16 4 Methods in art Realism as an artistic method

Artistic methods of art are one of the urgent problems of the aesthetic theory of modern times, although theories of creative method in art have been developed throughout the history of aesthetic thought, since the time of Aristotle M. The method is defined as a category of artistic creativity, reflects the conscious spiritual position of the artist, implemented in the system of principles of artistic formation and means capable of revealing most fully and artistically the inner vitality of aesthetic phenomena. The method is universal The psalty category of artistic creativity comprehends the principles: a) selection b) generalization: c) reflection of reality from the perspective and a certain aesthetic ideal of time; the method is an aesthetic category reflecting the regularities of the process of artistic values, as opposed to style, reveals the effectiveness of the consequences - the closeness of the structure works of art [10, pp. 726-727727].

The time of the formation of artistic methods - the period of the formation of nations, and then the national-style features of artistic creativity. The category "method" established the status of historical education for art. The methods in art are associated with a conscious search for ways of artistic expression of the aesthetic idea, which is the pathos of the artist's creativity. cognitive property of art The method reveals the principle of the world of peace [3, from 31st of day to the world "[3, p. 31].

The substantiation of the theory of artistic method is primarily associated with realism, which was formed as a direction of art in the 20s-30s of the 19th century (For the first time the concept of "realism" was used according to the fine art in French aesthetics of the 19th century) The creative method of art is defined in aesthetics as a system of principles governing the process of creating an artwork [23, p. 342]. Artistic methods are designed to multiply the development of reality itself and the development of public consciousness in a specific - aesthetic form [18, p. 22] The aesthetic characteristics of the methods lies in the fact that their peculiarities are often seen from the cognitive side of the artistic and aesthetic features of art. However, it is from the period of the development of artistic methods that the artist’s aesthetic attitude to the world is established. The method is a synthesis of the artist’s worldview and originality of his artistic mystery.

So, the method is, first of all, an ideological concept. Therefore, the above-mentioned artistic trends (Baroque, Classicism, Romanticism) are at the same time methods of art. It is characteristic that the concept of "creativity" is defined as the category of eating artistic since the formation of artistic methods, there is a conscious selection by the artist of the subject matter of the relationship and the means of the artistic mapping depending on the way of seeing the world, the artist finds the means of embodying the intent in the material of art. control, flow, method are characterized by interpenetrating content with a similar pattern.

Modern researchers distribute methods into two types. The first type is methods that are tuned to the knowledge of life reality, the second type is methods based on idealization of reality [10, pp. 710-711]. Zah respects that the above classification is not absolute. leading the trend of creativity Given this, the methods of the first type applies realism; in the second - classicism, baroque and roma ntiztism.

Aesthetic theory defines realism as an artistic method, a truthful, historically-specific reflection of reality from the standpoint of a certain aesthetic ideal. It is an artistic method, which is characterized by a system of principles for it, allowing the historically concrete embodiment of an artistic concept in a work as an artistic whole. to the understanding and reflection of phenomena, it is inherent in the veracity, historical concreteness of the reflection of typical characters in typical The circumstances The aesthetic ideal in realism as an artistic method is a consequence of the creative efforts of the artist, and not the original position of the artist of honor, as is typical of methods based on the principle of idealization of reality (classicism, romanticism). Finally, as a historically developed community of artistic means, it is defined through the concept of direction of art As a kind of structural unity of the imaginative system and artistic means of display, realism is a style.

In the aesthetic theory, the substantive scope of the concept of realism remains debatable. Some theorists are inclined to think about the all-pervasiveness of realism in the artistic image ( realism without shores ). They start realism in Paleolithic art, and later recognize it as a characteristic art of each of the historical epoch. Indeed, elements of a realistic worldview are present in the artistic representation and always. When it comes to the conscious creative position of the artist, i.e. about realism as an artistic method of art, then its formation is quite legitimately associated with the period of the end of the XVI - XVII centuries. This time of composing scientific natural science, began to create a scientific picture of the world, philosophical substantiation of scientific methods of cognition of reality, it is an era of secularization of consciousness in its relations with the world, based on personal value ideas, the concept of realism actually reflects the orientation of art on aesthetic and artistic analysis is valid the use of artistic-imaginative language by the artistes of the artistic-figurative movement of the city.

