16 3 Artistic trends and trends: the patterns of formation and manifestation

The content layering of various types of experience, in particular in the European culture of the New Age, determined the richness of approaches to the artistic display of reality. To understand the patterns of the artistic process, which fits into the framework of the concept of "romantic type of creativity", aesthetic theory has developed a number of concepts. Along with the concept of "style", which is acquiring increasing individualization, the concepts of "direction", "current", "method" are formed. To understand the multidimensionality of artistic life, it is necessary to determine the content and scope of each of the concepts and the internal logic of their interactions. In aesthetic theory, there are various approaches to understanding the concepts of "direction" and "current" and the relationship between them. Sometimes they are considered identical and are defined as "a historically developed community of artistic positions, characteristic of certain eras and creativity of artists, united by a certain community of ideological and aesthetic orientations and principles of artistic reproduction of reality." Some researchers consider the concept of "direction" to be dominant (Nalivaiko, Gulyaev) and characterize it as "the general category of the dialectic of artistic development". Direction reflects the change in the types of figurative mastering of the world and the types of artistic truth (Borev). There is also an approach according to which the concepts of "direction" and "flow" are components of a more general concept of "artistic method" (Timofeev, Kagan). However, as indicated above, the concept of "direction" is broader and more comprehensive. "Flow" is characterized as narrower and subordinate to the concept. Obviously, researchers proceed from the fact that in the experience of an empirical subject the concept of "flow" is narrower, because the riverbed can be divided into several currents, but it is important that the water flows in the river in one direction. Since the concept of "artistic direction" is developed in detail by aesthetic theory, in particular on the basis of literature, we will define only its most characteristic features. The direction, reflecting the situation of growth of individual manifestations of the spirit in artistic formation, covers the features of the general in the artist's ideological positions and in the approach to the laws of artistic formation. It is important to outline these positions, since in the art of the New Time there is a tendency to expand the spheres that the forming spirit occupies, to the concept of the "random world" as, does not contain the truth of the vitality of the spirit. Therefore, the category "direction" reflects the complex unity of the artistic process: the wealth of ideological and aesthetically artistic orientations of artists in various types of art. The main artistic directions in the art of the New Time are: baroque, classicism, romanticism (as one of the directions within the romantic type of creativity), realism, naturalism, modernism. Here it is important to dwell on the issue of realism as an artistic direction of art. It has not been studied by science, since the aesthetic theory of the Soviet era, based on an inaccurate interpretation of the thoughts of F. Engels (letters of Kautsky, Harkness, etc.), defined realism only as a creative method and a system of principles, on the basis of which the characters and circumstances in a work of art are explained socio-historically, and their natural causal relationships are revealed in qualitative and self-valuable development with the help of typification [23, p. 290]. When comprehending the thoughts of F. Engels on the essence of realism, the emphasis was placed on the conscious, socially balanced position of the artist. The tendentious interpretation of the thoughts of the philosopher set a narrow understanding of realism only as a socially oriented type of creativity. However, F. Engels notes the dominance of an aesthetic position in a work, and not a purely social one. "The more hidden the author's views, the better for a work of art. The realism I am talking about may even be independent of the author's views," notes F. Engels. To prove his point, he refers to Balzac's "The Human Comedy", the artistic persuasiveness of whose works was decisive for Engels in assessing him as "the greatest master of realism". Let us ask ourselves whether an artist can create truly artistic works without choosing a circle of heroes, without comprehending their relationships with each other and their inner life, without imagining the circumstances in which they will act, and so on. Therefore, realism belongs to artistic trends, like any of the above.

The concept of "trend" is an open system that encompasses new artistic trends and the species richness of art. In relation to the types of art within the trends, they are characterized by the variability of the dominant art and the internal interactions of the arts.

The wealth of artistic trends is based on the objective process of unfolding the experience of social life, its individualization, which includes features of uniqueness and with its qualities encourages the means of artistic embodiment that correspond to its image.

The methods of embodying the phenomena of reality in the artistic language of art are also influenced by the spiritual positions of artists, sometimes acquiring the character of extreme subjectivism. This tendency is especially pronounced in the postmodern era, due to the disintegration of the integrity of the image of the world, the randomness of value ideas about the aesthetic qualities of things, phenomena and relationships, and then the method of their artistic embodiment.

Let us turn to a more specific analysis of the named artistic trends and reveal their internal differentiations, which aesthetic theory defines as trends, for the manifestation of their essential aesthetic and artistic features.

