The artist's vision. Artistic vision. Fantasy and reality by Jacek Yerka

29.06.2020

Shaikhulov R.N.

The article examines the formation of pictorial vision as a necessary component in the professional training of artist-teachers. The author analyzes the features of pictorial vision in comparison with other forms of artistic vision, formulates criteria for assessing its formation. Based on the conducted ascertaining and formative experiments, a methodology for its formation is proposed.

In the process of training artist-teachers at the art and graphic faculties of pedagogical universities, one of the special disciplines that forms practical artistic skills and artistic vision is painting. The painting program involves the study of all its types, technologies, and visual arts. The effectiveness of mastering the program requirements for painting, along with other specific factors, depends on the level of formation of pictorial vision. What do we mean by pictorial vision? How does it differ from other forms of artistic vision? What is the level of pictorial vision at various stages of learning, and what are the ways of its formation?

It is known that the entire process of artistic vision is divided into: volumetric, linear, color, pictorial, coloristic, plastic and other forms, each of which has its own characteristics. It cannot be argued that this or that vision exists in a “pure” form. The artist sees color, volume, and other characteristics in nature at once, simultaneously, but when one of these aspects dominates, then they talk about a certain type of perception. N.Yu. Virgilis, and V.I. Zinchenko note that artists can develop two, three or more ways of perception.

The basis of pictorial and coloristic vision is color vision. It is inherent in nature, just like hearing, smell and touch. But it can also be acute, developed or, on the contrary, undeveloped. Initially, a person with a reduced level of color vision or suffering from diseases of color perception cannot be a painter, although he can develop other forms of artistic vision. Thus, developed, sharpened color vision, dominant among other forms of vision, is the basis for the development and formation of pictorial and coloristic vision.

Unlike color vision, pictorial vision is formed and developed only in the process of learning and practical visual arts. Since we can see pictorial relationships only by analyzing the state, nature and direction of lighting, analyzing the spatial position, shape, volume and materiality of objects, analyzing their color and spatial relationships. In the process of such analytical perception, color vision is sharpened and a pictorial vision is formed. What does pictorial vision involve in comparison with other ways of seeing? “The pictorial style conveys the optical impression of objects, it cares more about the visual image, there is more subjective in it than in the linear style, which seeks to “comprehend things and make them effective according to their strong, binding relationship” (...) “Linear conveys things as they are, the picturesque as they appear"

Describing the methods and techniques of images for these methods of vision, G. Wölfflin points out that with linear vision the emphasis is on contours; the image is usually obtained with emphasized edges, i.e. the shape is outlined by a line, which gives the image a stationary character. This approach to the image seems to affirm the phenomenon.

With a pictorial vision, attention is distracted from the edges, the contour becomes more or less indifferent to the eye. The main element of impression is objects as visible spots. At the same time, it also makes no difference whether such spots are described as colors or as lightness and darkness. Thus, paintings executed in monochrome can be picturesque, which excludes color. The works of many artists made using graphic means are called pictorial. Consequently, a pictorial vision does not necessarily have to be coloristic at the same time. Picturesque space is, first of all, a spatial environment, the “agent” of which is light and air.

How does a pictorial vision differ from a coloristic vision? As is known, color in works of painting is a certain system of color relationships that convey a certain state of lighting or emotional state of the depicted. Color is a strict relationship between all color relationships in the picture and the subordination of these color relationships to the dominant color, and coloristic vision is the ability to see and connect into a single color-tone system visual impressions that are often scattered in nature. Thus, we will classify the heightened ability to see “visual impressions scattered in nature” as pictorial vision, and the ability to systematize these impressions into a complete picture as coloristic vision. The transmission of light and air in painting enriches the color, giving it an exquisite quality, distinguished by a richness of color vibrations, depending on the color of the lighting and mutual reflections from surrounding objects. All these qualities were most clearly manifested in impressionism, which G. Wölfflin called the extreme degree of picturesqueness.

