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

Substantial layering of various types of experience, in particular in the European culture of modern times, led to a wealth of approaches to the artistic representation of reality. To understand the regularities of the artistic process of the process, which fits into the concept of romantic type of creativity , aesthetic theory developed a number of concepts. Along with the concept style", acquires a growing individualization, the concepts of direction flow , method are being formed. To understand the diversity of artistic life, elit content and scope of each of the concepts and the internal logic of their skin vzaimodeystvuyuschihsyag s understand that vnutrіshnyu logіku їh vzaєmodіy.

In aesthetic theory, there are various approaches to understanding the concepts direction and flow and relations between them. Sometimes they are considered identical and are defined as historically developed common artistic positions, characteristic for certain eras and the work of artists united a certain commonality of ideological and aesthetic orientations and principles of artistic reproduction of reality [23, p. 222]. Some researchers dominant m consider the concept of direction (Nalyvayko, Gulyaev) and har they act as the general category of the dialectic of artistic development The direction reflects a change in the types of imaginative mastery of the world and types of artistic truth (Borev) There is also an approach according to which the notion direction and flow are part of a more general concept artistic method (Timofeev, Kagant; є with warehouse storage of the artistic method "(Timofeyev, Kagan).

However, as indicated above, the concept of direction Current is characterized as already and the concept is subordinate. Obviously, the researchers proceed from the fact that in the experience of the empirical subject of the object flow already, because the river bed can be distributed over several streams, but it is important that water flows in one direction in the river. Since the concept of "artistic direction" has been developed in detail by aesthetic theory, in particular, on the material of the literature, we define only its most characteristic signs of H Direction, reflecting the situation of the growth of individual manifestations of the spirit in the artistic formation, covers the features together in the artist’s ideological positions and in the approach to the laws of artistic formation. These positions are important to designate, as in the art of the New time there is a tendency to expand the areas of the blowing spirit to the concept random world as such that does not contain the truth of the vitality of the spirit "yak such, just do not revenge the living spirit of the spirit.

Consequently, the category direction reflects the complex unity of the artistic process: the wealth of ideological and aesthetic-artistic orientations of artists in different types of art. The main artistic trends in art in the New Age are: baroque, classicism, romanticism (as one of the directions within the romantic type of art ), realism, naturalism, modernism. Here it is important to dwell on the question of realism as an artistic direction of art; it has not been studied, since aesthetic The theory of the Soviet era, based on the inaccurate interpretation of Engels’s thoughts (letters from Kautsky, Garkness, and others), defined realism only as a creative method and system of principles, on the basis of which the characters and circumstances in a work of art are explained sociohistorically, and their regular causal relations are revealed in qualitative and self-valuable development with the help of typing [23, p. 290]. When thinking about Engels’s thoughts on essentially realism, the emphasis was on the conscious, socially weighted position of the artist. interpretations of the philosopher’s thoughts led to a narrow understanding of realism only as a socially oriented type of creativity. However, Engels noted the dominance in the work of the aesthetic position, and not purely social The more hidden views of the author, the better for a work of art. Realism, which I’m talking about turn out to be even regardless of the author’s views, "says Engels [7, p. 55]. To prove his thoughts, he refers to the" Human Comedy of Ju O Balzac, whose artistic persuasiveness has become for F Engels is decisive in assessing him as a major master of realism We ask ourselves, can an artist create truly artistic works, not about making a circle of heroes, not comprehending their relationship with each other and their inner life, without representing the circumstances in which they will act .P. Therefore, realism refers to artistic trends, as well as any of the above perfected to artists directly, so as to be overwhelming.

The concept of direction is an open system that covers new artistic trends and the species richness of art. Regarding the relationship between types of art within the framework of directions, then they are characterized by the variability of the dominant mystattva and the internal interactions of mystical misttstv.

The basis of the richness of artistic trends is an objective process of unfolding the experience of social life, its individualization, which bears the features of uniqueness and its qualities leads to responding to its image by means of artistic expression. Spiritual positions of artists influence time into the artistic language of art. acquiring the character of extreme subjectivism. O this tendency in the postmodern era is due to its self-expression, which is due to the disintegration of the whole These images of the world, an accident of valuable ideas about the aesthetic qualities of things, phenomena and relationships, and then the method of their artistic voploscheniyanya.

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

Baroque as an art movement comprehends the development trends of European art of the late 16th - first half of the 18th centuries, being a kind of artistic development on the border between Renaissance art and its late stage, Mannerism, on the one hand, and classicism as the artistic direction of the 17th - early 19th centuries. on the other hand, Baroque is a complex artistic phenomenon that absorbed contradictory, even frankly opposing, views on social values, and consequently, on their artistic display On the one hand, it reflects secular tendencies in artistic culture. The era of the emergence of bourgeois relations. This bourgeoisie is a new-Protestant and bourgeois-bourgeois baroque. On the other hand, the formation of stylistic features of the direction was influenced by the ideas of the Counter-Reformation. This feudal-aristocratic and Catholic baroque. a variety like grass roots or folk baroque These are the poles between which all the diversity of baroque schools and schools were located [16, p. 114] Note that baroque is not only In udozhestvennoe phenomenon but come upon a wide variety of spheres of spiritual life in the baroque aesthetics are reflected after the new Renaissance ideas about the world as the infinity of space and the feeling of attack kovosti human life, abandoned in this infinity Zhittya lyudstva, throw in qiu bezmezhnіst.