Baroque as an artistic trend comprehends the tendencies of the development of European art of the late 16th - first half of the 18th century, being a kind of stage of artistic development on the border between the art of the Renaissance and its late stage - mannerism, on the one hand, and classicism as an artistic trend of the 17th - early 19th centuries. - On the other. Baroque is a complex artistic phenomenon that has absorbed contradictory, even openly opposite, views on social values, and therefore on their artistic reflection. On the one hand, it reflects secular trends in the artistic culture of the era of the formation of bourgeois relations. This is bourgeois-Protestant and bourgeois-philistine baroque. On the other hand, the ideas of the counter-reformation influenced the formation of the stylistic features of the movement. This is feudal-aristocratic and Catholic baroque. Researchers also distinguish such a type as "lower" or "folk baroque". These are the "poles" between which the entire diversity of trends and schools of baroque was located [16, p. 114]. It should be noted that baroque is not only an artistic phenomenon. It comprehended various spheres of the spiritual life of society. The aesthetics of the Baroque reflected new post-Renaissance ideas about the world as an infinity of cosmic space and a sense of the randomness of the life of humanity, thrown into this infinity.

The Baroque is characterized by a feeling of joy from dismissal before the fear of God's punishment for the sins of humanity, that is, secular tendencies in culture in general and art in particular are expressed. The Baroque also embodied the idea of ​​a new class - the bourgeoisie - about the meaning and joy of life associated with material wealth and sensual pleasures. The aesthetics and art of the Baroque try to give a comprehensive picture of the world, revealing it not in statics and completeness, but, on the contrary, in movement and dynamics. Dynamism as a characteristic feature of the Baroque is determined by universality. This is "thematic" dynamism (theme of movement, description of movement), "external" dynamism (in plot creation), psychological dynamism (creation and deployment of attitude to the world, lost the completeness of its own image). Since the Baroque era, man's active interest in himself, his inner world and the laws of life of the human spirit has been developing. In this, Baroque is essentially different from the Renaissance, which embodied the joyful image of human vitality and the natural world in artistically perfect works of art full of expressive vitality.

Baroque art is characterized by great psychological tension and internal dynamics of images, manifests itself in all its forms: architecture, painting, sculpture, literature, music, etc. The most vividly aesthetic artistic ideas of Baroque are embodied in architecture. Secular and religious buildings of Baroque are lavishly decorated with decor on the facade and in the interior, richly decorated with sculpture, usually polychrome (Russian and Ukrainian Baroque). The internal state of man, acquiring expressive materialized forms in architecture, is embodied in social and public and religious buildings, rising above the surface of the living space. The patterns of this process in conceptual and logical forms are reflected in philosophy. It is interesting to compare in this sense, say, the philosophical ideas of F. Bacon, based on the worldview foundations of the Renaissance, and the philosophy of the Baroque era (Hobbes, Spinoza, Pascal, Leibniz). The sensual and joyful worldview of F. Bacon, permeating his philosophical works, is associated with the ideals of the Renaissance, as it gave birth to faith in the creative potential of man, and therefore, affirmed beauty and rational principles in real life. The philosophical systems of Baroque thinkers, as is typical, say, for G. Leibniz, reveal a universal picture of the world, full of internal dynamics and contradictions between the finite and the infinite, the sensual and the rational, the regular and the random, and so on.

The formation of stylistic features of the Ukrainian national culture occurs precisely on the basis of the Baroque style. Professional art in Ukraine is also formed on the basis of the ideas and aesthetic principles of the Baroque. Outstanding masters of Baroque art L. Bernini, Rastrelli (architecture), M. Caravaggio, P. Rubens, J. Jordan (painting), A. Vivaldi (music). The classic of Baroque creativity was G. Skovoroda. In architecture, the aesthetic artist

The natural embodiment of Baroque ideas was the “Cossack Baroque”, which, according to the apt expression of A. Makarov, is “an irrational image of the world, embodied in stone”. D. Nalivaiko notes that the Baroque "was the first pan-European artistic movement".

Classicism as an artistic movement comprehends the 17th - early 19th centuries not only in art, but also in the culture of Europe as a whole. Thus, artistic trends, reflecting the increased wealth of trends in social life, mainly develop in parallel. Classicism was formed in absolutist France as a reflection of the social need to establish strong states instead of disparate feudal principalities. In the general development of classicism, the following trends are distinguished: classicism, formed in interaction with the Baroque (17th century); enlightenment classicism, associated with the pre-revolutionary movement in France, influenced the art of other European countries (18th century); revolutionary classicism (18th - early 19th century).

