the developed culture, bringing to perfection visual tendencies and structures.
The second tendency of painting, oriented on comprehension of processes of visual perception. Here the accent focuses on the environmental degradation, not on the communicative aspects in the organization of the image.
The material properties of the mass image acquire a special semantic meaning in this case.
The artistic impact on the viewer of the paint and texture of the pictorial plane of the traditional painting was carefully analysed.
An example is the following text of art critic V.M. Polevoy: “This is where the main mystery of painting takes place: The image emerges from the paint layer…
…. It is there where the soul of painting dwells, and there it celebrates the feast of its sensitive flesh… “.
To “See the picture”, it is necessary to see the wall on which it hangs. (Note: The author will write the following in the teacher’s novel: “Angle of drawing!”
The surface of the painting is important not only technical, not only stylistic, reconstructing three-dimensional in two dimensional image (as always mentioned by the researchers of painting), but iontological.
In XXI century painting with its structure actualizes new meanings.
The development of technology has allowed in XX vekesozdat new systems of preservation and transmission of visual information. The appearance of a half-century of computer technology allows everyone to compose images, ready-made images and styles of art, or fantasize, composing, combining color and geometry of figures.
The amount of information received from the traditional painting system has reached the minimum level. Painting may disappear, and this disappearance of society may not be noticed.
If painting wants to preserve itself, it should realize that it is present in its traditional activities, not amenable to duplication by other visual systems, and Actuatethe properties.
Undoubtedly, the virtual “postmodern” gives the society new shades in the conception of the diversity of life and freedom, but the values of the phenomenon of painting are recognized in another view.
“Pictures Create not an illusion Reality, and the awareness of his being in the world. It’s not an illusion. This is quite Justified, if not the only purpose in painting “
James Jerome Gibson
Classical philosophy and, in particular, Immanuel Kant consistently developed the methodology of cognition. The focus of Martin Heidegger is the problem of being. Phenomenologicphilosophy describes cognition as a process in which man acts as the unity of the body and consciousness. For perception of “truth or essence” the meeting of Nature-matter and motor-sensual unity of the person is required.
Fixation of this meeting image is realized in the system of painting, due to its specific activities, specific means. These signs of painting are the following: The motorness of the painter’s pictorial activity; The matter of paint is a special substance that materializes the image; Color Design-the property of the picture to collect in a single form and details of the depicted, the elements of the visual language Anddifferent values present in the image.
Paint in the system of painting fills the meaning of the concept of “matter”, and the texture in the picture arises as a metaphor ontologicity. As if the nature itself demanded a canvas with painting, in which the spatial and physicality would form the present (after all the viewer Present), drawing past experience and addressing its future.
Painting Color Design
In the painting of the twentieth century arose splitting the image into its constituent elements. lines, colors, visual signs of the shape of the object act separately, in a self-sufficient figurative element, and already as independent themes in the Polyphonic Roll call form unity. The behavior and properties of the picture are changed, which is the composition. It often appears actualism, in a sharply highlighted visual form. The best example of this phenomenon is the creation of Nicolas de Staal, a Russian painter who worked in France. The composition, clearly shown in the form of generalized image order, by us is named color design of the picture.
The opened variant it is present also in traditional painting. This order of Cezanne’s paintings by “Bathers” is analyzed by Vasily Kandinsky (composition in the triangle). The triangle in this important case is not an auxiliary means of harmonizing the group, but a loudly expressed artistic purpose. Here geometrical form is and at the same time means of composition in painting: The center of gravity rests on purely artistic aspiration at clear consonance of abstract element. Therefore Cezanne with full right and changes human proportions: not only the whole figure should aspire to the sharp of a triangle, but also separate parts of a body all stronger from below upwards, as though a hurricane rush upwards, are made all easier and absolutely accessible to the eye Pulled
This color-plastic whole and given definition “color design of the picture”.
The design integrates the relationships of objects, and its appearance is realized in the independent phenomenon of the image in the picture. This can occur when the composition appears in the picture of a visual generalized color-plastic “image”, perceived Visually-sensual object. And it acquires the value of the color design of the picture. Outside of this sense of perception of a color structure, in its specific property, is not carried out. «Constructionthere is what the reality wants from the work»
So, the color design of the picture is a fine sealing of a certain order of reality. The way of bringing the influences of the surrounding world into a holistic visual is contradictory. Integrative methods of consciousness in the center of attention not only painting, but also philosophy. Reflections of philosophers are interesting and, probably, productively for art creativity to correlate their sosmysvaniem appearance of color structure of a picture.