Baroque is characterized by the feeling of joy from dismissal before the fear of punishing God for the sins of mankind, i.e. secular tendencies are expressed in culture in general and art in particular. Baroque also embodies the idea of ​​a new class - the bourgeoisie - about the meaning and joy of life associated with material wealth and sensual pleasures. Aesthetics and baroque art try to give a comprehensive picture of the world, reveals it 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 the dynamism of the "thematic" (the theme of the movement, the description of the movement) dynamism of the "external" (in Southern Creation), psychological dynamism (creating and deploying attitudes towards the world that have lost the completeness of their own image) From the Baroque era, a person’s active interest in himself, in the inner world and the laws of the life of the human spirit develops. This Baroque is essentially different from the Renaissance, embodied the joyful way of human vitality and of the natural world in the artistically perfect, full of expressive vitality works of arts and crafts tvor mystv.

Baroque art is characterized by great psychological tension and internal dynamics of images, manifested in all its forms: architecture, painting, sculpture, literature, music, etc. The most brilliantly aesthetically pleasing baroque artistic ideas are embodied in architecture. The secular and religious buildings of the Baroque are richly decorated with decor on the facade and in the interior, richly decorated with sculpture, usually polychrome (Russian and Ukrainian baroque). The internal state of a person, acquiring in architecture expressive materialized forms, is embodied in socially -social and religious buildings, carried over the surface of the Vital Space The patterns of this process in conceptual and logical forms are reflected in the ph Osofii It is interesting to compare in this sense, let's say, the philosophical ideas of F. Bacon, based on the ideological beginnings of the Renaissance, and the philosophy of the Baroque era (Hobbes, Spinoza, Pascal, Leibniz) Feeling-joyful worldview of F. Bacon, permeating his philosophical works, is connected with the ideal of the Renaissance, as Arodjuval believed in the creative abilities of man, therefore, claimed beauty and reasonable beginnings in real life. The philosophical systems of baroque thinkers, as is typical, for example, for Leibnitz, reveal ersalnuyu picture of the world, full of internal dynamics and contradictions between the finite and the infinite, the sensible and rational, logical and random toschkovim toscho.

The formation of the stylistic features of the Ukrainian national culture takes place 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 to give out the masters of baroque art: L Bernini, Rastrelli (architecture), M. Caravaggio, P. Rubens, I Jordan (painting ), And Vivaldi (music). The classic of baroque art was the Frying Pan. In architecture, the aesthetic and artistic embodiment of baroque ideas was Cossack Baroque , which, according to Makarov A's successful expression, is an irration Generally, the world embodied in stone [13, from 191] D Nalyvayko notes that Baroque was the first European art movement [16, with 136 opétic artistic lines" [16, p. 136].

Classicism as an art movement comprehends XVII - the beginning of the XIX century not only in art, but also in the culture of Europe as a whole. Thus, art directions, reflecting the increased wealth of social life tendencies, overwhelmingly develop in parallel. Classicism was formed in absolutist France as a reflection of the social need of becoming strong states instead of scattered feudal principalities In the general development of classicism, the following trends stand out: classicism, formed in cooperation with baroque (XVII century) rosvetitelsky classicism, associated with pre-revolutionary movement in France, influencing the art of other countries ropeyskih s (XVIII century) Revolutionary classicism (XVIII - beginning of XIX vvIX Art.).

Classicism as a type of artistic thinking is based on ancient aesthetic principles, in particular the aesthetics of Aristotle. He appeals to ancient aesthetics and the ancient artistic ideal in perfect manifestations in the inner harmony of the hero's world and the work of art as an artistic whole. Recall that Aristotle sees the beautiful as "size and order and the main forms of the beautiful are like order in space, putting away the depth and certainty Accordingly, a work of art is an integral structure, all components cients which are closely linked and interdependent, so that the withdrawal of one of them involves the destruction of a work as tselogouynatsіyu creates yak tsіlogo.