Classicism as a type of artistic thinking is based on ancient aesthetic principles, in particular the aesthetics of Aristotle. It refers to ancient aesthetics and the ancient artistic ideal as perfect manifestations of the inner harmony of the hero's world and the work of art as an artistic whole. Let us recall that Aristotle sees beauty as "size and order", and the main forms of beauty as "order in space, proportionality and certainty". Accordingly, a work of art is an integral structure, all components of which are closely connected and interdependent, so that the removal of one of them entails the destruction of the work as a whole.

The general ideological and general aesthetic foundations of classicism are associated with the ideas of philosophical rationalism, in particular the ideas of R. Descartes. The aesthetics of classicism is based on the principle of "imitation of nature" according to the laws of reason, in particular regarding the subordination of the spontaneity of human nature and the subjectivity of its manifestations to the laws of reason. If the art of the Renaissance contributed to the liberation of all spiritual powers of man, then in the days of classicism a new stage of understanding the content and essence of man's relationship with the world and with himself is formed. The disintegration of the unity of the personal and social spheres, personal and public interest causes the need to choose actions based on the guidance of the laws of reason. Classicism sees the subject of art as social moral problems that have to inspire the hero of art. For example, the original aesthetic principle of classicism is the affirmation of an attitude to life based on the choice of the "reasonably necessary", as opposed to the "chaotic capriciousness" of its sensory perceptions. Realizing the educational significance of art, classicism affirms the image of a hero - a bearer of civic virtues, enduring the trials of fate and unwavering in convictions. Therefore, the aesthetics of classicism is characterized by the normativity of principles. It is characterized by a clear regulation of artistic "rules", a clear hierarchy of genres, divided into "high" and "low". In painting, according to the aesthetics of classicism, the "high" genres include: historical, mythological, religious, and the "low" - landscape, portrait, still life; In drama and theatre, tragedy is a "high" genre, and comedy is a "low" genre. Each genre has its own content boundaries and clear formal features. The principles of artistic form-making in classicism are clearly subordinated to the artistic idea, namely: the affirmation of the value of life, built on logically balanced principles. According to the process of artistic forms in accordance with the aesthetic principles of rationalism, classicism is included in the concept of "artistic method". If we proceed from the consequences of the creative process, then classicism is defined by the concept of "artistic style * 9. With respect to romanticism, realism, modernism, they are characterized by the same patterns of functioning in the sphere of the aesthetic artistic process.

The aesthetics of classicism is also based on the idea of ​​"pre-established harmony" of G.-V. Leibniz. The pathos of affirming the supra-personal image of perfection is conditioned by the general ideological position of the movement: the ideal of rationality and harmony of being, reliance on the idea of ​​a single, universal order governing the world. Thus, a work of art as an artistic whole must be subject to internal harmony, correspond to its genre specificity and expressive pictorial means. That is, art must proceed from the understanding of being as ordered and affirm the named ideal by means of artistic language. The artistic principles of classicism began in painting (Poussin), developed in literature (Corneille), and received their aesthetic justification in treatise by A. Boileau "Poetic Art".

Classicism as an artistic movement with its idea of ​​rational and expedient beauty in phenomena reflected the needs of the formation of civil consciousness of European society. In the center of the creativity of artists of classicism in literature, painting, music and technology

to develop it. Romantic art makes a breakthrough in the sphere of spiritual experience, which reflects the depth and individual uniqueness of the world of personality. At the same time, romanticism professes the idea of ​​​​human perfection, the ideal of which is "given" by the image of the God-man, and shows the complexity of life as an ideal, since the same moral impulses and the same level of humanity are not found in the world of personality, which distinguishes the moral absolute. Therefore, irony arises as one of the leading aesthetic and artistic principles of romantic art.

As an artistic movement, romanticism developed at the end of the 18th century on the basis of the ideal of free self-realization of the subject of creativity, declaring itself with a wealth of trends and tendencies that certify the growth of the spiritual experience of the individual. Romantic art reflects the uniqueness of the human personality, the scale of feelings and reflections of the romantic hero on the values ​​​​of life, takes him beyond the everyday existence into the world of high and strong human feelings. The pathos of romanticism grows on the rejection of reality, seeks to unify the personality. The implementation of the creative potential of the subject is the true purpose of art.