Within certain historical limits of realism (XVI-XX centuries), it is previously proposed to delimit the realism of the XIX-XX centuries, i.e. realism in the narrow sense (to denote the creative principles of realistic literature), m and actual realism, covering the history of art, starting from the Renaissance [2, p. 83] Reasons to consider the origins of realism as an artistic method from the Renaissance the contents of the cape of this epoch It reflects the deep truth of the life of its time, the truth of human characters and the resulting orientation of the activity of the personality. The elements of the will of the subjects of activity, full of the needs of the individual. redelyaet scale of conflicts and the ambivalence of the effects of the activity: the ability to move the good into evil, and on the contrary, most convincingly reflected in the works of V. In Shekspirchostі Shekspіra.

depending on the historically concrete understanding of the essence of artistic truth and the means of its embodiment, historical varieties of realism can be traced in art, namely: Renaissance (XVI-XVII centuries), educational (XVII II), critical (XIX), socialist (XX) the period of development of realism acquires new features, deepening the artistic analysis of the spiritual world of the individual and the nature of its relations with the world.

Realism is affirmed in its aesthetic principles as art, uses the language of the object itself. It forms an image of reality, based on the logic of its self-development. Therefore, aesthetic qualities of realism are truthfulness, historical concreteness, and then - artistic persuasiveness of the image. In realism, the artist’s talent is determined by the ability to perceive the most essential, it is natural to provide vital persuasiveness for their manifestations in the world of subjects of vitality, realism is coordinated with ou principles with the methods of scientific knowledge for the classical works of realistic art is characterized by an aesthetic measure reflected the truth of the characters and obstanovkitavin.

Renaissance realism as an artistic direction of creativity, as noted above, acquired its heyday in the Renaissance in literature. Its outstanding representatives were: F. Rabelais (France), In Shakespeare (England), M. M Cervantes (Spain) Researchers, relying mainly on literature, note that Renaissance art is universal because it reproduces modern characters as a manifestation of the universal, originally existing human nature. It is also universal because it created on this basis all character’s character’s versatility. Its versatility lies in the fact that the Renaissance synthesizes artistic truth about its contemporaries and about human life in general, seeing the nature of the relationship such that given the naturalness of man (this is what distinguishes him from the classic realism of the XIX-XX centuries that treats the activities and relationships we are people as due to social relations) Finally, the universalism of the art of the Renaissance is characterized by the fact that he relied on the ready-made images and plots of the previous history of the development of art I universality in this context means understanding by artists of the internally unified universal human nature. Renaissance visual art acquires obvious features of a realistic method in the work of Rembrandt, F. Gals (Holland), D. Velazquez (Spain. Galsa (Holland), D. Velasquez (Іspanіya).

The realism of the Enlightenment is determined by a number of differences compared to classicism and Renaissance realism. In contrast to classicism, it delineated the sensual and logical beginnings of the personality, realism Approved jujube natural integrity of a person compared to Renaissance realism, which borrowed plots from the historical past, the art of enlightenment takes characters from reality itself it is characterized by fidelity to details : this vision is considered as a necessary condition for the veracity of the artistic image, there is a lawsuit sstvo uses are not ready to art forms and techniques of image, and fills them with historically specific details D Diderot, proving the theory of drama, defines it as provisions of the drama , ie, Therefore, the artists of educational realism were active researchers of the complexities of social life in the language of art they informed the society about the contradictions of life, gave historically specific ideas about the contradictions of the realism of the Enlightenment inherent in democratism: the enlighteners proceed from the idea of ​​the hero’s natural virtues, and the environment is seen as a source of the spread of ignorance and limitations, tsya commit violence against morally virtuous person - the hero of Art Dialectics of the nature and circumstances of the Enlightenment realism has a humanist direction, as are both OS brings positive moral principles and is able to withstand the negative effects of social media vplivu sotsіalnogo seredovischa.