The worldwide philosophical and general aesthetic foundations of classicism are connected with the ideas of philosophical rationalism, in particular with the ideas of P Descartes. The aesthetics of classicism is based on the principle of "imitation of nature" according to the laws of rationality, in particular, the subordination of the spontaneity of human nature and the subjectivism of its manifestations to the laws of reasonable If Renaissance art facilitated liberation all the spiritual forces of a person, then, on the day of classicism, a new stage of understanding the content and essence of a person’s relationship with the world and with it The collapse of the unity of the personal and social spheres, personal and public interest predetermines the need to choose actions based on the management of reasonable laws. Classicism sees the social moral problems that inspire the hero of art. Let's say you need aesthetic principle of classicism. "reasonably necessary," in contrast to the "chaotic capriciousness" of its sensory perceptions. Realizing the educational knowledge of the temptation classicism approves the image of the hero - the carrier of civil virtues, enduring to the trials of fate and inflexible in convictions. Therefore, the aesthetics of classicism is characterized by a princi- pality of a prince and it is characterized by a clear regulation of artistic rules , a clear hierarchy of genres, divided into high low In painting, according to the aesthetics of classicism, to high genres include: historical mythological, religious, and low - landscape, portrait, still life; in drama and theater, tragedy is a high genre, and comedy is a low genre. Each genre has meaningful boundaries and clear formal signs. The principles of artistic shaping in classicism are clearly subordinated to the artistic idea, namely, the assertion of the value of life built on logical principles On the basis of the process of artistic forms according to the aesthetic principles of rationalism, classicism lies in the concept of the "artistic method". If we proceed from the consequences of the creative process, classicism is defined The concept of artistic style * 9 About romanticism, realism, modernism, then they are characterized by the same patterns of functioning in the field of aesthetic-artistic process. There is a need for romanticism, realism, modernism, then the power of law and function of art and art .

The aesthetics of classicism is also based on the idea of ​​\ "pre-established harmony GV Leibniz Pafos asserting the superpersonal image of perfection is due to the general world outlook of direction: there is a sense of rationality and harmony of being, relying on the idea of ​​a single, universal order that governs the world. So, a work of art as the artistic whole must obey the inner harmony, meet the yogi in the genre specificity and expressively visual means there, art must proceed from the understanding of being as an emphasis dated and affirmed the ideal by means of artistic language. The artistic principles of the classic ismus started in painting (Poussin), developed in literature (Corneille), and aesthetic substantiation was obtained in the treatise On Boileau Poetic art; Poetic mysticism."

Classicism as an artistic direction with its idea of ​​rational and expedient beauty in phenomena was a reflection of the need for the development of civic consciousness of European society. In the center of creativity of artists of classicism in literature, painting, musical and theatrical art is the image of a human citizen, state ideals, overcoming personal predilections and preferences brightly civic ideal and embodied in the work of an outstanding representative of French classicism of the heyday of absolutism - Pornet I (tragedy Sid , Horace , etc.) His characters in actions always proceed from the dictates of reason and in what they see the real measure of their own intentions and actions In painting, the ideal of civil service found a convincing artistic embodiment in the work of an outstanding representative of the French revolutionary classicism. J.-L. David. Classicsism. David

время образы искусства классицизма не индивидуализированы, в них отсутствуют конкретно-индивидуальные особенности переживания действительности и отношений героя с миром Названные особенности обусловлены доминируя им эстетическим принципом как законом художественно-творческого процесса: подчинение чувств героя требованиям разумного Личный интерес имел уступать требованиям и потребностям более общего целого: интересам д ержавы Нормативность эстетики классицизма опиралась на античный идеал гармоничной человеческой личности Однако, в отличие от античности, утверждала совершенство как пластически завершенную в себе и вия влены в совершенных скульптурных формах, идеал классицизма получил наиболее убедительное воплощение в архитектуре и музыке высокие достижения классицизма в литературе - веймарский классицизм (творчество Гете и Шиллералера).

Классицизма присущ также расцвет архитектуры, обусловлен тем, что монументальность и величественность форм общественно-гражданского и дворцового типов сооружений утверждала гражданские идеалы Совершенные архи ектурни формы, Укореняясь в пространстве, подтверждают духовную целостность общества общностью образа красоты, открытой в бесконечность природного мира Основным элементом в архитектуре классицизма стал ордер, близкий по форме и пропорциям античному зависимости от национального своеобразия культуры, архитектура отличается не только декором, но и цветом Так, полихромные сооружения классицизма, характер ни для России и Украины, унаследованные от стиля барокко, создают особую гармоничность с естественным пространством и придают ему праздничность, рождая радостное мироощущение западноевропейского классицизма м - преимущественно монохромные сооружения Классицизм в архитектуре отличается идеей эстетической организации пространства: создание архитектурных ансамблей на основе принципа регулярной застройки и сочетание архи ктура с природным пространством (площади, скверы, паркипарки).

В эпоху классицизма происходит становление национальных музыкальных, изобразительных, литературных школ и т.д. Особое значение приобрела в XVIII-XIX вв венская классическая школа, с творчеством выдающихся предста авникив которой (Гайдн, Моцарт, Бетховен) связано становление ведущих жанров инструментальной музыки: симфонии, сонаты, квартета В период классицизма создаются высшие учебные заведения художественного спр ямування - национальные художественные академии частности, одна из первых в Европе Королевская академия живописи и скульптуры, а также архитектуры в Париже (XVII в ст.).