Originating in Germany (Ensk Romantics), Romanticism subsequently spread to England (Wordsworth, Coleridge, Byron), France (Chateaubriand, Hugo), Poland (Mickiewicz), Ukraine (early Shevchenko), Russia (Zhukovsky, Lermontov) and other countries. Within the framework of the aesthetic principles of Romanticism, all forms of art developed: literature, music, theater, painting, plastic arts. True, unlike classicism, Romanticism did not receive official state forms of manifestation (this status was secured mainly in architecture). Romanticism did not form as an architectural style.

In music, the ideal image of the feelings of a Romantic personality was fully revealed in the works of outstanding representatives of the Viennese school R. Schumann, F. Schubert, F. Liszt (head of the Weimar school); In painting, the exponents of the romantic ideal were T. Gericault, B. Delacroix (France), F. Runge, K. Friedrich (Germany), J. Constable, W. Turner (England), A. Kiprensky, V. Tropinin, I. Aivazovsky (Russia), T. Shevchenko in the early period of creativity (Ukraine). In the end, romanticism as an artistic movement was reflected in all the main types of art, and most clearly - in poetry and music.

The aesthetic principles of romanticism were formed on the basis of the dominance of expression over image, that is, the dominance of the expressive principle over; imitative. The form of artistic generalization in romanticism is symbolism, and not typification as, say, in realistic art. This means that romantics see the image not as some complete integrity in itself, which reflects the same complete integrity of the material-sensory world, but consider it as a manifestation in a material-sensory form of something much greater than the substantially different, not limited to an adequate or idealized image. Such a system of principles within the framework of romanticism is characteristic of both its conservative and progressive trends.

Romanticism proceeds from the idea of ​​historical development, the essential dimensions of which are perceived as the growth of the spiritual principle. Spirituality is revealed as universality, which in art concretizes itself in the uniqueness of the spiritual world of the individual. In classicism, this world has not yet been expanded into the nuances of manifestation, but appears as a world of internally opposite relationships between the rational and sensory spheres of the spiritual experience of the heroes. The heroes of romanticism as an artistic movement are aware of the differences between the ideal-beautiful and reality.

Classicism, as we noted above, sees the possibility of harmony of human existence based on the rational organization of the spiritual world of man according to the laws of beauty and the organization of social relations based on the assertion of rationally organized state structures. Romanticism takes the idea of ​​the moral absolute as the starting point for organizing the spiritual world of the individual, actively attracting imagination and fantasy to create the true vitality of the ideal, the inner imagination opens up and is not subject to comprehension by the "spiritless eye of reason". From the disproportion of the ideal of perfection and the reality of life arises the tragic mood of the romantic hero, his invisibility in the world of life's realities, aspiration to the world of ideal entities, perfect human relationships, strong characters and great human passions. Romanticism sees artistic creativity as the real sphere of creative realization of the individual. Activating imagination and fantasy, creative inspiration encourages the artist to form an ideal image of relationships. Romantic generalization, based on the above, gravitates toward the symbolic image. The general tendency of the romantic worldview is to contrast the spiritual world of the individual with reality as such, which is alien to spirituality, since the spirit does not find grounds for the development of its creative potential in the space of human beings.

relations.

In the conditions of growing alienation, freedom is defined, on the one hand, as a reality in a situation of liberation from traditional norms of relations with their ramified system of dependencies: social, legal, moral, religious, etc. At the same time, the loss of spiritual integrity of life causes "autonomization" of the spirit. Realizing himself as a subject of creativity, a person does not find appropriate ways to realize creative potentials. Therefore, an ironic attitude to life is an expressed position in relations with society. Irony permeates the work of all representatives of the romantic movement as an artistic-aesthetic and ideological whole (German, English, French, Russian romanticism, etc.). Only in countries that are in a situation of loss of statehood (say, Poland, Ukraine), the creative spirit is organized by the ideal of the historical past and creates images of its ideal vitality by means of art (the work of Mickiewicz, Shevchenko).

In general, an important feature of romanticism (all its trends) is an interest in the historical past of peoples. The most significant achievement of Romanticism was the discovery of the heroic history of European nations. The new vision of the Middle Ages proposed by Romantics as an era of unity of the spirit of European nations and heroic defense of ethnic space from the expansion of other ethnic groups actively influenced the development of national consciousness in the New Age. A. Mickiewicz speaks of the medieval world as romantic ("On Romantic Poetry"). The appeal to the historical past acquired the character of a direct appeal to historical precedents with the aim of awakening the national spirit, directing it to defending freedom (Mickiewicz - poems "Grazhina", "Konrad Walenrod"; Shevchenko - "Ivan Podkova", "Haidamaky", "Tarasova Night").