Pictorial vision is the ability to see the whole variety of color relationships of nature in the finest nuances, in connection with lighting, the location of objects in space, the ability to see the impact of the thickness of air on the object environment and, as mentioned above, in contrast to color, works can also be picturesque. executed in monochrome relationships. Therefore, we can say that the pictorial vision is the arsenal of the painter’s enriched artistic vision, which he then embodies in a certain color system. Based on this, we can conclude that in teaching students of initial courses in painting, we, first of all, must talk about the need to form a pictorial vision. That it is necessary to develop a certain training system, establish the content and sequence of tasks, the required volume and topic of theoretical material.

Based on this, after analyzing the studied theoretical material on the issues of philosophy and psychology of perception, theory and methods of teaching painting and educational process in painting at the art and graphic faculties, we concluded that the pictorial vision consists of the following components:

1. Developed color vision and understanding of the characteristics of its impact on the perception of the surrounding world.
2. A holistic vision of all color relationships between objects and the surrounding space.
3. Ability to identify proportional relationships of color spots in the model and on the pictorial plane.
4. Visions volumetric shape, chiaroscuro and tone, the ability to sculpt shapes with color.

The study contains detailed analysis these features and on their basis the painting works of students of initial courses of study are examined, where characteristic shortcomings in the works are analyzed, that is, the level of formation of pictorial vision at the initial stages of training is considered. Based on this analysis, the following criteria for assessing the formation of pictorial vision have been developed:

1) Theoretical knowledge of technique, technology, history of painting, color science.
2) Vision of volumetric form, light and shade and tone, spatial position of objects, technical skills in modeling form using light and shade and tone, sculpting the form with color.
3) Developed color vision, rich pictorial understanding and vision of color.
4) A holistic pictorial vision of all relationships between objects and characteristics of nature. A holistic vision of the pictorial structure of a still life, the ability to determine its dominant color structure.
5) The ability to convey the nature of lighting by warm-coldness, warm-cold contrast between illuminated and shadow areas.
6) The ability to work with proportional relationships, seeing color relationships in nature and in a painting.
7) Ability to apply technique work in watercolors in accordance with the assigned tasks, combine technical techniques for working in watercolors to achieve planarity, texture and materiality of the image.

To develop a system of methods for the formation of a pictorial vision, we conducted an ascertaining experiment, which pursued the following goals: to determine the initial level of formation of a pictorial vision; identify the difficulties of elementary students in the process of learning painting.

For this we have developed:

1) a program of tasks: a series of educational performances, the nature of which revealed certain aspects of the level of formation of pictorial vision.
2) interviews and questionnaires were conducted.

Based on the criteria and parameters we developed, three main levels of pictorial vision were identified: high, medium, low, and on their basis, 3 tables of student evaluation criteria were developed: 1) high level, 2) medium, 3) low level with six error options. These tables are taken as the basis for determining characteristic errors in the depiction of a still life when conducting a ascertaining experiment.

The first task of the ascertaining experiment was completed by 1st year students at the beginning of their studies, the second and subsequent ones at the end of each semester until the end of the 2nd year. The study describes the sequence of performing each task and analyzes the results according to the above criteria and levels of pictorial vision, identifying shortcomings. The results of each task were entered into tables and summarized in the following conclusions: approximately 7% of those experimented in the 1st year, 12% in the 2nd year had a high level of pictorial vision; an average level of 51% in the 1st year and 65% in the second year and a low level of 42% in the first year, 23% in the second. As we can see, research has shown that without special training, pictorial vision develops only in individual, most gifted students and therefore requires the development of a special system of methods for its formation.

To develop methods for forming a pictorial vision, we conducted a formative experiment, which was carried out in two student academic groups of the art and graphic faculty of Nizhnevartovsk State Humanitarian University for four years. The main training on the formation of pictorial vision was focused on courses 1 and 2; in courses 3 and 4, the results of experimental training were tested.

The main tasks of experimental learning relate to three areas of cognitive activity:

organization of perception;
mastering theoretical knowledge;
teaching students practical skills and painting skills.