Романтизм как художественное направление формировался в европейском искусстве и эстетике конца XVIII - начала XIX в, т.е. развивался какое-то время параллельно с искусством классицизма, отражая новые тенденции в понимании ценностей жизни Романтизм - художественно-эстетическое направление, отражающее мироощущение неповторимой человеческой личности и утверждает ценность его духовного мира Заметим, что романтизм как ху дожны направление отражает лишь одну из тенденций в развитии искусства внутри романтизма как типа творчества (Г Гегель) Напомним, что романтический тип искусства отражает рост духовного начала, происходит в истории художественного развития, начиная с эпохи Средневековья От одного направления к другому углубляется индивидуализация духовного опыта Он отражается в диалектическом целостности ху дожны образности, является единством идеи абсолютного добра и движения до вступления совершенства через внутренние противоречия Проходя через сознание и чувства романтического героя, названа диалектическая целостно ость мира становится предпосылкой внутреннего раскола личности, вызывает противоречивость, вращающейся с одной стороны, трагизмом мироотношения, а с другой - ироничным мировосприятием эти суперечлы ными чувствами пронизана сознание романтического героя и сознание романтического искусства, обусловлена ??трагизмом свитопочувань романтического художникаого митця.

Личность, вобравшая в себя мир как целое и сформировала его образ, способна глубже постигать его закономерные выявления Поэтому эстетика и художественная практика романтизма утверждают превосходство человеческой особист занятости по сравнению со всеми системами организации отношений учитывая уровня их духовности Романтизм позиционирует стремлению надличностных структур поглотить личность и нивелировать ее Романтическое искусство с дийснюе прорыв в сфере духовного опыта, которые отражают глубинность и индивидуальную неповторимость мира личности время романтизм исповедует идею совершенства человека, идеал которой заданный образ ом богочеловека, и показывает сложность жизни идеалом, поскольку в мире личности не отыскиваются те же моральные побуждения и тот же уровень человечности, отличает нравственный абсолют Поэтому ирония возникает от ним из ведущих эстетически-художественных принципов искусства романтизмцтва романтизму.

Как художественное направление романтизм сложился в конце XVIII в на основе идеала свободного самоосуществления субъекта творчества, заявив о себе богатством течений и тенденций, которые удостоверяли рост духовн ного опыта личности Романтическое искусство отражает неповторимость человеческой личности, масштабность чувств и размышлений романтического героя над ценностями жизни, что выводит его за пределы буднично сти существования в мир высоких и сильных человеческих чувств Пафос романтизма вырастает на неприятии реальности, стремится унифицировать личность Реализация творческих возможностей субъекта является настоящим при значением искусствцтва.

Зародившись в Германии (Энск романтики), романтизм впоследствии распространился в Англии (Вордсворт, Кольридж, Байрон), Франции (Шатобриан, Гюго), Польши (Мицкевич), Украина (ранний Шевченко), России (Жуковский й, Лермонтов) и в других странах В рамках эстетических принципов романтизма развивались все виды искусства: литература, музыка, театр, живопись, пластические искусства Правда, в отличие от классицизма, р омантизм не вступил официально государственных форм проявления (этот статус закрепляли преимущественно в архитектуре) Романтизм не сформировался как архитектурный стилиль.

В музыке идеальный образ чувств романтической личности получил наиболее полное выявление в творчестве выдающихся представителей венской школы: Р Шумана, Ф Шуберта, Ф Листа (глава веймарской школы), в жи ивопису выразителями романтического идеала были Т Жерико, Б Делакруа (Франция), Ф Рунге, К Фридрих (Германия), Дж Констебль, В Тернер (Англия), О Кипренский, В Тропинин, и Айвазовский (Россия), Т Шевч НКО в ранний период, творчества (Украина) Наконец, романтизм как художественное направление нашло отражение во всех основных видах искусства, а наиболее ярко - в поэзии и музыкеезії та музиці.

Эстетические принципы романтизма сформировались на основе доминировании выражения над изображением, т.е. доминирование экспрессивного начала на; подражательным Форма художественного обобщения в романтизме - симво олизация, а не типизация как, скажем, в реалистическом искусстве Это означает, что романтики видят образ не некоторой в себе завершенной целостностью, которая отражает такую ??же завершенную целостность материально-ч уттевого мира, а рассматривают его как проявление в материально-чувственной форме чего-то значительно большего субстанциальный другого, не ограничивается адекватным или идеализированным изображением [16, с 51] Такая система пр инципив в пределах романтизма характерна как для консервативной его течения, так и для прогрессивновної.

Романтизм исходит из идеи исторического развития, сущностные измерения которого воспринимаются как рост духовного начала Духовность раскрывается как всеобщность, что в искусстве конкретизирует себя неповторимость ю духовного мира личности В классицизме этот мир еще не развернут в нюансы проявления, а выступает как мир внутренне противоположных отношений между умной и чувственной сферами духовного опыта героев Герои романтизма как художественного направления осознают различия идеально-прекрасного и реальностьсті.