The overwhelming position of the romantic artist and the heroes of romantic art, as noted, is an ironic attitude to reality. In such forms and in such a way they reveal the reality of their own spirit, as opposed to the pettiness of the manifestations of human life, immersed in everyday life. A detached attitude is a phenomenon of the rise of the spirit of the individual over its depersonalizing sociality. The romantic trend shows that the possibility of developing the spirit - not in negative forms, but in creative ones - is possible only in communication with nature. The power of its elemental manifestations reveals the potential of human nature: the scale of the embodiment personality in artistic creativity.

The development of creative potential of the human spirit through the affirmation of morality of relationships is one of the tendencies of romantic art. It grows on the soil of the struggle of European nations for democratic foundations of human relationships. For example, in the works of V. Hugo (the novel "Notre Dame de Paris", the dramas "Hernani", "Ruy Blas", etc.) the heroes - people from the lower classes of society - display nobility of character, while its top - bearers of immoral inclinations and the corresponding style of relationships. In the spirit of the romantic worldview, V. Hugo contrasted the prose of everyday life with the romanticized reality created by the imagination, and historical truth - "truth-justice". Where the stability of the forms of social life did not allow the spirit to realize the creation of new forms of relationships, the hero is characterized by the tragedy of the worldview, the awareness of the impossibility of realizing himself in the fullness of creative powers. The art of romanticism is defined as a rebellion of a social man against the limitations of social conditions of life. The ideal in romanticism is a genius as the personification of the highest ability to realize the full potential of the human personality. Decadence (French Decadence - decline), or Art Nouveau - definition of a number of trends in European art of the second half of the 19th century: naturalism, impressionism, symbolism. They were a kind of transitional stage from classical art to modernism and postmodernism. Naturalism as an artistic trend and method of art declared itself in France, realizing its aesthetic principles mainly in literature. The exponents of the aesthetic ideas of this trend were E. Zola, the Goncourt brothers, to a certain extent G. Flaubert, G. Maupassant, G. Hauptmann, G. Ibsen. The method of naturalism was based on the philosophy and aesthetics of positivism. Its principles were formulated by I. Ton, who extended the positivist methodology from the sphere of natural science: research to the philosophy of art. The artistic principles of naturalism were formulated by E. Zola in his work "The Experimental Novel" (1880). The program was based on the idea of ​​natural scientific materialism (Haeckel, Spencer and positivism (Comte). The initial element in the subject of art is seen not as social but as biological principle in man. E. Zola notes that the novelist is an "observer-experimenter". As an observer, he presents facts as he saw them, and as an "experimenter - he conducts an experiment", i.e. "he sets the characters of the story in motion, reproduces the sequence

events and the like. In essence, the artist is considered as a person called upon to state facts and events, without involving imagination, fantasy, attitude to the depicted, etc. in the creative process.

Naturalism as an artistic method also had a certain artistic value. Thus, the work of E. Zola was the discovery of topics previously unknown to art: these are the biological aspects of human life, heredity and its influence on human self-expression (novels about the history of the Rougon-Macquart family). No less important was the discovery of social issues as an object of art: the extremely miserable existence of the urban social lower classes, difficult working conditions, etc. ("Germinal").

In the work of G. Flaubert, elements of naturalism perform an aesthetic function: an artistically perfect work is called upon to overcome the base and ugly in real manifestations of life. Working on the novel "Madame Bovary", the writer strives to show the pettiness and limitations of his heroes with due aesthetic expressiveness, without directly demonstrating them at once. The Goncourt brothers perceived creativity as a kind of "clinical research", valuing in art the accuracy of facts characterizing a certain environment, its customs and everyday life. Artistic conflict was interpreted as a conflict between man and nature, in particular its own. Hence the interest in reflecting pathological manifestations of the face, conditioned by heredity. The attraction of naturalism to factologism was rightly criticized by both representatives of the aesthetics of realism (Herzen) and irrationalism (Bergson). Impressionism is a trend that developed in the late 19th - early 20th centuries, primarily in painting and music, to display the variability of impressions inspired by the diversity of manifestations of life in its constant variability. Its outstanding representatives in painting: C. Monet, O. Renoir, E. Degas, A. Sisley; in music - M. Ravel, C. Debussy, A. Scriabin; in literature - P. Altenberg. In the 20th century. features of the impressionistic worldview are characteristic of the works of M. Proust.

