The proof of any work of art is how the maintenance of power. Contemporary art as an instrument of influence on the policy of the Russian Federation
Topic: "Influencing force of art. Art and power."
In development human culture a curious pattern is constantly observed. Art, as a manifestation of the free, creative powers of a person, the flight of his imagination and spirit, was often used to strengthen power, both secular and religious.
Thanks to works of art, power strengthened its authority, and cities and states maintained prestige. Art embodied in visible images the ideas of religion, glorified and immortalized the heroes. Sculptors, painters, musicians different times created idealized majestic images of rulers-leaders. They were given extraordinary qualities, special heroism and wisdom, which, of course, aroused respect and admiration in the hearts ordinary people. Traditions coming from ancient times are clearly manifested in these images - the worship of idols, deities that caused awe not only for everyone approaching them, but also for those who looked from afar. The valor of warriors and commanders is perpetuated by works of monumental art. Equestrian statues are erected, triumphal arches and columns are built to commemorate the victories won.
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The power of art. Art and power. Lesson No. 1 Art Grade 9 Art teacher Somko E.V.
Art, as a manifestation of the free, creative powers of a person, the flight of his imagination and spirit, was often used to strengthen power, both secular and religious.
"The Bronze Horseman" The equestrian statue of Peter was made by the sculptor E. Falcone in 1768-1770.
Thanks to works of art, power strengthened its authority, and cities and states maintained prestige. Art embodied in visible images the ideas of religion, glorified and immortalized the heroes. "Napoleon at the St. Bernard Pass"
The valor of warriors and commanders is perpetuated by works of monumental art. Equestrian statues are erected, triumphal arches and columns are built to commemorate the victories won. Triumphal Arch of Constantine, Rome, Italy.
By decree of Napoleon I, who wanted to immortalize the glory of his army, the Triumphal Gate was built in Paris. On the walls of the arch are engraved the names of the generals who fought alongside the emperor. France, Paris, Arc de Triomphe
In 1814, in Russia, for the solemn meeting of the Russian liberator army, returning from Europe after the victory over Napoleon, wooden Triumphal Gates were built at the Tverskaya Zastava. For more than 100 years, the arch stood in the center of Moscow, and in 1936 it was demolished. Only in the 60s. 20th century The triumphal arch was recreated on Victory Square, near Poklonnaya mountain, at the place where Napoleon's army entered the city.
Triumphal Alexander Arch. It is also called the "King's Gate". Originally built in 1888 in honor of the emperor's arrival in Ekaterinodar Alexander III with a family. In 1928, by decision of local Soviet authorities, the arch was demolished under the pretext that the construction of the tsarist era impedes tram traffic, although since 1900 trams have been running quite successfully right under the arch. The drawings were not preserved, they were restored from photographs. Previously, the Arch was located at the intersection of Ekaterininskaya (now Mira) and Kotlyarevskaya (Sedina) streets. Recreated in 2009 at the intersection of Krasnaya and Babushkina streets.
The Moscow tsars considered themselves heirs of Roman traditions, and this was reflected in the words: "Moscow is the Third Rome, and there will be no fourth."
The Glinka Choir Chapel is a majestic monument of Russian culture, famous all over the world. The chapel helps to maintain the connection of times and the continuity of traditions.
Resurrection Novo - Jerusalem Monastery - a monument.
In the twentieth century, in the era of Stalinism in our country, pompous, magnificent architecture emphasized the strength and power of the state, reducing the human personality to an insignificantly small level, ignoring the individual identity of each person.
Unrealized projects of Moscow architects of 30-50s.
Art and Power
Sukhareva Svetlana Viktorovna - art teacher, MBOU secondary school, village of Nikolskoe
- To acquaint students with works of art, thanks to which the authorities strengthened their authority, and cities and states maintained prestige.
In human development
culture constantly
an interesting pattern is observed. Art as a manifestation of the free, creative powers of a person, the flight of his imagination and spirit was often used
to strengthen power - secular and religious.
August from Prima Port- more than two-meter statue of Augustus, found in 1863 in the villa of the wife of Emperor Augustus. The villa was discovered not far from Rome on the Via Flaminius in the area of Prima Porta, which in ancient times was called Ad Gallinas Albas. The statue is a copy of a bronze original commissioned by the Roman Senate in 20 BC. e. It is believed that the statue, unlike most of the surviving images of Augustus, has a portrait resemblance. It is very likely that, according to ancient tradition, it was polychrome. Currently, the statue is kept in the Vatican Museum of Chiaramonti.