Educational realism as an artistic movement has widely declared itself in all European countries, mainly in literature and theatrical art. In England, this is the work of D. Defoe, A. Stern, J. Swift, G. Phil ldigue, R. Burns, in France - D. Didrot, J.-Rousseau , Voltaire, Beaumarchais (P-O Karon), in Germany - And Lessing, And Goethe, F Schiller. Universal beginnings in the spiritual world of personality, founded by Renaissance and realism, are defined as typical of the heroes of educational realism. In visual arts, spokesmen are enlightening x ideas were predominantly representatives of the "third estate". Democracy of creative activity of astiyami J.-B Chardin, J. Goudon (France), In Hogarth (England), D. Goya (Spain). The ideals of enlightenment realism are reflected in the work of G.-David, the language of painting. recreated the majestic and tragic events of the Great French Revolution ( Oath in the ball game hall , Death of Marat ) Enlightenment realism is a spiritual phenomenon, characterized by a wealth of artistic development trends. Inside it are a whirlwind of currents: intellectual I (Swift, Diderot, Lessing, Hogarth, Gluck), sentimental (Stern, Rousseau, early Goethe, Puccini, Haydn, Mozart), socially critical (Lessing, Goethe, Shiller Roydn, Mozart), socially critical (Lessing, Goethe, Schiller, Mozart), socially critical (Lessing, Goethe, Schiller, Mozart) .

A certain period of enlightenment realism (the end of the 18th century) developed in parallel with revolutionary classicism, which enriched both directions with a deeper understanding of the relationship between character and circumstances, the historical sources of human social nature opened up. Educational realism deepens Renaissance "Renaissance universalism" of Renaissance, brings features to it historicism [2, from 127y [2, p. 127].

Critical realism - the stage of artistic development of realism, which was formed in the 20s-30s of the XIX century. The founders of critical realism were prominent representatives of national cultures, primarily literature. About where e Balzac, Stendhal (France), M. Dickens (England), Jack London, T Dreiser (USA), M. Gogol, F. Dostoevsky, L. Tolstoy (Russia), T. Shevchenko, and Ne-chui-Levitsky, Panas Mirny ((Ukraine).

Critical realism is determined by the conscious position of artists on the analysis of the increased contradictions of life caused by changing the type of social relations through works of art comprehensively depicts the destructive nature of human bourgeois relations, which have established themselves as the dominant type of social life. The concept of "typical characters" and "typical circumstances" acquired aesthetic certainty precisely on the subject and artistic practices of the XIX century - a period of change in the content of public from The representatives of critical realism showed that the bourgeoisie, asserting itself as the dominant social stratum, destroys the preliminary cult of the moral and aesthetic beginnings of human life, replacing them with purely mercantile bourgeois ideals and social practice arose as destructive for the spiritual world of man: the thirst for wealth and spiritually it devastates it, subordinating all the life values ​​of the power of money. The artists proved that family, kindred, friendly relations, feelings and love and trust, respect for one person to retreat before nnyam seeks to gain, offset niyamas profit, nіvelyuyutsya him.

Outstanding representatives of the art of critical realism portrayed the process of destruction of the human person by the example of the fate of specific individuals. Thus, the hero of the works of O. de Balzac Rastignac (a cycle of novels Liu is a canine comedy ) is full of noble intentions, which, however, retreat before the realities of life, making him a slave to circumstances Nature loses its intrinsic value and goes into circumstances , becomes their individual manifestation; as a result, its movement depends on the environment; the character breaks down into elements of the environment [6, p 2 42] It is critical realism that achieves a true philosophical depth in the aesthetic sense of the UNI of social relations and the fate of the individual in the alienated world (the works of Dostoevsky, Tolstoy, Frans, Mann, Hemingway Tolstoy, Frans, Mann, Hemingway).

The peculiarity of critical realism is a broad re-creation of the general atmosphere of life, a deep artistic understanding of its tendencies. The democratic nature of the subjects of works, the circle of heroes and the historical persuasiveness of creativity also characterize fine art, in particular, such a trend within the framework of the nineteenth century, as peredvizhnika it flourishes. in the works of Russian and Ukrainian artists: And Kryamskogo, In Perov, and Repin, In Surikov, M Ge and IGe ta іn.