Impressionism contrasted the official academic art with a creative vision of the subject of the image. Artists went out into the open air and showed the inexhaustible wealth of manifestations of nature's states depending on the lighting, season, etc. The artists were lucky to discern beauty in the most modest and simple objects; Man in their landscape and portrait works is harmoniously inscribed in the world of nature. At the same time, in the works of the impressionists, the changeability of states, especially in the crisis period for the movement of the 80s of the XIX century, acquires an intrinsic character, even leading to the loss of certainty of the objects of the image, as if dissolving in the air.

There is also an opposite tendency: a gravitation towards decorativeness. The increased subjectivity of creativity becomes characteristic. That is, impressionism as a movement loses its stylistic features, and fragments of its stylistic features subsequently randomly pass to other directions that are formed in the 20th century. The latter are characterized by the indefiniteness of forms, the lack of formation of imagery, the randomness of the communication of components, the arbitrariness of composition, and the like. This manifestation of voluntarism in relation to the world destroys the very idea of ​​the purposeful existence of the forms of the world in itself and a rationally experiencing attitude towards it. In impressionism, the worldview position of tirelessness, constant changeability, and, consequently, some uncertainty of the image of the world is only distantly visible. Subsequently, such a position appears as typical for all types of art. A feeling of hopelessness permeates the work of the symbolists, and later the futurists, imagists, acmeists, expressionists (movements of the early 20th century). At the same time, in the transitional period of its history, decadence strives to resist the moods of hopelessness and the "end of history". Artists avoid moods of spiritual devastation, delving into creative searches. They see the source of the opposition of the ordinary and the immorality of life in the beauty of art. Symbolism was one such direction of the transitional period.

Symbolism, having originated in the 70s of the XIX century in France (poetry of Rimbaud, Verlaine, Mallarmé), subsequently spread to all European countries, in particular to Germany (Hauptmann), England (Wilde), Russia (Bely, Merezhkovsky, Blok, etc.). Symbolists base their creativity on the idea of ​​the dominance of the symbol instead of the specificity of the image. This is a kind of protest against the factuality of art, asserted by naturalism, and a return to the ideal of classical artistry. It is interesting that many artists who began their artistic work within the framework of a naturalistic aesthetic artistic program, adhere to artistic symbolism (Ibsen, Hauptmann). According to N. Berdyaev, symbolism marked, on the one hand, a cultural renaissance, a deepening into the meaning of being with its inexhaustible wealth, which can be comprehended

only thanks to the symbolic language of art, sees existence as "all in all". On the other hand, symbolism reflected a premonition of social and spiritual catastrophes. The source of tragedy, sounding in the work of the symbolists, is the banalization of the meaning of life. Andrei Bely aptly formulated the essence of this spiritual situation: "The fetishism of commodity production, the creativity of idols and forms of art, violence against the hero - all this is the personification of only one fading rhythm of life." The creative individual "I" is the center of the aesthetics of symbolism and determines the pathos of the art of this movement.

Thus, the Art Nouveau style was a kind of transitional stage between classical art and modernism. The contradictory image of the world and the resulting uncertainty of artistic life paved the way for the art of modernism and postmodernism.

Modernism as an artistic movement is a concept that occupies a number of artistic movements and trends from the early 70s of the 20th century until the period of the formation of postmodernism. Modernism as a general trend in art represents a rejection of classical artistic imagery and the aesthetic ideal of classical art. The search for new ideas and means of expression, joined by a new generation of artists, led to the formation of a large number of trends and movements under the general name of modernism: in particular, Fauvism, Expressionism, Primitivism, Cubism, Futurism, Acmeism, Imagism (first decades of the 20th century), Dadaism, Surrealism, Abstractionism, Suprematism, Constructivism (1920-30s); Theater of the Absurd (1940-50s); and, finally, Pop Art (1970s) - the art of postmodernism. In contrast to the classical artistic tradition, which was based on the idea of ​​the perfection of the content and figurative language of a work as an artistic whole, Modernism puts forward the idea of ​​fragmentation, incompleteness, randomness of the form and content of works. This is an attempt to show through the uncertainty of forms their randomness in relation to the content, and then the absence of the need for knowledge.