Essence organization of perception consisted of active and purposeful observation and study of the color patterns of nature; in the ability to see color differences in relation to each other, consciously and purposefully examine a full-scale setting, remembering what is visible for the purpose of subsequently depicting it in color; see and accurately evaluate color changes depending on the change environment and light source; perceive nature holistically.

The organization of perception of works of painting and other works of art that use the expressive capabilities of color consisted in the study of the patterns of color composition, in the study of expressive means of art, including painting.

Practical classes included: doing exercises, working from nature, using imagination and representation.

In order to acquire knowledge about the laws of constructing color harmony, study the intrinsic and inappropriate qualities of color and study the basic technical techniques of working with watercolors, we have developed a system of short-term exercises, their peculiarity is that they solve educational problems in a complex. That is, in parallel with studying the principles of color science, “temperature” features of color, such color qualities as lightness, saturation, hue, etc., we structured these exercises so that when solving these problems, students also mastered the technical techniques of working with watercolor paints.

We structured some of the tasks related to the depiction of a still life in such a way that they were not related to the depiction of a specific still life from nature, but were aimed at conveying space, depth and volume in color under the proposed conditions. Here the question may arise: why can’t this be studied when working directly from nature?

When working from life, an inexperienced painter becomes his “slave,” that is, he strives to strictly follow the color and external contours of objects, and cannot abstract from their visible signs. These tasks allow you, without attachment to specific objects, to study how color can bring you closer and further away, how color can sculpt a shape, convey the state of lighting, and then apply this knowledge to work from life.

And the second half practical tasks consists of painting from life, still lifes composed in such a way that each task solves certain problems of forming a pictorial vision.

After the formative experiment, when determining the results of the proposed methodology, we relied on the levels of development of pictorial vision that we had developed. In assessing the formation of the level of pictorial vision among students in experimental groups, we used mathematical method calculations according to criteria. Grades were given in semester reviews according to the generally accepted five-point system, as well as during experimental sections in the middle of each semester. As a result of the training experiment, the following data were obtained (Table 1):

Table 1. Results of the training experiment

1st year, 1st semester
EG - high - 30%	CG - high - 6.4%
average - 52%	average - 48.2%
low - 18%	low - 46.4%
1st year, 2nd semester
EG - high - 30.6%	CG - high - 6.1%
average - 47.2%	average - 42.8%
low - 12.2%	low - 51.1%
2nd year, 1st semester
EG - high - 23.8%	CG - high - 11.3%
average - 64.8%	average - 42.8%
low - 11.4%	low - 45.9%
2nd year, 2nd semester
EG - high - 39.5%	CG - high - 5.3%
average - 51.6%	average - 49.1%
low - 8.9%	low - 45.6%.

Comparison of the results of the experimental groups with the control groups clearly proves the advantage of the proposed system of exercises and confirms its pedagogical effectiveness. We have found that by using a targeted methodology for teaching painting, it is possible to achieve significant success in the development of students’ pictorial vision, which develops more successfully when, from the first days of painting classes, the teaching of color, coloring, and painting techniques is intensified. It should consist, first of all, in an in-depth theoretical and practical study of the laws of color harmony, knowledge of which enriches the perception of color and contributes to the development of a sense of color - a unique artistic property that is a necessary component of pictorial vision.

Throughout the entire process of learning to paint, in each task it is necessary to set color tasks related to modeling shape, conveying space and volume. It is necessary to diversify and specify the goals and objectives of each individual task.

In general, the results of the experimental training of students confirmed the effectiveness of the applied methodology for teaching pictorial vision to primary-year students and the need for its use in further pedagogical and creative activities of students.

BIBLIOGRAPHY:

1. Welflin G. Basic concepts of art history. - M.-.: 1930.-290 p.: ill.
2. Virgilis N.Yu., Zinchenko V.P. Problems of image adequacy. - “Questions of Philosophy.” 1967, No. 4, pp. 55-65.