France, Paris
built date: 1836
The most famous of the triumphal arches is located in the heart of Paris on the Champs Elysees. It took over 30 years to build!
The creation of the Arc de Triomphe in honor of the victories of the French army was ordered by Emperor Napoleon. However, he never saw his offspring.
The construction of the arch was completed after his death.
Russia, Moscow
built date: 1968
The main Arc de Triomphe of Russia was rebuilt, dismantled and even transported. Initially, it was a wooden arch built near the Tverskaya Zastava to meet Russian soldiers from the liberation campaign across Europe in 1814. In Soviet times, the arch was hidden in a museum for 30 years.
"Portrait of Catherine II - the Legislator" caused a wide controversy in the Russian press. The discussion was started by the poet I. F. Bogdanovich. He turned to the artist with a poetic greeting
Levitsky! Having drawn the Russian deity,
By which the seven seas rest in joy,
With your brush you revealed in Petrovgrad
Immortal beauty and mortal triumph.
Assumption Cathedral of the Moscow Kremlin- an Orthodox church located on the Cathedral Square of the Moscow Kremlin. It was built in 1475 - 1479 under the guidance of the Italian architect Aristotle Fioravanti. The main temple of the Moscow state. The oldest fully preserved building in Moscow.
Resurrection Cathedral The New Jerusalem Monastery, built in 1658-1685, was conceived as a copy of the Church of the Holy Sepulcher in Jerusalem, but the construction turned out not to be an exact repetition of the prototype, but rather its artistic transformation. The cathedral was erected according to measurements brought from Jerusalem, and at the first stage of construction, until 1666. work was personally controlled by Patriarch Nikon. He also sent the masters of the patriarchal court. Due to the disgrace and exile of Nikon, the construction of the entire monastery and the cathedral in particular was suspended, and continued by decree of Tsar Fyodor Alekseevich in 1679.
Palace of the Soviets- an unrealized grandiose construction project of the Soviet government, work on which was carried out in the 1930s and 1950s: a grandiose administrative building, a place for congresses, festivities, etc. It was supposed to be the culmination of all high-rise construction in the USSR in the post-war years, the ninth , the central and main Stalinist skyscraper
The love for singing and music passed to him from his father - Boleslav Shostakovich - a professional revolutionary, exiled by the tsarist government to an eternal settlement in Siberia.
The first serious achievements of Shostakovich in the development of civil themes in music are his Second and Third Symphonies (1927-1929). Both in the work of the composer and in history Soviet music they occupy a special place, for they were one of the first symphonic works, where the revolutionary theme was reflected.
The war that began in 1941 delayed the implementation of peacetime plans for a long time. “To our struggle against fascism, our coming victory over the enemy, to my hometown - Leningrad - I dedicate my 7th symphony,” Shostakovich wrote on the score in the summer of 1941.
With extraordinary enthusiasm, the composer set about creating his Seventh Symphony. “Music burst out of me uncontrollably,” he later recalled. Neither hunger, nor the beginning of autumn cold and lack of fuel, nor frequent shelling and bombing could interfere with inspired work.
- Prepare a report or computer presentation on a topic related to instilling certain feelings and thoughts in people through art.
- Analyze different works of art of the same art form in different eras or select era and by works various kinds art, imagine its holistic image.
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Introduction
1. Antiquity
1.1 Art and power of ancient Egypt
1.2 Art and power of antiquity. Ancient Greece and Ancient Rome
1.3 Art and power of Byzantium
2. Medieval
2.1 Art and power of France (XI-XIV centuries)
3. Renaissance period
3.1 Art and power of Italy (XIV-XVI centuries)
3.2 The art and power of Spain (XV-XVII centuries)
4. New time
4.1 Art and power of France (XVIII centuries)
4.2 Art and power in Russia (XIX centuries)
5. Power and art Soviet period Russia (XX centuries)
6. Power and art in our time
Conclusion
Bibliography
Introduction
There is a certain regularity in the development of human art. Art was often used to enhance power. Through art, power strengthens its authority, and states and cities maintain their prestige.
Works of art embody the ideas of religion, the perpetuation and glorification of heroes. Musicians, artists, sculptors and architects in their time made majestic images of their rulers. They gave them extraordinary qualities, such as wisdom, heroism, fearlessness, which aroused admiration and reverence in the hearts of ordinary people. All this is a manifestation of the traditions of ancient times - the worship of deities and idols.