The second layer: composition-the organization of relations of all elements of the picture, providing semantic unity of the work. The third layer: color design of the picture-color-plastic order, metaphorically expressed in the form of a single phenomenon, the relationship of “natural” nature and set by the subject “measures
Kandinsky about painting in the future
The artist has the right to use just craps formine for the purpose of his creativity.
V. Kandinsky. About the spiritual in art.
In the beginning several sayings of basil Kandinsky from his well-known booklet “On Spiritual in Art”: “We Experience now the moment of the evolution of art, when it, obeying all More clearly expressed expediency, with special force manifests two types of Creativity: abstract and real.
The first of these will eventually Freely operate forms exclusively artistic, devoid of prisms Objectivity.
The second will not be, like Ended Expressionism An impressionism, it is indifferent and accidental to choose an object in order to With live threads to attach to it the purely artistic value of the work, but would be guided in the selection of the subject by his inner sound for the purpose of his Direct use using artistic techniques.
So, the subject can enter the picture Only as a substantial component of Its part, and the use of the internal sound of this subject is Prerequisite. “
It is absolutely not important, considers Kandinsky, what forms-abstract or real-are used Artist: If they are born “inner necessity”, then these are living forms. “The chair lives, the line lives-it Has eventually the same thing meaning “(the expression of V. Kandinsky).
and himself v. Kandinsky then comes to Possibility of a certain expediency of combining above the marked two Fine systems. His new thought is clearly worded: “Our time is Time of the great demarcation of the real From the abstract and heyday of this latter. But when implemented and new techniques and hidden Now from us the point of view enriched new “realism” will give its color and Their fruits, then, perhaps, will sound such a chord (abstract – real), Which will be a new celestial revelation. But it will then clean the two-way as opposed Unclean mixing of both forms, which is observed now in his dying. “
What is observed in the modern Visual art, which has received the definition of postmodernism, the connection, the combination of Different visual texts does not lead to that new art (new of which Kandinsky spoke. Introduction to the Visual The plane of different images, the appearance of which was dictated by Which are fundamentally different visual metrics, do not create a new Aesthetic structure.
Postmodern plays on the difference, Differences in fine systems. Connecting the images, the painter of postmodernism Emphasizes the nature of the differences of visual appearance. This trend is directed towards the realization of the utmost expressiveness Image, rather than the identification of the constituent of the unity of diversity. Transformation of the existing fine methods, their Logic in order to find a certain new harmony, contradicts the most Methodology of reform postmodernism.
From the Diary of V. Grikova 7 Short, Novel memoirs, remarkably illustrating the author’s reflections (in the attached file)
From Iskusstvometrii
Semiotic analysis of the color language
“When color reaches the greatest wealth, The form acquires the fullness of “p. Cezanne
Ranking-distinction of degrees Different areas of the environment, and gives the individual an opportunity to identify the Boundaries.
As a result, the individual can Visual representations about the properties of the surrounding space, First of all about plans (at the expense of various their illumination). These views Meet the first elements of perception, i.e. forms, which are combinations of Boundaries (lines). The first system that unites these lines is the plane in which Naturally there is a vertical as a standard for the direction of all these Lines. That is why the appearance of geometric forms is possible as Systems of correlation, these lines with a plane. The colors in the painting should create Color design as a sensual embodiment of geometrical design, Which concentrates the system of notions of space, and not the A simple set of forms.
The main function of the color, within of our model is to be a dualistic whole reflecting (and Integrating) The color properties of nature and, at the same time, constituting one of the Main elements of the structure of the picture, i.e. Her language.
In parallel with assigning objects Colors in the society, thanks to the contacts of individuals, should occur also Assigning colors to names, so that the averaging is performed Abstract colors and there is a glimpse of red, violet, etc. (for example, the Circle of Shevreyla).
As a result of the joint action of these Two processes, the examined social set of individuals must operate Already socially averaged color values.
Other color requirements. But for That fragments have borders on color, colors of matched Fragments should be quite different from each other, and already this requirement Imposes some restrictions on the color ‘ richness and diversity, Used within the pattern. In addition, there are a number of other (predominantly cultural) restrictions imposed on this diversity and the Some of them we have already written/2/. But now we would like to stop Not on limiting the color diversity of the picture, but on the limitations To the arrangement of colors within the picture.