Bibliographic link

Shaikhulov R.N. ON THE FORMATION OF THE PICTURE VISION OF INITIAL COURSES STUDENTS OF ART AND GRAPHICS FACULTIES OF PEDAGOGICAL UNIVERSITIES // Modern problems of science and education. – 2007. – No. 6-2.;
URL: http://science-education.ru/ru/article/view?id=784 (access date: 02/01/2020). We bring to your attention magazines published by the publishing house "Academy of Natural Sciences"

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The artist's imagination is limitless. And when a talented master knows how to convey his vision of the world on canvas, real masterpieces are born. There is some extraordinary appeal in such paintings. Like a slightly opened door to an invisible fairy-tale world.

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Fairy tales by Melanie C (Darkmello)

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PROBLEMS OF DEVELOPMENT OF ARTISTIC VISION

Bedina Anna Fedorovna

teacher of special disciplines,

Municipal educational institution for children's education "Children's art school" No. 1, Astrakhan

Watch and see two processes in everyday life that serve a person as a means of orientation. I look at the trees, flowers, grass. I see the landscape that surrounds me. When using these words, we most often mean the same process that carries out human eye, fixing any objects located in any place. But these words cease to be synonymous when it comes to fine art. How often, when you come to art gallery or in showroom, we are amazed by the subjects seen through the eyes of artists. It seemed that we had watched this simple life scene in the yard or on a neighboring street hundreds of times, but we had not seen all the beauty, joy, happiness shown to us by the artist. Looking does not mean seeing, but for an artist there is a huge difference between the concepts of “looking” and “seeing”. It is this vision that distinguishes students involved in the fine arts from their peers. One of the main goals of teaching fine arts is the development of artistic vision.

After analyzing the students' work primary classes art school, there are a number of shortcomings, one of which is a constant vision. Constancy of vision is the tendency to perceive an object, its size, shape, lightness, color as stable and unchanging, regardless of changes occurring to them. Constant vision is the main obstacle in the formation of artistic vision.

In the course of the article, we will try to explain that the act of “looking” is, first of all, a physiological process associated with the work of the eye, but the process of “seeing” is associated with perception, cognition and is a product of an intellectual nature. Let us consider the process of vision and examine the issue of its formation and development. Light rays emitted by the sun or some other source colliding with an object are partially reflected and partially absorbed by it. The reflected rays hit the retina and form images of objects on it. The retina has a complex structure. It contains light-sensitive cells - visual receptors. It is in them that the energy of light rays penetrating into the eye is converted into a process of nervous excitation and nerve impulses travel through the fibers of the optic nerve to the brain, carrying information about surrounding objects.

So, vision is the perception of reality, where the act of “looking” is informative. But the visual system performs more important functions that are not limited to the reproduction of reality.

Perception is a complex mental process; it includes past experience in the form of knowledge and ideas. Without the inclusion of past experience in perception, the process of cognition would be impossible, since without a person correlating perceived objects and phenomena with previously seen objects and phenomena, without using specific knowledge gained in past experience, it is impossible to determine and comprehend the essence of what is perceived.

Perception is closely related to thinking. This is expressed in the fact that the images formed in the process of perception are comprehended and generalized through concepts, mental operations, judgments and inferences.

Theoretical knowledge in the field of anatomy, perspective, and color vision is of particular importance on perception. Many artists attached great importance to knowledge in the development of “vision”. An artist must know in order to learn to see. Exactly cognitive process helps the artist in selectivity of perception, which distinguishes him from everyone else.

In the process of visual activity, apperception is important, which is determined by the influence of the artist’s past experience, goals and interests on the process of perception. This knowledge is the professional guidance of the artist and is sustainable. Artists themselves usually call it the ability to “see” nature. Sometimes this is also called "vision setting".

The ability to “see” nature presupposes seeing the main, essential thing in it, which for the painter lies in the features of the structural structure of the object, its spatial position, proportions, color, distribution of light and shade. Transferring these properties is an important task visual arts.