IN monumental art commanders and warriors are immortalized. Triumphal arches and columns are erected in honor of the victories won. New ideas are reflected in all art forms and power is no exception.
In accordance with this, in my work I set the following goalsAndtasks:
aim research is the change of art under the influence of power over the centuries in different countries of the world
Tasks:
* analyze the dependence of the influence of power on art;
* explore the dependence of changes in artistic creativity under the influence of authorities in different countries of the world;
* identify the main features of power in the visual arts;
* analyze the stages of change creative heritage influenced.
object research is power in art.
Itemresearch- art of countries in different periods of time.
methodicalbase made up: paintings by artists, sculptures, frescoes, temples, triumphal arches, monasteries.
Informationalbase- books on the history of art (T.V. Ilyina History, A.N. Benois, F.I. Uspensky), articles from Internet resources.
1. Antiquity
1.1 ArtAndpowerancientEgypt
In the III millennium BC. e. as a result of the unification of the two states of Lower and Upper Egypt, one of the most ancient states was formed, which played an important role in the formation of ancient culture.
Egyptian art is very interesting in that many works created by the Egyptian people in the history of mankind were made for the first time. Egypt for the first time gave monumental stone architecture, a realistic sculptural portrait, High Quality handicraft products. They excellently processed stones of various types, made the finest jewelry work, beautifully carved wood and bone, made colored glass and transparent light fabrics.
Of course, one cannot but say about the Great Egyptian pyramids, which can tell a lot about themselves. They tell us about a society so clearly organized that it became possible to build these artificial giant hills, in just the lifetime of the ruler.
home distinguishing feature Egyptian art lies in the fact that it is aimed at embodying the needs of religion, in particular the state and funeral cult of the divine pharaoh. Religion has been an integral part that has influenced Egyptian culture throughout its existence.
Egyptian art was created for the glory of the kings, for the glory of unshakable and incomprehensible ideas, which were based on despotic rule. And this, in turn, was traced in the images and forms of these ideas themselves and the power that the pharaoh was endowed with. Art began to serve the tops of power, which in turn was called upon to create monuments that glorify kings and nobility of despotism. These works had to be done according to certain rules, which subsequently formed the canons.
An example of a monument glorifying the pharaoh is the Namerna slate, on both sides of which there is a relief image that tells of a historical event: the victory of the king of Upper Egypt Namerna over Lower Egypt and the unification of the Nile Valley into a single state. Here one can clearly see the emphasis on the greatness and inequality of the ruler at the expense of proportionality, characteristic of this early class society. This principle can be traced in ancient Egyptian art for decades. In various frescoes, relief sculptures, the pharaoh is depicted several times larger than all other characters. The Sphinx of Khafre of the III millennium BC, which stands in front of the funeral temple of the pharaoh, amazes with its grandeur. This Sphinx is the largest in Egypt. Despite its huge size, the face of the Sphinx has the features of the pharaoh Khafre. In ancient times, the Sphinx, along with the pyramids, was supposed to inspire an idea of the superhuman power of the ruler.
To emphasize the divine origin, greatness and power of the pharaohs, the sculptors made their rulers idealized. They showed physical strength, discarding minor details, but at the same time retained a portrait resemblance. An example of such works is the statue of Khafre, the ruler of the IV dynasty. Here the image of the ruler is full of majestic calm, he proudly sits on his throne. This statue has a cult character, which, according to the Egyptians, is the receptacle of the spiritual essence of the ruler. The portrait of Khafre is very real, but here the sculptor no longer showed a portrait resemblance, but the character of the pharaoh himself.
In addition to reliefs, frescoes and sculptures, temples were also erected in honor of the divine ruler. One of the best examples is the tomb of Queen Hatshepsut, which was built at the end of the 16th century. BC. in the Dray el-Bahri valley. This temple is dedicated to the sun god Amon-Ra, Hathor and Anubis, but the main deity is the queen herself. There are other monuments erected in her honor, for example, two obelisks that are in the sanctuary of the temple in Karnak, an inscription in the chapel of Stab el Antara. Despite the fact that this queen ruled for only 12 years, she left behind numerous monuments, but, unfortunately, she was not listed in the official lists of kings.
Thus, the cult of the pharaoh, which reached its apogee in the era of the Old Kingdom, became the state religion and found its embodiment in art, influencing the circle of works of art: sculptural portraits of pharaohs, picturesque and relief images of scenes from the life of their families and, of course, pyramids and temples erected in honor of the ruler were of predominant importance in ancient Egypt.