Классицизм, как мы отмечали выше, видит возможность гармонии человеческого бытия на основании разумной организации духовного мира человека законам прекрасного и организации общественных отношений на основе ут утверждение разумное организованных государственных структур Романтизм принимает за исходное начало организации духовного мира личности идею нравственного абсолюта, активно привлекая воображение, фантазию к созданию исты ннои жизненности идеала, открывается внутренний воображении и не подлежит постижению бездуховного глаза рассудка С не-соразмерности идеала совершенства и реальности жизни предстают трагизм свитопочувань ро мантичного героя, невиднайденисть им себя в мире жизненных реалий, устремленность в мир идеальных сущностей, совершенных человеческих отношений, сильных характеров и больших человеческих страстей настоящему й сферой творческой реализации личности романтизм видит художественное творчество Активизируя воображение и фантазию, творческое вдохновение побуждает художника на формирование идеального образа отношений Романтическое обобщим ния, на основании изложенного, тяготеет к образу-символ образу-символу.

Общей тенденцией романтического мироотношения возникает противопоставление духовного мира личности реальности как таковой, что чужая духовности, поскольку дух не находит оснований для развертывания своих тво орчих возможностей в пространстве человеческих отношений.

В условиях роста отчужденности свобода определяется, с одной стороны, как реальность в ситуации освобождения от традиционных норм отношений с их разветвленной системой зависимостей: социальных, правовых, мор ральных, религиозных и т.д. Вместе потеря духовной целостности жизни приводит автономизации духа Осознавая себя субъектом творчества, лицо не находит надлежащих способов реализации творческих потенций лов Поэтому выраженной позицией в отношениях с социумом является ироническое отношение к жизни Ирония пронизывает творчество всех представителей романтического направления как художественно-эстетического и мировоззренческого целого (нем ецький, английский, французский, русский романтизм и т.д.) Только в странах, находящихся в ситуации потери государственности (скажем, Польша, Украина), творческий дух организуется идеалом исторического мину лого и создает средствами искусства образы его идеальной жизненности (творчество Мицкевича, Шевченковича, Шевченка).

общем важной особенностью романтизма (всех его течений) есть интерес к историческому прошлому народов ли не самым весомым достижением романтизма было открытие героической истории европейских народов Предложен оноване романтиками новое видение Средневековья как эпохи единения духа европейских народов и героического отстаивания этнического пространства от экспансии других этносов активно влияло на развитие наци онального сознания в Новое время А Мицкевич говорит о средневековый мир как романтический (О поэзии романтическую) Обращение к историческому прошлому приобретало характер прямой апелляции к историческим прецедентов с целью пробуждения национального духа, направление его на отстаивание свободы (Мицкевич - поэмы «Гражина», «Конрад Валенрод; Шевченко - Иван Подкова, Гайдамаки, Тарасова ночьн Підкова", "Гайдамаки", "Тарасова ніч").

The overwhelming position of the romantic artist and heroes of romantic art, as it was, is an ironic attitude to reality. In such forms, and in this way, they publicize the reality of their own spirit, as opposed to the pettiness of the manifestations of human life, immersed in everyday life. Romantic trend in its own right, that the ability to unfold the spirit - not in negative forms, but in creative ways - is possible only in communication with nature. Ode The power of its spontaneous manifestations reveals the potential possibilities of human nature: the masses are the incarnation of personality in artistic creativity.

Deployment of the creative potential of the human spirit through the establishment of moral relations is one of the tendencies of romantic art. It grows on the basis of the struggle for European people democratic for Assad human relations. Let's say in the works of Hugo (novel "Notre Dame de Paris", drama Ernani , Ruy Blas and others.) Heroes - people from the lower ranks of society - display nobility of characters, while its top - carriers of immoral inclinations and corresponding style of relations In the spirit of a romantic world In Hugo, contrasted the prose of everyday life with the imagination of romanticized reality, and the measuring truth with truth and justice. Where the sustainability of social life did not allow the spirit to create new forms of relations, the tragedy of the world perception is inherent in the hero the completeness of creative power. The art of romanticism is defined as the revolt of a social person against the limited social conditions of life. The ideal of romanticism appears a genius as personification. ix higher ability to realize the fullness of human capabilities lichnostilіzuvati povnotu mozhlivostey lyudskoї osobistostі.

Decadence (French decadence - decay), or modern - identifying a number of European art directions of the second half of the XIX century: naturalism impressionism, symbolism They were a kind of transitional stage of classical art to modernism and postmodernism Naturalism as an artistic direction and method of art declared itself in France , realized his aesthetic principles mainly in the literature, the spokesman and aesthetic ideas of this direction were: E Zola, the Goncourt brothers, to a certain extent G. Flaubert G. Maupassant, G. Hauptmann, G. Bsen The method of naturalism was based on the philosophy and aesthetics of positivism. Its principles were formulated and by Ton who spread the positivistic methodology from the natural science field: studies on the philosophy of art. Artistic principles of naturalism were formulated by the author E. Zola in the Experimental Romance (1880). the idea of ​​natural-science materialism was laid (Haeckel, Spencer and positivism (Comte) The starting point in the subject of art is seen not as a social but as a biological principle in man E. Zola notes that a novelist is observers the experimenter As an observer, he presents the facts with what he saw, and how the experimenter puts the experience, that is, sets the character in motion and the stories, reproduces the sequence of events, etc. P. In essence, the artist is regarded as a person, intended to state facts and events without drawing the imagination, fantasy, attitude to the image in the skinny process, imagination, and image to the creative process.