Some of these restrictions are strictly Semantic character. This is particularly true of the The need to differentiate the color fragments corresponding to those of the Forms that must be identifiable and differentiated. There are other Semantic limitations, for example, all the same cultural requirements for symmetry, color matching, etc., in many cases related to color Symbols. However, it is more interesting, in our view, to establish the availability of The most common, “actually fine” (i.e. dependent on specific Cultural characteristics) of the restrictions imposed on the arrangement of flowers.
If we can find such Restrictions, it will testify to the possibility of existence, in addition to “Sociocultural” language of color, as well as ^ actually picturesque “color Language, as the basic condition necessary for the appearance, if there is a Any elements, the language consists in imposing restrictions on combinations of these Elements.
The fact is that usually in the perception A lot of such components are involved, which are absent during the The perception of a picture, for example a motor element (more detailed information will be below). Therefore, to divide the forms in the picture has to “strenuously” Use the tools it has, and in the first place, Color. In some cases, to strengthen this “separation” action It is necessary to amplify color discrimination, i.e. to give objects a noticeable difference by color.
This allows you to approach the problem Restrictions imposed on the arrangement of flowers in the picture, also on the other If, for the appearance of the “actually picturesque” color language, there are Social prerequisites, then he, appearing, thereby leads to some Arrangement of colors in the painting, i.e. To some (let Statistical rather than deterministic) restrictions. That’s why studying The origin of such a language, being the “nodal” moment of the present Work, contains the key to understanding the many features of the color system pattern.
As you know, any color coins to be Described by three main indicators, which are not only Means of color description, but also, simultaneously/5/function as Real ‘ Perceived (individual) characteristics. These show 6-light, Spectral composition and saturation.
Tonal principle. Starting analysis Material of the color elements from which our color structure is built, with Consideration of their properties, such as light, it should be remembered that the Scheme there is a standard of light-white. Meanwhile the light is not that blue, As the degree of intensity of light reflected by this color element (roughly In other words, the light can be measured by a fraction of the whitewash mixed with the paint). Therefore, in the psyche of the individual should be very easy to realize the processes of comparison Intensities of different color elements, or tones “
So, “actually The picturesque “color language should consist of two and spectral, and even found out some specific “syntactic” Properties of each of these languages, the further development of this topic contains Many questions and aspects, of which we, for lack of space, will stop Only on two, namely on the direct environment of the constructed color structure And the possibilities of fluctuations in its characteristics.
Areas of national schools: color structures Painting
Painting Teaches the child <...>she learns to just learn red, green, White. A. Block
The very fact of having a national The specifics of the art as a whole, and of its individual species, of childbirth, Genres,-it seems that no one is in doubt. There are only two main Issues related to this issue:
-What is the national specificity Is?
-How this specificity can be measured, then Is there to fix with the help of objective methods?
Let us confine ourselves to the study of four European national schools, French, Italian, Spanish and Russian.
It tested three substantive Hypotheses arising from the theoretical model of the functioning of painting.
It was necessary to find out whether the Of time, the colour preferences that characterize each national School? It turned out that there is practically no such dependence.
The main limitation, of course, is the volume of the so-called “Ram” of the recipient — the Spectator.
There are a number of reasons why Colors used in the picture should be chosen not randomly, but form a certain integrity. The reasons for this are mainly Limitations inherent in the nature of the painting — as images on the plane.
In reality, the illumination of objects Changes in both time and space (say, if we look at The foliage of the Spring Grove), which, of course, is excluded from the perception of Pictorial work. In addition, the range of real light Flows quite great, for example, in a bright sunny day of illumination in the shade of May be 1000 times less than on a surface illuminated by the sun, As the picture has a limit on the size of the difference light: reflective
The ability of white paint is different from Reflective ability of the paint black No more than 20 – 25 times.
and artists have to “Get out” to overcome all these limitations. So, for the image Flickering candle light (i.e. Changes in time) Rembrandt, yes and Some other artists, resorted to the technique of the so-called “lisings” — Overlay a large number of thin, almost transparent layers of paint. As a result, Eye of the viewer, changing the angle of consideration (when scanning the plane of the picture), Each time it receives a light reflected from the surface of another layer, and “Flicker effect” occurs. And for the image of the quiver (i.e. Too The foliage of the French painters, the “battalions” of the Seir and the Sinyak used the technique of “separation of pure flowers”, i.e. Worked with the Clean colors without mixing them on the palette. Thanks to this, signals from “clean Colors “, mixing directly in the viewer’s eye, do not lose their Intensity (as it would be in the case of mixing paints on the palette), and most importantly -Give an opportunity to the eye, when scanning the neighboring areas of the plane painting, Get different combinations of color impulses — as it happens in reality When looking at the swaying greens, in which many leaves every second change Tilt their reflective surfaces… Many other techniques are known, with Through which artists overcome the limitations inherent in the painting as Fixed flat image.