1.2 ArtAndpowerAntiquity.AncientGreeceAndAncientRome
The concept of "ancient art" appeared in the Renaissance, when beautiful works ancient rome And Ancient Greece was considered exemplary. This is Greco-Roman antiquity covering the period from the 8th century BC. - VI century. AD At this time, the aesthetic ideal prevails. in painting, sculpture and applied arts the image of an ideally beautiful and harmoniously developed human citizen, a valiant warrior and a devoted patriot dominates, in which the beauty of an athletically trained body is combined with moral purity and spiritual wealth.
Greek masters studied the plasticity of movements, proportions and structure of the human body during the Olympic Games. Artists sought realism in vase painting and sculpture, such as the statues of Myron "Discobolus", Polikleitos "Dorifor" and the statue for the Athenian Acropolis, Phidias.
Ancient Greek architects made a huge contribution to art. The rulers highly revered their gods and the Greeks erected numerous temples in their honor. They created the majestic style of the temple by combining architecture with sculpture.
To replace the classical period from the end of the 4th century. BC. a deeper understanding of the world comes, an increase in interest in the inner world of a person, the transfer of powerful energy, dynamics and justice of the image, for example, in the sculptures of Skopas, Praxiteles, Leochar, Lysippus. In the art of this time, there is also a passion for multi-figured compositions and huge statues.
The last three centuries in Greek civilization are called the era of Hellenism. Rome became the heir to the artistic art of the Hellenic civilization.
The Romans highly appreciated the heritage of Ancient Greece and contributed to the further development of the ancient world. They built roads, aqueducts and bridges, created special system construction of public buildings through the use of vaults, arches and concrete.
The sculptural Roman portrait deserves great attention, which are distinguished by their accuracy and realism.
Emperors ordered to build triumphantarches that were dedicated to their victories. The emperor passed under the arch during the triumph. The rulers sought to strengthen their power at the expense of art. In the forums, squares and streets of cities there were statues of rulers. The sculptors depicted their leaders triumphant over their enemies, and sometimes the emperor could also look like a god. For example, Emperor Trajan ordered the construction of a column in honor of his victories, the height of which was as high as a seven-story building.
The Romans perfectly planned the cities, built the imperial baths - the baths, the amphitheater - the Colosseum, erected the temple of all the gods of the Roman Empire - the Pantheon, all this is a great heritage of the world.
Ancient art had the strongest development of the art of subsequent eras. It is difficult to overestimate its importance for the development of Western civilization.
1.3 ArtAndpowerByzantium
Byzantine art culture associated more with religion. The church in Byzantium served secular power. The emperor was considered a servant of God on earth and relied on the church as on the bureaucracy. In such an environment, art was under the strict control of the church and the ruling classes.
Since Byzantium was under the pressure of all sorts of wars, its artistic work was aimed at rallying the people. Religious-state patriotism created a form of Byzantine art. At the same time, vital issues were resolved as spiritual ones. Their interpretation was to create aesthetic ideals, including state, religious and personal principles.
Temples played an important ideological and educational role, therefore, the best craftsmen worked in church architecture, who allowed the most significant construction and artistic problems. In architecture, complex interiors were created that, as it were, involved a person.
There was no development of sculpture in Byzantium as such, because sculpture was considered an idol. But there was a relief, in particular on ivory.
Painting was under strict church-state guardianship. Its development went along three channels: church mosaics and frescoes, icon painting and book miniatures. Here, strict rules in the depiction of saints and events from "sacred stories" were in advantage. The artist loses the opportunity to work from nature. Only high degree craftsmanship, made it possible to fill canonical images with a wealth of human feelings and ideas.
It should also be emphasized that secular art occupied a large place in the artistic culture of Byzantium. Fortifications, residential buildings, palaces were built. Secular sculpture played an important role. Miniatures that were of historical and natural science content never disappeared from Byzantine painting. Most of these art monuments have not been preserved, but their significance for the artistic culture of Byzantium must be taken into account.
The complexity of the stylistic development of Byzantine art was further complicated by the fact that over time the limits of the spread of Byzantine culture also changed. As a result of wars and invasions of neighboring peoples, the borders of the state changed. Separate areas fell away from Byzantium, new art schools were formed in them.
2. Middle Ages
2.1 ArtAndpowerFrance(XI- XIVcenturies)
Art at this time was influenced by churches and monasteries, which in turn were allies of royal power. Many politicians who strengthened the authority and power of kings were at the same time ministers of churches. For example, Abbot Suger is the builder of many churches and adviser to Ludwig VI and Ludwig VII. Therefore, art, in particular architecture, painting and sculpture, was influenced by the monasteries. The construction of monasteries was most often led not by townspeople, but by some monastic order or bishop, who was at the same time the feudal ruler of this city.