“Establishment of vision” or “artistic vision” is an important goal in teaching fine art to aspiring artists. The student must learn to think collectively and figuratively, and the plot he sees appears to him as a future composition. Therefore, learning to “see” should, of course, begin before the actual image on the sheet. Importance in the academic system art education is given to drawing from life in drawing and painting lessons. In these lessons, a huge role is played by the informational and psychological attitude coming from the teacher: this is a correctly formulated task for the perception and transmission of nature in the image by students. Mastering the basics of fine art, in addition to the task of positioning the eye, also includes positioning the hand. Both can be considered as a purely technical problem, solved by the methods of practical drawing from life, the study of the variety of forms of the surrounding world, their structure, proportional relationships of parts and the whole through visual materials within the boundaries of a certain pictorial plane.

Before you begin, you should carefully examine the image object from several sides. Point of view is not only where we look, but also how we look, how we see. This phrase is methodological guidance on the development and education of artistic vision.

In the process of choosing a point of view, students develop the ability to analyze, compare, think in compositional-figurative, pictorial-planar, volumetric-constructive perception, which is the main quality of professional artistic vision. Having chosen the point of view that most fully reveals the nature, you can begin to work.

In the process of studying at an art school, students develop two types of vision: three-dimensional and pictorial. Volumetric vision is plastic, tactile, conveying a volumetric-constructive form, pictorial vision is visual-optical, produced by color and tone. Volumetric vision is most applicable to the discipline of drawing, and pictorial vision is most applicable to painting. Each of these types of vision did not arise in the visual arts on its own. However, as modern psychology has shown, it reflects certain aspects of the psychophysiological process of visual perception and human thinking.

At first glance, the drawing process is quite simple and accessible to anyone who wants to do it and has some ability for it. However, considering this process from the point of view of the physiology of vision, let us pay attention to two various process visions that are unconscious to the painter himself while drawing. These processes are important because they later become the main elements of the concept of artistic vision.

When a student begins, for example, to draw a still life of several objects, he perceives each object separately in a three-dimensional color form in space. Shifting his gaze from nature to the sheet lying in front of him, his gaze sees the plane of the sheet, limited by vertical and horizontal sections. At each moment the student’s gaze shifts, the student’s vision is adjusted to the opposite type of vision of objects, in in this case from volumetric to planar. The impression from an empty plane and from a spatial volume are different and incommensurable. A person drawing from life faces the difficult task of translating spatial form into the language of a flat image.

As the drawing progresses and the objects in the image are recognized, the drawer’s gaze begins to overcome the plane of the sheet and perceive the drawn image volumetrically, and the gaze begins to flatten real objects, using the method of generalization. The method of planar perception of visible nature by the method of generalization is used by draftsmen already at the stage of arranging the image into a format. Each time, looking at nature, students have to cut off excess space with a virtual frame, leaving and arranging what is needed inside. Over time, this becomes a professional habit, constituting the essence of compositional vision. According to the tradition of his craft, the artist almost all the time has to deal with a sheet of rectangular format, of various sizes and locations, which also shapes his vision accordingly. This is a pictorial form of representation in which the artist uses various visual means trying to express himself. For a teacher, knowledge about the development of the visioning process will provide indispensable assistance in working with students. The theory that makes sense of practice provides the key to its improvement.

Bibliography:

1. Avsiyan O. A. Nature and drawing from representation: textbook. manual [Text] / O.A. Avsiyan. – M.: Fine Arts, 1985.-152 p.

2. Arnheim R. Art and visual perception: textbook manual [Text] / R. Arnheim. – M.: Progress, 1974.-392 p.

3. Beda G.V. Painting: textbook. manual [Text] / G.V. Trouble. – M.: Education, 1986.-208 p.

4. Kuzin V.S. Psychology: textbook. manual [Text] / V.S. Kuzin - M.: Higher School, 1982.-226 p.

5. Radlov N.E. Drawing from life: textbook. manual [Text] / N.E. Radlov. – L.: Artist, 1978.-130 p.

This fall, residents and guests of Frankfurt could visit the first exhibition in Germany of paintings by the talented Moscow artist Misha Levin, entitled “Vision,” held at the German Film Museum (Deutsches Filmmuseum). Starting to draw at the age of four, young talent, whom critics at one time dubbed a modern Matisse, is today known as a master of painting, his paintings are exhibited in Moscow, London, Geneva, Cincinnati and other cities around the world. Misha Levin's paintings are kept in the private collections of Elizabeth II, Prince Charles, Vladimir Spivakov, as well as art connoisseurs in Germany, Japan and America. At the vernissage on the occasion of the opening of a personal exhibition in Frankfurt, we had the opportunity to talk with Russian artist about his work, success story, sources of inspiration and future plans.