Another tendency is also reflected in the named aesthetic positions of modernism: the desire to break the "outer shell" of things and phenomena in order to try to discover the lawful in them. That is, there is a desire to transfer the methods of scientific knowledge to the sphere of artistic form-making. Form, alienated from the concreteness of the existence of phenomena of the real world, taken beyond the experienced relationship of its concrete vitality, leads to the phenomenon of elite art. The exponents of its idea, X. Ortega y Gasset "The Dehumanization of Art" (1920s), J. Huizinga "Homo ludens. In the Shadow of Tomorrow" (1930s) and others argue that elite art is completely alienated from life, is in no way connected with the experience of artistic expressiveness of manifestations of human relations. They see it as far removed from everything that is a manifestation of the human in the sense of art and is considered as “traditional” or “mass”. For example, Ortega y Taceto, in his discussions of the artistic value of a work, distinguishes between the incompatible concepts of “concern for the specifically human” and “purely aesthetic pleasure”. The philosopher connects the possibility of the latter with “pure art”, which he considers real under the condition of “purification”, “displacing human elements, all too human”. The optimal situation in this sense is when “the human content of the work becomes so insignificant that it becomes almost imperceptible”. The problem of the aesthetic perception of art is indeed complex. But its solution does not lie in the plane proposed by the philosopher, that is, not in the dehumanization of art. Its solution lies in the next level of the spiritual experience of the individual, formed by the beauty of art, in which the subject rises above the immediacy of the perception of the plot of the work to the aesthetic experience of the artist’s techniques for creating the beauty of the artistic whole. In addition, the completely unfounded, as Ortega y Gasset does, attribution of the works of artists of the romantic trend to the phenomena of "mass art", since it is romanticism that asserts the uniqueness of the spiritual world of the individual both as a creative and as an ideological position. The assertion of the ideas of "mass" and "elite" art on immoral and non-aesthetic grounds entailed the loss of spirituality of its "elite" type and the banality of the forms of mass art, had tragic consequences. This is precisely what provoked, to a certain extent, the general crisis of twentieth-century art: modernism caused a situation in which art was taken beyond the weighty sources of creating spiritual experience and turned into a game. Moreover, elevated only to a game, a game, it turned out to be deprived of aesthetic certainty, that is, outside the artistic

formation and movement towards the exhaustion of modernism as a direction in art. The general tendency of the above-mentioned directions is a break with the classical artistic tradition. The extreme subjectivity of relations with the world, dictated by social tendencies, leads to randomness in the approach of artists to phenomena, to the deformation of their certain vitality. The arbitrariness of the artist appears as the dominant in relation to the subject of the sky and the arc.

The first waves of avant-garde appeared in 1905 in France (Fauvism) and Germany (Expressionism). The goal of creativity, expressionists see the embodiment of human feelings by means of art, therefore, for them, it is not the subject of the image in its expressive vitality that is important, but the subjective impressions of the artist from the subject. During this period, primitivism (Rousseau) is formed - a trend that opposes "scientific" art with the direct naivety of its works. M. Chagall began his work with the primitive. As already noted, modernism departs from the creative and aesthetic principles of classical artistic creativity. Thus, P. Picasso, experiencing a creative crisis at the beginning of the 20th century, came to the conclusion that the purpose of painting was to create plastic forms as valuable in themselves. In a number of works, he subjects natural forms of objects to geometric deformations: "Avignon Girls" (1906); "Three Women" (1908), etc. The constant search for new creative paths leads to the absolutization of form as valuable in itself, even if it destroys the subject of the image or completely departs from it (abstractionism). This tendency also characterizes other trends. At the same time, the artistic talent of the most outstanding creators of new trends, as is typical, say, for P. Picasso, allows them to find the optimal embodiment of an artistic idea in the found forms. A convincing example is the artist's "Portrait of Vollard" (1909-1910). From countless fragments of material, resembling pieces of glass of different sizes, shapes and shades of color, the image of a person is visible. It emerges from the depths of the looking glass, maintaining its distance and simultaneously breaking out of its indefinite depth into the real world: it comes to the "proscenium" - the foreground of the painting. P. Picasso repeatedly returned to this manner: "Portrait of Wilhelm Uhde" (1910); "Naga" (1910); "Self-portrait" (1911), etc.

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During these same years, such modernist movements as primitivism, expressionism, cubism, etc. began to spread in various European countries. The "Paris School" - one of the centers of artistic life in Europe in the 1910s - "A spontaneous conglomerate", whose members, as researchers note, were connected not so much by a common artistic program as by a common frame of mind [19, p. 92]. Among the participants of this "school" who left a noticeable mark on art were M. Chagall (Russia), P. Picasso (Spain), Modigliani (Italy), D. Rivera (Mexico). Members of the Munich Association of Artists (the second center of European art) were V. Kandinsky (Russia), P. Klee (Switzerland) and others.