It is characteristic that critical realism has manifested itself in such expressive art forms as architecture, music, dance. This is understandable, because self-worthy in these arts occurs experiencing an attitude towards us and the concreteness of phenomena, events, attitudes that determined exactly not the other character of their discovery. In the content of the experience gleams the reality, but it is not the value that appears valuable, but the character of the personal response to it.

Socialist realism is a creative method and artistic movement within the realism as an artistic direction. It is formed at the beginning of the 20th century and is associated with a broad social movement to democratize the social life of Russia, in particular the socialist revolution and the period of socialism (1917-1991). Socialist realism went through two main stages. The first stage (1917-1934) was characterized by a spiritual uplift connected with the establishment of the social system, asserted the ideas of democracy and realized andFirst of all, it was the highest achievement of socialism in the form of a broad communion of the working masses to education, scientific knowledge and artistic creativity, since the rapid rates of its economic growth and the strengthening of the defense power of the state were based on the flourishing of science, art and broad social activity at that time The creative activity of the masses contributed to the rapid increase in the number of art institutions and institutions, there was a massive influx into the artistic activities of former robiters and peasants, the most capable of whom joined the ranks of professional artists. On the other hand, the classical artistic heritage has not been lost: a significant part of the professional intelligentsia, supporting the new service or neutral attitude to it,with their creativity they formed a spiritual atmosphere of interest in the spiritual and artistic life. Therefore, a new, truly folk art was emerging. Ponut folk acquired three dimensions. Firstly, it was an artistic movement whose broad masses in cities and towns were active creators. numerous art studios (literary, theater, music, etc.) were created. A broad attraction to creative activity was also carried out thanks to the amateur art of X A unique beginning penetrated into the deepest layers of social life: democratization of art genres took place, agitation-mass forms, poster graphics, artistic and decorative art, etc., were developing rapidly, i.e. there was a widespread democratization of artistic creativity. Secondly,the subject of art is being democratised, whose hero is the working man, the broad social strata of society, the hero of art actively realizes himself in the transformation of circumstances in the interests of society. Thirdly, the broad strata of the working people become attentive. The general atmosphere of life is set for this period creative self-realization of a person, including in art, is devoid of ideological limitations, just because the ideologues are low-lying.including art, devoid of ideological limited, just like the ideological about low water.including art, devoid of ideological limited, just like the ideological about low water.

Выдающимися художниками этого периода были: М Горький, О Блок, В Брюсов, С Есенин, В Маяковский, С Эйзенштейн, В Пудовкин, Д Вертов, Б Асафьев, И Соллертинський и др. В искусстве и эстетической теории этог го периода складываются принципы исторической конкретности, демократической направленности, массовости искусства Теоретиками искусства этого периода были: А Луначарский, Г Плеханов, В Воровский, О Блок, В Шкловский, Б Эйхенбаум, В Жирмунский, Ю Тынянов, Л Выготский, К Станиславский, В Мейерхольд, Есть Вахтангов, С Эйзенштейн и др. Предметом исследовательского внимания эстетической теории 20-х годов XX века были п роблема становления пролетарского искусства и разработка его эстетических принципов, осуществлялась в широких дискуссиях Круг проблем, исследуемых эстетической теорией, связано с вопросами природы сущности, закономерностей исторического развития искусства, его видовой специфики и социального назначения Итак, искусство утверждается в указанный период как одна из наиболее широких сфер духовной жи ття общества Наблюдается широкое разнообразие тенденций художественного развития, что создает атмосферу насыщенности искусством и свидетельствует богатство духовного опыта, который оно содержит в себе Это период наложения таких художественных методов, как критический реализм, романтизм, символизм, авангардизм тощм, романтизм, символізм, авангардизм тощо.