Romanesque architecture was integral to monumental sculpture and stone carving. She decorated capitals, portals that filled the entire facade, for example, Notre-Dame-la-Grand in Poitiers. Plastic decor can be traced in the churches of Burgundy (tympanums of the cathedrals in Vezelay and Autun) and Languedoc (Saint-Sernin in Toulouse, XI-XIII centuries),
Painting and sculpture acquired a monumental character. The outer facade was decorated with capitals, sculptures or reliefs. The walls inside the temple were painted with large frescoes and, as a rule, were not decorated with sculpture. One of the earliest monuments of sculpture, which is located on the facade of the temple, is the relief of the architrave of the church of Saint Jean de Fontaine in southwestern France. Monumental paintings were widespread in the churches of France. Now we have about 95 fresco cycles that have come down to us. The main monument is the frescoes of the church of Saint Saven sur Gartan in the region of Poitou (beginning of the 12th century), the rarest example that has preserved the picturesque decoration of France.
Secular farces and religious mysteries competed in the cities. Everywhere there was a struggle between the fantastic and the real and the mystical and the rational. But almost always in artistic creativity life was perceived in its contradictory and changeable balance.
An image of the art of the second half of the 13th century is the portal of St. Stephen on the south side of Notre Dame Cathedral (circa 1260-1270). The many countless statues of the Reims Cathedral, created during the 13th century, also belong to the masterpieces of high Gothic. 30-70s By the middle of the 13th century. a miniature took shape, according to the principle of decoration.
The masters of Gothic sculpture in the second half of the 14th century, during the period, nevertheless managed to show new forces, when the difficulties of the Hundred Years War sharply reduced construction work and the number of artistic orders. In the 13th-14th centuries. book miniature and stained glass painting were widespread. The main centers of stained glass art were in the 13th century. Chartres and Paris. A relatively large number of stained-glass windows have been preserved in Chartres Cathedral. Very good example transition from Romanesque to gothic style is the image of the Mother of God, sitting with the baby on her knees, who is on this moment is located in the part of the cathedral that survived the fire in 1194.
Miniatures of the late 13th-14th centuries. now they not only decorate, but supplement and comment on the text, acquiring an illustrative character. Typical works of the second half of the 14th century. these are the works of the miniaturist Jean Pucel, whose works include the Bible by Robert Bilsing (1327) and the famous Belleville Breviary (until 1343).
The medieval art of France played a huge role in the history of the art of its people and the peoples of the whole Western Europe. Its echoes (especially in architecture) lived for a very long time, receding into the past only by the middle of the 16th century.
art creative art power
3. Periodrenaissance
3.1 Italy(XIV- XVI)
The Italian Renaissance is a period of great achievement and change that began in Italy in the 14th century and lasted until the 16th century, marking the transition from the Middle Ages to modern Europe.
The most famous achievements are in the fields of painting and architecture. In addition, there were also achievements in science, philosophy, music and literature. In the 15th century, Italy becomes a leader in all these areas. The Italian Renaissance was accompanied by the collapse of politics. Therefore, all of Italy was divided into separate small states. The Renaissance had a great influence on Rome. In the 16th century, the Italian Renaissance reached its peak when there were foreign invasions that involved Italy in wars. Despite this, Italy retained the ideas and ideals of the Renaissance and spread throughout Europe, eclipsing the Northern Renaissance.
In art at this time, images of saints and scenes from scripture are common. Artists depart from any canons, saints could be depicted in modern clothes for those times. It was popular to portray Saint Sebastian, as he was believed to protect against the plague. Painting becomes more realistic, such as the works of Giotto, Masaccio, Leonardo da Vinci, Michelangelo, Botticelli.
Artists invent new colors, experiment with them. At this time, the profession of an artist is in great demand, and orders cost a lot of money. The portrait genre is developing. The man was portrayed as calm, wise and courageous.
In architecture, the architect Filippo Brunelleschi had a great influence, according to whose designs the Church of San Lorenzo, the Pallazo Rusellai, Santissima Annunziata, the facades of the churches of Santo Maria Navella, San Francesco, San Sebastiano and Sant'Anrea were built.