Misha, is this the first time you are presenting your paintings in Germany? Why did you choose Frankfurt?

Yes, this is my first exhibition in Germany. The proposal to present the films in Frankfurt came from the co-director of the German Film Museum, Dr. Hensel, whom we were introduced to by friends of our family. Having once arrived in Moscow and seen my works, he became interested and offered to exhibit them in the main hall of the museum, where space allows for displaying many large-format paintings. I am very glad that the vernissage took place - this is a good opportunity to present the work done over last years, in such a large volume.

What impression did Frankfurt make on you?

My wife and I found Frankfurt a comfortable and pleasant city to live in. Of course, it does not amaze with the beauty of its architecture, but nevertheless there is a very good atmosphere here. Unlike many critics of mixing such different architectural styles I have always been attracted by the visual contrast between the fairly low buildings, which apparently survived the war, and the skyscrapers. The city doesn't seem boring.

At what age did you realize that you wanted to devote your whole life to fine art?

In fact, my interest in art began very early. I grew up in musical family and at the age of six he began to learn to play the violin. Despite my musical abilities, I did not like these activities. In addition, due to stage fright and excessive anxiety, I could not perform as well in performances as I could in rehearsals. When I was eleven years old, my father, after another not very successful exam, said that he was ready to give me a choice between fine arts and music. I started drawing literally at the age of three, so without hesitation I chose painting. And I never regretted it for a second. Although, of course, this profession is very difficult and is fraught with many pitfalls. When it comes to fine art, most people are intimidated by the question of how to earn a living. Since I teach a lot now, I’m trying to somehow motivate my students to subsequently engage not in design, but in fine art. Of course, there is no guarantee that everyone will definitely become a successful artist, but I am lucky: I can combine my own practice and teaching activities which gives the necessary stability.

Is it true that the outstanding musician Vladimir Spivakov helped you at the beginning of your career?

Yes, my father studied with him at Central music school, and subsequently played in his orchestra “Moscow Virtuosi” for more than twenty years. Vladimir Teodorovich heads charitable foundation for young talents, in which I was a member. My first personal exhibition abroad was organized at his music festival, which takes place annually in Colmar, France. I was ten years old then.

Solo exhibition at ten years old?

Yes. Vladimir Teodorovich is a great lover of art and, one might say, one of my first connoisseurs. I also participated in a lot Russian projects. In Moscow there is a charitable foundation “New Names”, whose president today is Denis Matsuev. Thanks to the foundation, my personal exhibition took place in Thailand, and as part of its campaign, works were donated to President B.N. Yeltsin and Queen Elizabeth II.

How did it happen that your painting ended up with the Queen of Great Britain?

In 1994, Elizabeth II's first official visit to Russia took place after the collapse of the Soviet Union. On official reception In St. Petersburg, the New Names Foundation organized a concert. I, an eight-year-old boy, was taken to the Queen and introduced in person. Not knowing in English, I memorized the speech, which I delivered: “Your Highness, I am very pleased to meet you. I want to give you a painting of you leaving Westminster Cathedral." She didn't realize at first that it was my painting. (Laughs.) Later, while I was studying at the Academy of Drawing, founded by Prince Charles, I was invited to a reception at Windsor Palace, where the entire collection of gifts from the royal family is kept. At my request, they looked through the archives and found my painting. Fourteen years later it was still there.

You studied painting in both Russia and Great Britain. How did fate bring you to Foggy Albion?