A tendency to declare high ideals of art for discrepancies between the means of embodiment of the image and the proclaimed aesthetic programs is expressed here. The desire to deliberately shock the public is characteristic. Thus, the Russian Futurists called a collection of their works "A Slap in the Face of Public Taste" (1912). The desire to seek new paths of artistic formation, to take art beyond the figurativeness of its speech towards the construction of forms as self-valuable, regardless of their aesthetic and artistic qualities, is a typical feature of modernist art. That is, formalization of imagery occurs. We can talk about the desire of the exponents of avant-garde art to put the inexhaustible wealth of forms of the objective world into some general abstract, geometrized forms, giving it pure conventionality.

However, it is impossible to consider that behind the deformation of the image of the world there is only the evil will of artists, the desire to shock society. In a formalized environment, circumstances cause the transformation of a person from a subject of life to a functioning "mechanism". Formalization of relations entails the loss of the ability of one person to see in another his-other, and therefore, to perceive it as a holistic, certain being in itself, interesting in its otherness. The world reveals itself in its essence as a world of destroyed spiritual foundations of life. From this, the above-mentioned aesthetic position of Ortega y Gasset is understandable, who does not recognize the aesthetic value of human relations, does not see them as an object of aesthetic experience, reducing them only to situational ones. Consequently, the main principle of creativity is experimentation with form, including the subject of experimentation and man. It is perceived only as a sensually observable "form".

By destroying form as the outer shell of an object of indifference, artists, at least the most talented of them,

them, they strive to break it down into fragments and try to create a new image from the destroyed forms. That is, deconstruction can be perceived as an attempt to find the "soul" of an object, to understand the laws of its inner life. However, deconstruction is dominated by the tendency to see the world as one that has lost the certainty of its image, and that arises as a random world both in its forms and in its essence. The uncertainty of the aesthetic programs of numerous movements leads in the 1940s to a complete rejection ("total liberation") of the object and the use of the methods of "pure mental mechanism" (abstract expressionism, abstract calligraphy). Abstractionism is defined in Europe, and especially in the USA, as the broadest art movement.

In the 1970s - the period of the formation of postmodernism - pop art declares a "return to the object", which means not artistic and creative formation, but the arrangement of existing objects, dummies, and the like. Pop art replaces "conceptual art", which replaces artistic imagery with purely speculative concepts. Various trends also appear, reviving previous forms, but under the modernized name of neo-cubism, neo-expressionism, neo-abstractionism, etc. In the 70s of the 20th century, the trend of hyperrealism is formed, which, in essence, is photographicism, since it strives to accurately imitate photographic, film and television images. The internal crisis of modernism showed the inability to artistically figurative vision of the world and adequate embodiment in artistic language. In the end, a paradoxical situation occurs: modernists, whose aesthetic manifestos proclaimed the artist's right to "incomprehensibility", to the intrinsic value of "art for art's sake", begin to appeal to the mass consciousness. "Parodies of banality lost their distinction from banality itself," researchers note [8, p. 304]. They also state that "modernist trends completely break with the verisimilitude of images. In them, various kinds of conventional forms acquire primary significance, in which the dissimilarity with life becomes self-sufficient." Having revealed the spiritual impotence of numerous trends in modernism, we note that this is not the only phenomenon in the art of the 20th century. The process of artistic development was marked by brilliant artists who synthesized in their work the best achievements of the human spirit in the turbulent life of the era. The 20th century is the time of the activity of such writers as E. Hemingway, W. Faulkner, F. Mauriac, G. Greene, A. Miller, G. Bell, whose works are full of philosophical depth and psychologism. Some recognized representatives of this type of art were influenced by the ideas of modernism, such as, say, D. Joyce, F. Kafka, M. Proust. They discovered new facets of the inner world of man and the depth of the artist's experience of the existence of the world. Their work is a kind of return to the mythopoetic worldview. However, unlike the classical form of the epic, their works are enriched with a tragic experience of the complexity of human existence in a contradictory world.

In the visual arts, these are outstanding masters P. Picasso, S. Dali, E. Neizvestny, who went beyond the formalized methods of creativity characteristic of the aesthetics of modernism and postmodernism, enriching artistic culture with the depth of symbolic language and philosophical fullness of content.