Naturalism as an artistic method had a certain artistic value. Thus, the creativity of E Zola was the discovery of previously unknown art themes: these are biological aspects of human life, heredity and its influence on the person’s faces (novels about the history of the Rugon-Makkarov family) problematics as an object of art: the extremely miserable life of the urban social classes, the difficult working conditions of others. (\ "Germinal minal ").

In Flaubert’s work, the elements of naturalism perform an aesthetic function: an artistically perfect work is designed to overcome the low and ugly in real life manifestations. While working on the novel Madame Bovary, the letter seeks to show the pettiness and limitations of its heroes with proper aesthetic expressiveness, while demonstrating disgust for them The Brothers Gonkury perceived creativity as a kind of clinical research , appreciating in art the accuracy of the facts that characterize a certain environment his customs and everyday life. Artistic conflict was interpreted as a conflict between man and nature, in particular his own PIO. The interest in reflecting the pathological manifestations of the personality caused by heredity of naturalism to faktologism was rightly criticized by representatives of aesthetics of realism (Herzen) and rrationalism ( Bergson yrratsіonalizm (Bergson).

Impressionism - the direction that emerged in the late XIX - early XX centuries, mainly in painting and music, to reflect the variability of impressions, inspired by the diversity of manifestations of life in its constant beauty. Its outstanding representatives in painting: Monet, O Renoir, E Degas, A Sisley ; in music - M Ravel, K Debussy, O Scriabin; in literature - P Altenberg V XX features of Ernie's impressionistic worldview for the works of M. Prustr M. Proust.

Impressionism contrasted the official academic art with a creative vision of the subject of the image. The artists took to the open air (open air) and showed the inexhaustible richness in the nature of its dependence on illumination, time of year, etc. The artists were lucky to see beauty in modest and simple objects; A person in their landscape, portrait works harmoniously inscribed in the world of nature time in the creation of impressionists, the succession of states, especially in the crisis period for the period of the 80s of the XIX century, becomes self-valuable, leading even to the loss of certainty of image objects, as if they were in air spaciousness.

The opposite tendency also takes place: the growing subjectivism of creativity becomes impressionism as a direction loses its stylistic features, and fragments of its stylistic features later on go to other directions, which are formed in the 20th century. For the latter, the uncertainty of forms becomes typical, unformed figurativeness, randomness of combination of components, dvilist composition, etc. This manifestation of voluntarism in relation to the world, destroys the very idea of ​​the forms of the world that are expedient in themselves and rationally experiencing attitudes towards it. In impressionism, only a remote view of the ideological position of unreliability, constant variability, and consequently, some uncertainty of the image of the world. Subsequently, this position appears to be typical for of all kinds of art. A sense of hopelessness permeates the work of the symbolists, and then of the futurists, imagists, acmeists, expressionists (the course of the early 20th century) the transitional period of history decadence seeks to resist the moods without a course and the end of history Artists avoid the moods of spiritual devastation, delving into creative searches Source of the opposition of ordinariness and amorality of life they see in the beauty of art This direction of the transition period was, in particular, symbolism, zokrem, symbolism

Symbolism, originated in the 70s of the XIX century in France (the poetry of Rimbaud, Verlaine, Mallarmé), later spread to all countries of Europe, particularly in Germany (Hauptmann), England (Wilde), Russia (Bely, Merezhkovsky, Blok and etc.) Symbolists lay in the basis of creativity the idea of ​​symbol domination instead of the concrete nature of the image. This is a kind of protest against the factual nature of art, affirmed by naturalism, and turning to the ideal of classical artistry. It is interesting that many artists who started art Kakh naturalistic aesthetic and artistic program, adhere to artistic symbolism (Ibsen, Haupt Man) According to the characteristics of M Berdyaev, symbolism marked with, on the one hand, a cultural renaissance, deepening into the meaning of life with its inexhaustible wealth, which can be comprehended only thanks to its symbolic the language of art that sees being as everything in everything On the other hand, symbolism reflected premonitions of social and spiritual disasters. The source of tragedy that sounds in the work of symbolists is banalization. The life story of Andrei Bely aptly formulated the essence of this spiritual situation: Fetishism of commodity production, creativity of idols and forms of art, violence against a hero - all this is the personification of one thing only the rhythm of life Creative individual I is the center of symbolism aesthetics and determines the pathos of the art of thisism and the pathos of the mysticism of the current.

So, the modern style was a kind of transition between classical art and modernism. The controversial image of the world and the uncertainty of artistic life caused the art of modernism and postmodernism.