Второй период истории социалистического реализма (1934-1991) связан с постепенным наращиванием политической ангажированности искусства, хотя оно и не теряет своего демократического и гуманистического спря ямування, а также ориентированности на внедрение социалистических идеалов в реальность В 1934 г на Первом съезде советских писателей была принята Программа и сформулирована суть и принципы нового художественного метода, получившего название социалистический реализм , который определялся как метод правдивого, исторически-конкретного отражения жизни в ее революционном развитии Теория социалистического реал изма ориентирована на классическую художественное наследие как эстетический принцип, а в содержательном плане опирается на социальный идеал - художественное воплощение идей социального оптимизма, веры в будущее и отображения я возможностей продвижения к нему на основе морально определенной деятельности героя искусства Следовательно, социалистический реализм, исходя из принципа революционного романтизма, раскрывает творческий потенциал человеческого й личности, проявляющей себя в новом - заинтересованному отношении к общему делу, которую считает личностно важной (М Островский «Как закалялась сталь , Ф Гладков Цемент , О Довженко Арсенал Щорс ) Искусство раскрывает сложность поиска героем своего места в социальных процессах (М Шолохов Тихий Дон ) Романтизм как эстетический принцип метода отражает также реальные основания настоящего Утверд ния социалистического идеала: внутренней настроенности героя на активные усилия по совершенствованию жизненнолу: внутрішньої налаштованості героя на активні зусилля щодо вдосконалення життя.

Заметим, что революционная романтика становится одной из ведущих тенденций искусства социалистического реализма, отражая объективно имеющиеся перспективы в социализме как типе общественного устройства Поэтому герой искусства в нем не мимикрирует в обстоятельства, а создает их, вступая в конфликт с силами, которые способны разрушить эту систему или угрожают ей Героизм советского народа в годы гражданской войны, в ча с социалистического строительства и в борьбе с фашизмом в Великой Отечественной войне, становясь предметом художественного отображения, опирается на реальную историю отношений личности и общества Этапы героической и стория народа ( советский народ ) отражены в богатом творческом наследии художников в разных видах художественного творчества: литература, театр, кино и т.д. Это, скажем, произведения М Островского ( Как закалялась в Аль ), М Шолохова Тихий Дон ), Д Фурманова ( Чапаев ), О Фадеева ( Молодая гвардия ), Ю Бондарева (« Горячий снег ), А Довженко ( Арсенал , Щорс а новые детство ), М Калатозова ( Летят журавли ) Искусство социалистического реализма показало, что революционный романтизм - не только принцип эстетической настроенности художников на художественное отображение д ийсности, но и отражение внутренних творческих потенциалов, имеющихся в социализме как общественном строе Именно этим определяется расцвет искусства социалистического реализма, в котором герой предстает реальным е го творцом, свидетельствуя потенциальные творческие возможности строя, часто вопреки обстоятельствам Знаменательно, что названные тенденции проявляют себя через мир личности в условиях, когда утверждается культ личности Стали на и осуществляются политические репрессии Итак, искусство показывает осознание обществом внутреннего потенциала социальной системы несмотря имеющееся в ней рост негативных тенденциизує усвідомлення суспільством внутрішнього потенціалу соціальної системи попри наявне у ній зростання негативних тенденцій.

В 60-е годы XX века, когда происходило развенчания культа личности Сталина, искусство вновь разворачивается богатством романтической образности, отражает желаемый эстетический образ действительности (Ахмадулина, Во ознесенський, Коротич, Павлычко, Рождественский) Разочарование в возможностях совершенствования социализма вызывает в 70-е годы XX в диссидентство В нем сочетаются утвердительные и отрицательные тенденции стве рдни связанные с утверждением ценностей духовного мира личности, возникает выше социальную систему, которая открылась своей противоречивостью В национальных культурах искусство сосредоточивает свой пафос н а утверждении ценности национальных культурных традиций, национального духовного наследия как источника питания духа личности (Айтматов, Высоцкий, Костенко, Симоненко, Стус) Негативный пафос творчества связывается с пересмотром истории социалистического общества, во времена культа личности оказало насилие над личностью (Солженицыненіцин).

Несмотря на то, что в 90-е годы XX века социалистический реализм как творческий метод стал предметом критического переосмысления, стоит отметить, что объективно он оказал большое влияние на атмосферу общественной жизни я тем, что на протяжении своей истории культивировал лучшие черты личности и утверждал их как истину человеческого в человеке Современное искусство, потеряв эстетические ориентации на идеал человеческой личности, позб авилося своей определенности, т.е. встал позахудожним явлением, а следовательно, псевдоискусствоом.