When I was thirteen or fourteen years old, the question arose: what educational institution choose. I initially thought of entering the Surikov or Stroganov School in Moscow, although I have always been an opponent of the education system in our art universities, according to which a student must first undergo a formulaic training in technique before becoming an individual. I believed that I had a special vision of art, so at the age of fifteen I went to study abroad. He lived in Oxford for two years, adapting, studying at school, additionally studying the language and passing a certain number of exams to enter the university. After four years of studying at the Slade School of Fine Art, University of London, I received a BA.

Some critics call you a modern Matisse. In your opinion, which master’s work influenced you in to a greater extent? Who do you associate yourself with most? Who is closer to you in spirit?

As a child, I tried to imitate famous artists. For example, from the age of six to eleven I was in love with Rembrandt, I was only interested in depicting biblical stories. Later he became interested in the impressionists and post-impressionists. With age, of course, you realize that you cannot fall under such strong influence, because one way or another you become just an imitator. And for an artist, the most important goal is to preserve his individuality. Although you definitely need to follow the art. Therefore, I cannot now call any one painter my mentor or inspiration. In general, I am very close to modern German painting, I like the work of such German artists as Neo Rauch, Daniel Richter, Max Beckmann and Otto Dix.

How would you describe your painting style?

You could say this is a kind of neo-expressionism. You can also trace the influence of neoclassicism and neopop. That is, this is such a vinaigrette, but I would like it to be mine own style. (Laughs.) For me, in any case, the most important thing is to constantly search, not to stop at a certain style achieved. Therefore, the exhibition presents works performed in various techniques. But they are united by the main thing - human personality, an image in a plot that in some places becomes more realistic, and in others goes into abstract art.

How long does it take you to finish one painting?

Differently. Sometimes a painting is completed in literally three or four days, but sometimes you return to work within a year. Usually some motive, idea or plot is reflected in several works. Sometimes a series becomes a separate project, which consists of ten to fifteen paintings. Each such project is for me - new page in creativity.

In conclusion, I would like to know about your plans. Are you planning other solo exhibitions in Europe?

I'm planning. I am working on one big project - an exhibition at the Russian Museum, the idea for which was laid back in 2009. I will also participate in a project in Vienna. Russian cultural figure Roman Fedchin plans to hold big exhibition“Austria through the eyes of Russian masters of painting”, which will present the works of fifteen artists. There are also negotiations regarding my exhibition with the director of the Vienna Jewish Museum. There are many plans, but organizing exhibitions is, unfortunately, a very complex process that takes months and includes negotiations, transportation of paintings and many other details.

Each historical era shows off his type artistic vision and develops corresponding linguistic means. At the same time, the possibilities of artistic imagination at any historical stage are not unlimited: each artist finds certain “optical possibilities” characteristic of his era, with which he finds himself connected. The dominant ideas of contemporaries (picture of the world) “contract” all the diversity artistic practices into a specific focus, act as the fundamental basis cultural ontology of artistic consciousness(i.e. ways of being, creative manifestation of artistic consciousness within the boundaries of the corresponding cultural community).

Unity creative processes in the art of a particular era determines the emergence artistic integrity special type. The type of artistic integrity, in turn, turns out to be very representative for understanding the originality of the corresponding force field of culture. Moreover, based on the material artistic creativity it becomes possible not only to detect character traits consciousness and self-awareness the basic personality of the era, but also to feel their cultural limits, historical boundaries, beyond which creativity of a different type begins. The historical ontology of artistic consciousness is a space in which the mutual contact of the artistic and the general cultural occurs: it reveals many “capillaries” of both direct and reverse influence.

The mud of artistic vision thus has its own history, and the discovery of these layers can be seen as the most important task aesthetics and cultural studies of art. Studying the transformation of artistic vision can shed light on the history of mentalities. The concept of artistic vision is quite general; it may not take into account some features of creative individuality. Establishing belonging to the same historical type of artistic vision of different authors, aesthetic analysis inevitably “straightens out” a number of distinctive qualities of individual figures, highlighting what they have in common.