Modernism as an art movement is a concept; it takes a number of art trends and trends from the early 70s of the 20th century, right up to the period of postmodernism formation. Modernism as a general trend in art is depicted rejection of classical artistic imagery and aesthetic ideal of classical art. Search for new ideas and means Their expressions, joined by the new generation of artists, led to the formation of a significant number of trends and trends under the general name Modernism: this, in particular, STI, Fauvism, Expressionism Primitivism, Cubism, Futurism, Acmeism, Imaginism (first decades of the 20th century) Dadaism, Surrealism, Abstractionism, Suprematism, Constructivism (20-30s of the XXth century) Theater of the Absurd (40-50s of XX century); As a result, parrot (70s of the 20th century) is the art of postmodernism. In contrast to the classical artistic tradition, it proceeded from the idea of ​​perfection of the content and figurative language of the work as an artistic whole, modernism puts forward the idea of ​​fragmentary incompleteness, randomness of the form and content of works. This is an attempt to show their coincidence with respect to the content, and hence the lack of need for knowledge of pіznannі.

In the above-mentioned aesthetic positions of modernism, another tendency is reflected: the desire to break the "outer shell" of things and phenomena, to try to discover the natural they have a desire to ren Rennesmi's methods of scientific knowledge in the sphere of artistic formation. The form is alienated from the concreteness of the real world phenomena, it is beyond the limits of reliving the relation of its specific vitality, zooms em a phenomenon of elite art. Expressions of his ideas X Ortega-i-Gasset The Dehumanization of Art (20s of the 20th century), and Huizinga " Homo ludens In the shadow of tomorrow (30s of the 20th century) and others will confirm the elite art of Yai completely alienated from life, in no way connected with experiencing the artistic expressiveness of the manifestations of human relations. They see it as far from everything that is human in the sense of art, it seems to be traditional or massive Let's say Ortega-i Taset, in discussions about the artistic value of the work, differentiates between incompatible concepts concern for human proper and purely aesthetic pleasure e The philosopher connects the possibility of the latter with the pure art , which sees as real under the condition of cleaning , crowding out elements of the human, too human The situation when the human content of the work becomes optimal so insignificant, it will still become almost imperceptible [17, from 236sensi є situatsіya, if" the people of the mill stand nastlichki nіkchemnim, they can earn by Maye nepomіtnim "[17, p. 236].

The problem of aesthetic perception of art is really complicated. 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 spiritual experience of a person, shaped by the beauty of art, in which the subject rises above the immediacy of perception of the storyline experiencing ways to create an artist of the beauty of an art of the whole In addition, it is completely unfounded, as does Ortega-and-Gasset, attribution to the phenomenon mass art works of artists of the romantic direction, because it is romanticism that confirms the uniqueness of the spiritual world of the individual both as a creative and ideological position Approval of the ideas mass and elite art on the outside of moral and aesthetic grounds led the loss of spirituality elite its appearance and the banalization of forms of mass art had tragic consequences. This to some extent provoked the general crisis of the art of the 20th century: modernism determined the situation display of art from outside sources, creating tangible spiritual experience and turning it into a game Moreover, the reduced only to the game fun, it appeared devoid of aesthetic certainty, ie outside the artistic reality of both elite and mass species. Are they characterized by the absence of form and content (abstractionism, suprematism, etc.), then the last limit of the banality of content in art (kitsch, pop art) then the rest of the interplay of the world in mystitstv (kich, pop art) then.

Let us turn to some aspects of the history of formation and movement towards the exhaustion of modernism as an art direction. The general tendency of the aforementioned directions is a break from the classical artistic tradition. Extreme with subjectivity of relations with the world, dictated by social tendencies, leads to an accident in the artists' approach to phenomena, up to deformation of their specific The vitality of the artist's arbitrariness appears dominant in relation to the subject of the sky and duorost.

The first waves of avant-garde art appeared in 1905 in France (Fauvism) and Germany (expressionism). Expressionists see the goal of creativity as the incarnation of the human art by means of the art of feelings; therefore, they don’t weigh the image in its expressive vitality, but the artist’s subjective impressions of the subject primitivism (Rousseau) - trends that the direct "naive" of his writings against the scientist art Since the primitive began his work M Chagall As already noted, modernism departs about tons of creative and aesthetic principles of classical artistic creativity. So, Picasso, experiencing at the beginning of the twentieth century in a creative crisis, comes to the conclusion that the purpose of painting is to create plastic forms as self-valued. In a number of works he exposes the natural forms of objectivity to geometric deformations: Avin girls girls "(1906)," Three women "(1908) and others. The constant search for new ways of creativity determines the absolutization of the form as self-valuable, even if it destroys the subject of the image or completely deviates him (abstractionism) This tendency also characterizes other trends in time the artistic talent of the most prominent creators of new trends, as is typical, for example, for Picasso, allows you to find the optimal embodiment of artistic ideas in the forms found. A convincing example is the "Portrait of Vollard" ( 1909-1910) works by the artist With countless fragments of material, resembling pieces of glass of various sizes, shapes and shades of color, the image of a man peeps through. It arises from the depth of the basement rkalya, keeping its distance and at the same time bursting out of its undetermined depth into the real world: it comes to the foreground - the foreground of P Picasso's painting repeatedly returned to this manner: Portrait of Wilhelm Ude (1910), Naga (1910), Self-portrait (1911) and; Portrait of Wilhelm Uude" (1910); Naga (1910); "Self-portrait" (1911) and that.