The color language must be able to Exercise their influence (on The Spectator) in a very short period of time (corresponding to the memory capabilities, i.e. Tenth fractions of a second). And means that each painting should contain no more than 7 — 8 units of this language — Discrete color elements. (It is better not to exceed the lower border, i.e. Have a maximum of 6 to 7 color elements.) Then the optimal Sensual perception of the picture as organic integrity.
It has become to satisfy both Requirements (and to the diversity of the “nomenclature” of color elements, and to their Action within the Spectator’s Ram), the picture should be about 6 Color elements.
National specifics:
Choice of “light-color standards”
The model used was Shows that any color system should have its “center point”, then There is a “standard” for all colors. This central point is nothing but White color, which serves as a reference for both colors and light in Every picture, as well as in every painting system. This “light-color Standard” Meets the central position of sunlight in the entire system of our Visual life, so that the properties of this pattern should be close to those For solar radiation.
But sunlight can be different Depending on the conditions of each locality, mainly from its Geographical latitude and dominant weather. For example, for the southern parts of France Direct sunlight is typical, whereas for the northern regions of Russia (Vologda, Kostroma, etc.) Characteristic of sunlight pale, diffused. So National peculiarities of color preferences depend on such Geographical circumstances that determine the properties of national Light-color pattern. (although specific historical and cultural factors also can contribute to color preferences, and then we will have to Encounter one of these phenomena, speaking of Spanish painting.) Other In words, the basis (Central standard) for each national color system Can be obtained, the average properties of sunlight characteristic of this Region.
This central standard is a very An important parameter of the whole color system characteristic of any national school Painting. In the next section, we will look at the impact of this benchmark to other colors predominant in the painting of each national school.
Talking about European painting with In terms of the geographical features of sunlight, is represented by the It is reasonable to allocate two large domains (large regions), significantly Differing in terms of solar illumination:
Is the southern domain, which includes such Countries like Italy, France and others: domination of direct sunlight Determines the corresponding properties of the light-color reference-it must be Close to yellow (or possibly between yellow and orange);
is a northern domain that includes Russia: The properties of the light-color standard are determined by the scattered solar Radiation Therefore, the corresponding standard must meet the white color.
Clearly, the southern Domain throughout the era after the Renaissance was the leading French National School of Painting. That is why it is in it other national schools This domain found a starting point for their color systems. The Model, the French National School is the basis for the Development of other national schools of this domain.
But the French school is known to Was the heir of the Italian Renaissance painting. Therefore, there are very Serious reason to speak about the General Franco-Italian system of color preferences. and the resulting empirical material (see Table. 1.1, 1.2) confirms this Assumption.
National specifics:
Color preferences and Triad
As we have already noted, the use of About 6 colors (including both spectral elements and non-spectral) “Optimal” for the picture. One of these 6 colors is considered above Light-color standard; But what can we say about other colors? Does it depend on Choice from any national specifics? The model in question gives An affirmative answer to this question, and it turns out that the whole system National color preferences determined by the choice of the specified standard. This is due to two factors.
Let’s turn directly to National Color Triadam.
The analysis shows that in France and in Spain’s choice of national Triad was not accidental; In Italy the same number of “triadic” paintings coincides with the expected “random” value; In Russia The number of “triadic” paintings was above the “random” value, but did not Much. Analysis of the color content of the “main” colors used by each The National school, brought about the same results (and by the way, confirmed that in Russian painting national triads are more common than It might be when artists randomly select color elements).
In general, empirical data on The number of triads correspond to the theoretical predictions relating to their Role in national painting schools. Thus, and the third meaningful Hypothesis turned out to be confirmed.
The nature of “outer” space (in This case — the geographical environment, and specifically the properties of sunlight) Can have a strong influence on the nature of art.