G. Wölfflin, who devoted a lot of effort to the development of this concept, believed that the general course of development of art does not break down into separate points, i.e. individual forms of creativity. For all their originality, artists are united in separate groups. “Different from each other, Botticelli and Lorenzo di Credi, when compared with any Venetian, turn out to be similar, like Florentines: in the same way, Hobbema and Reyedal, whatever the discrepancy between them, immediately become related if they, the Dutch, are contrasted some Fleming, for example Rubens." The first furrows in the development of the concept of artistic vision, extremely fruitful for modern research in the field of cultural studies of art, paved the way for German and Viennese school art history in the first decades of the 20th century.

The formulation of a particular problem in culture is always subordinated to a certain historical moment, no matter what sphere of creativity it concerns. Based on this position, O. Benes, for example, strove to discover certain elements in the figurative structure of art. stylistic (times, which would be common to both art and science. “The history of ideas,” wrote Benes, “teaches us that the same spiritual factors underlie different spheres.” cultural activities. This allows us to draw parallels between artistic and scientific phenomena and expect their mutual clarification from this. Creative consciousness in every given historical moment embodied in certain forms that are unambiguous for art and science." Here a vertical is built: the type of artistic vision is ultimately the implementation of general cultural parameters of consciousness by means of art. The point is that the methods of artistic thinking and perception, established in art as dominant, are somehow connected with the general methods of perception and thinking in which this era recognizes itself.

Artistic vision reveals itself primarily in the form, in the ways of constructing a work of art. It is in the methods of artistic expression that the artist’s attitude to the model and to reality is revealed not as his subjective whim, but as the highest form of historical conditioning. At the same time, many problems arise in the way of studying the types of artistic vision in history. Thus, one cannot help but take into account the fact that among the same people in the same era different types artistic vision coexist. This split, for example, can be observed in Germany in the 16th century: Grunwald, as art historical studies show, belonged to a different type of artistic expression than Dürer, although both of them were contemporaries. It can be noted that this fragmentation of artistic vision was also consistent with the various cultural and everyday structures that coexisted in Germany at that time. This once again confirms special meaning concepts of artistic vision for understanding the processes of not only art, but also culture in general.

The sense of form, which is central to the concept of artistic vision, somehow comes into contact with the foundations of national perception. In a broader context, artistic vision can be understood as generating source of general cultural mentality era. Ideas about the similar content of the concepts of artistic form and artistic vision were expressed much earlier by A. Schlegel, who considered it possible to talk not only about style Baroque, but also about feeling of life Baroque, and even person baroque. Thus, a well-founded idea of artistic vision as borderline concept carrying within itself both intra-artistic and general cultural conditioning.

Although the evolutionary processes in artistic creativity have never stopped, in art it is not difficult to detect eras of intense quest and eras with more sluggish imagination. The problem is that in this history of types of artistic vision we can not only discern the consistent process of solving artistic problems proper, as this or that author understood them, but also find the key to realizing the universality of the culture that gave birth to them, to penetrating the cultural ontology of human consciousness, operating in a given time and space. With the progress of history, the problem under consideration becomes more and more complex, since with the expansion of the arsenal of techniques already discovered by art, the abilities of self-propulsion of artistic creativity also increase. The need to resist dulling of perception and to achieve an intense impact on the viewer forces every artist to change his creative techniques; Moreover, each effect found in itself predetermines a new artistic effect. This shows viutriartistic conditioning changing types of artistic vision.

The elements of the form of a work of art do not act as an arbitrary decoration of the content; they are deeply predetermined by the general spiritual orientation of the time, the specifics of its artistic vision. In any era - both with intense and sluggish imagination - one can observe active trends in the artistic form, testifying to its cultural-creative capabilities. Cultural(or culture-creating) possibilities of art appear when new ideals, orientations, and tastes arise and sprout on the artistic territory, which then spread in breadth and are picked up by other spheres of culture. In this sense they talk about cultural typicality art, bearing in mind that art, unlike other forms of culture, accumulates in itself all aspects of culture - material and spiritual, intuitive and logical, emotional and rational.

Wolflin G. Basic concepts of art history. M.; L., 1930. P. 7.
Benesh O. Art of the Northern Renaissance. Its connections to modern spiritual and intellectual movements. M., 1973. S. 170, 172.