During these years, the spread of modernism such as primitivism, expressionism, cubism, etc. began in various European countries. The Paris School - one of the centers of European artistic life in the 10s of the 20th century - the elemental conglomerate whose members, as the researchers note, were connected not so much by a community of artistic programs, as by common mind [19, p 92] Of 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 The painters' associations (the second center of European art a) were in Kandinsky (Russia), P. Klee (Switzerland) and St Petersburg (Russia), P. Kleє (Switzerland) and that.

At the same time, there is a tendency to declare the high ideals of the art of non-conformity of the means to incarnate the image of the proclaimed aesthetic programs. The intention of the deliberate outrageous public is characteristic. Thus, the Russian futurists called a collection of their works "The slap in the face of the public taste" (1912). the limits of the imagery of his language in the direction of the constitution of forms as self-valuable, regardless of their aesthetic and artistic qualities - a typical feature of the lawsuit Usages of modernism are the formalization of figurativeness. It is possible to speak about the desire of art historians Tva avant-garde artisans to invest an inexhaustible richness of the forms of the objective world in some general abstract, geometrizable forms, giving it a pure conventionality of umnost.

Нельзя, однако, считать, что за деформацией образа мира стоит лишь злая воля художников, стремление шокировать общество В формализованном среде обстоятельства вызывают превращение человека из субъекта же життетворення на функционирующий механизм Формализация отношений влечет потерю способности одного человека видеть в другом свое-другой, а следовательно, воспринимать ее как целостное в себе определенное бытие, интересен своей инаковость Мир открывается своей сути как мир разрушенных духовных основ жизни Отсюда понятна приведенная выше эстетическая позиция Ортеги-и-Гассета, который не признает эстетической ценности человеческих относи н, не видит их предметом эстетического переживания, сводя их лишь к ситуативным Следовательно, по основной принцип творчества избран экспериментирование с формой, в том числе предметом экспериментирования становится и человек Она воспринимается лишь как чувственно постигаемая формао осяжна "форма".

Разрушая форму как внешнюю оболочку предмета неравнодушия, художники, по крайней мере наиболее талантливые из них, стремятся, разложив его на фрагменты, из разрушенных форм попытаться создать новый образ есть, деконструкция может восприниматься и как попытка найти душу предмета, постичь законы его внутренней жизни Однако в деконструкции доминирует тенденция видеть мир таким, что потерял определенность своего образа, возникает случайным и относительно своих форм, и по сущности Неопределенность эстетических программ многочисленных направлений вызывает у 40-х годах XX в полный отказ (тотальное освобождение) от объекта и использования методов чистого психического механизма (абстрактный экспрессионизм, абстрактный калиграфизм) Абстракционизм определяется в Европе, а особенно в США, как наиболее широкая течение искусствайбільш широка течія мистецтва.

В 70-е годы XX века - период становления постмодернизма - поп-арт декларирует возвращение к предмету, под которым понимает не художественно-творческое формирование, а компоновка имеющейся предметности, муляжи и т.п. Поп п-арт меняет концептуальное искусство, которое подменяет художественную образность чисто умозрительными концепциями Появляются также различные направления, возрождают прежние формы, но во модернизированной названием нео кубизм, неоекс-пресионизм, неоабстракционизм т.п. В 70-х годах XX века формируется течение гиперреализма, что, по сути, является фотографизм, ведь стремится точно имитировать фотографические, кино-и телеизображения Вну Тришна кризис модернизма показала неспособность к художественно-образного видения мира и адекватного воплощения в художественном языке итоге происходит парадоксальная ситуация: модернисты, эстетические манифесты которых провозглашали право художника на непонятность, на самоценность искусства для искусства, начинают апеллировать к массовому сознанию Пародии на банальность теряли отличие от самой банально сти , - отмечают исследователи [8, с 304] Они также констатируют, что модернистские течения вполне порывают с правдоподобием образов В них преимущественное значение приобретают разного рода условные формы в которых непохожесть с жизнью становится самодостаточной [15, с 17форми, у яких несхожість із життям стає самодостатньою" [15, с. 17].

Раскрыв духовное бессилие многочисленных направлений модернизма, отметим, что это не единственное явление в искусстве XX века Процесс художественного развития знаменовали гениальные художники, в своем творчестве синтезировали кр ращи достижения человеческого духа в бурной жизни эпохи XX века - это время деятельности таких писателей, как Е Хемингуэй, В Фолкнер, Ф Мориак, Г Грин, А Миллер, Г Белль, произведения которых наполнены философской глу бини и психологизма Некоторые признаны представители этого вида искусства испытали влияние идей модернизма как, скажем, Д Джойс, Ф Кафка, М Пруст Они открыли новые грани внутреннего мира человека и глубины переживания художником бытия мира В их творчестве происходит своеобразное возвращение к мифопоэтической мировоззрение Однако, в отличие от классической формы эпоса, их произведения обогащенные трагическим переживанием с кладности человеческого бытия в противоречивом мирееречливому світі.

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