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.

The outstanding artists of this period were: M. Gorky, O. Blok, V. Bryusov, S. Yesenin, V. Mayakovsky, S. Eisenstein, V. Pudovkin, D. Vertov, B. Asafyev, I. Sollertinsky and others. In the art and aesthetic theory of this period, the principles of historical concreteness, democratic orientation, and mass character of art were formed. The art theorists of this period were: A. Lunacharsky, G. Plekhanov, V. Vorovsky, O. Blok, V. Shklovsky, B. Eikhenbaum, V. Zhirmunsky, Yu. Tynyanov, L. Vygotsky, K. Stanislavsky, V. Meyerhold, Y. Vakhtangov, S. Eisenstein and others. The subject of research attention of aesthetic theory of the 1920s was the problem of the formation of proletarian art and the development of its aesthetic principles, which was carried out in broad discussions. The range of problems studied by aesthetic theory is associated with questions of the nature of essence, the laws of historical development Art, its specific genres, and social purpose. Thus, art became established during this period as one of the broadest spheres of society's spiritual life. A wide variety of artistic development trends was observed, creating an atmosphere of artistic saturation and testifying to the richness of spiritual experience it contains. This was a period of overlapping artistic methods such as critical realism, romanticism, symbolism, avant-garde, and so on.

The second period in the history of socialist realism (1934-1991) is associated with a gradual increase in the political commitment of art, although it does not lose its democratic and humanistic directness, as well as its focus on the implementation of socialist ideals in reality. In 1934, at the First Congress of Soviet Writers, the Program was adopted and the essence and principles of a new artistic method were formulated, called socialist realism, which was defined as a method of truthful, historically specific reflection of life in its revolutionary development. The theory of socialist realism is oriented towards the classical artistic heritage as an aesthetic principle, and in terms of content relies on a social ideal - the artistic embodiment of the ideas of social optimism, faith in the future and the display of the possibilities of moving towards it on the basis of morally determined activity of the hero of art. Consequently, socialist realism, based on the principle of revolutionary romanticism, reveals the creative potential of the human personality, manifesting itself in a new - interested attitude towards a common cause, which he considers personally important (M. Ostrovsky "How the Steel Was Tempered," F. Gladkov "Cement," O. Dovzhenko "Arsenal Shchors") Art reveals the complexity of the hero's search for his place in social processes (M. Sholokhov "Quiet Flows the Don"). Romanticism as an aesthetic principle of the method also reflects the real foundations of the real affirmation of the socialist ideal: the hero's inner disposition to actively strive to improve his life: the hero's inner determination to actively improve his life.

It should be noted that revolutionary romanticism becomes one of the leading tendencies of the art of socialist realism, reflecting the objectively existing prospects in socialism as a type of social order. Therefore, the hero of art in it does not mimic the circumstances, but creates them, entering into conflict with the forces that are capable of destroying this system or threaten it. The heroism of the Soviet people during the civil war, during the construction of socialism and in the fight against fascism in the Great Patriotic War, becoming the subject of artistic representation, is based on the real history of the relationship between the individual and society. The stages of the heroic history of the people (the Soviet people) are reflected in the rich creative heritage of artists in various forms of artistic creativity: literature, theater, cinema, etc. These are, for example, the works of M. Ostrovsky (How Tempered in Al), M. Sholokhov (Quiet Flows the Don), D. Furmanov (Chapaev), O. Fadeev (The Young Guard), Yu. Bondarev (Hot Snow), A. Dovzhenko (Arsenal, Shchors and New Childhood), M. Kalatozov (The Cranes Are Flying). The art of socialist realism showed that revolutionary romanticism is not only the principle of the artists' aesthetic attitude to the artistic display of action, but also a reflection of the internal creative potentials existing in socialism as a social system. This is precisely what determines the flourishing of the art of socialist realism, in which the hero appears as its real creator, testifying to the potential creative possibilities of the system, often in spite of the circumstances. It is significant that the named tendencies manifest themselves through the world of the individual in conditions when the cult of Stalin's personality is being established and political repressions are being carried out. Thus, art shows society's awareness of the internal potential of the social system. Despite the existing growth of negative tendencies in it, awareness of the internal potential of the social system is evident despite the growth of negative tendencies.

In the 60s

In the 20th century, when Stalin's personality cult was being debunked, art once again unfolded with a wealth of romantic imagery, reflecting the desired aesthetic image of reality (Akhmadulina, Vosnesensky, Korotich, Pavlychko, Rozhdestvensky). Disillusionment with the potential for improving socialism gave rise to dissidence in the 1970s. It combined affirmative and negative tendencies in art. Days associated with the affirmation of the values of the individual's spiritual world emerged, a higher social system revealed by its contradictions. In national cultures, art focuses its pathos on affirming the value of national cultural traditions, national spiritual heritage as a source of nourishment for the individual's spirit (Aitmatov, Vysotsky, Kostenko, Simonenko, Stus). The negative pathos of creativity is associated with a revision of the history of socialist society, which during the personality cult exerted violence against the individual (Solzhenitsyn).

Despite the fact that in the 1990s, socialist realism as a creative method became the subject of critical rethinking, it is worth noting that objectively it had a great influence on the atmosphere of public life in that throughout its history it cultivated the best personality traits and affirmed them as the truth of the human in man. Contemporary art, having lost its aesthetic orientation towards the ideal of the human personality, lost its certainty, i.e., it became a post-artistic phenomenon, and therefore pseudo-art.