Thus, the perception of the world becomes more complex, the dependence of human life and nature is more clearly realized, ideas of the variability of life develop, the ideals of harmony and integrity of the universe are lost.
3.2 SpainXV- XVIIcenturies
The Spanish Renaissance is closely related to the Italian, but it came much later. The "golden age" of the Spanish Renaissance is considered the end of the 16th to the second half of the 17th century.
The development of the heyday of Spanish culture is the unification of a previously fragmented country, under the rule of Ferdinand of Aragon and Isabella of Castile. The centuries-old war with the Arabs stopped, after which new lands were in the possession of Spain, which had not previously belonged to them.
Foreign architects, artists, sculptors were attracted to the royal court. For a short time, Spain became the most powerful European state.
After Philip II founded Madrid, the artistic life of the country was concentrated there, where palaces were built. These palaces were decorated with paintings Spanish artists and great painters - Titian, Tintorentto, Bassano, Bosch, Brueghel. The courtyard became the main center for the development of art.
In architecture, under the rule of Catholic kings, churches were created in which they propagated the power and greatness of royal power. Buildings dedicated to Spanish victories were also created: for example, the church of the monastery of San Juan de los Reyes in Toledo - as a monument to the victories over the Portuguese in the battle of Toro, Escorial - as a monument to the victory over the French at San Quenten.
The most famous sculptors of that time are Alonso Berruguete, Juan de Juni, Juan Martinez Montañez, Alonso Cano, Pedro de Mena.
Thus, Spain made a significant contribution to the world history of art, which influenced the further attitude of people.
4. Newtime
4.1 ArtAndpowerFrance(XVIIIV.)
In the 18th century in France there was a struggle against absolutism, the church, the aristocracy, freethinking, this struggle was preparing the country for the bourgeois revolution.
French artistic culture is on the rise. It departs from the previously used canons, religious painting is becoming a thing of the past, and secular realistic and "gallant" genres are becoming the leading ones. Artists turn to the intimate spheres of human life and small forms. Realism is embodied in the disclosure of the image of a person.
In the XVIII century, there were periodic exhibitions of the Royal Academy - Salons, which were held in the Louvre, as well as exhibitions of the Academy of St. Luke, which were held directly on the squares. A new, characteristic feature was the birth of aesthetics and the development art criticism, which reflected the struggle of currents in art.
People at this time traveled around the countries and borrowed knowledge from each other. There are many Encyclopedias. People analyze works of art. For example, the works of Diderot "Salons", "Experience on Painting", the works of Rousseau "Art and Morality", "Discourses on the Sciences and Arts" and "Emil, or on Education".
Thus, the 18th century became known as the Age of Enlightenment. Enlightenment ideas not only influenced the development of art, the enlighteners actively intervened in its course. Enlightenment has become a powerful movement that refracted previous worldviews.
4.2 ArtAndpowerRussia(XIXV.)
In the 19th century the first decades in Russia there was a nationwide upsurge after the Patriotic War of 1812. Artists are becoming more in demand compared to the 18th century. They can express in their works the significance of their personality, freedom, where social and moral problems are raised.
Russia is now more interested artistic creativity. Art magazines are published: "The Free Society of Lovers of Literature, Sciences and Arts" (1801), "Journal fine arts"first in Moscow (1807), and then in St. Petersburg (1823 and 1825), the Society for the Encouragement of Artists (1820), the Russian Museum ..." P. Svinin (1810s) and the Russian Gallery in the Hermitage (1825).
The ideals of Russian society are reflected in architecture, monumental and decorative sculpture. After a fire in 1812, Moscow is being restored in a new way, here the builders rely on the architecture of antiquity. Sculptors erect monuments to military leaders, for example, a monument to Kutuzov at the Kazan Cathedral in St. Petersburg. The largest architect of this time, Andrei Nikiforovich Voronikhin. he designed a number of fountains for the Pulkovo road, finished the “Flashlight” office and the Egyptian vestibule in the Pavlovsk Palace, the Viskontiev Bridge and the Pink Pavilion in the Pavlovsk park. The main brainchild of Voronikhin is the Kazan Cathedral (1801-1811). The semicircular colonnade of the temple, which he erected not from the side of the main - western, but from the side - northern facade, formed a square in the center of the Nevsky prospect, turning the cathedral and the buildings around it into the most important town-planning node.
Artists depict historical events that took place in ancient times, for example, K.P. Bryullov "The Last Day of Pompeii", A.A. Ivanov, The Appearance of Christ to the People. Portraits of rulers are depicted, for example, a portrait of Elizabeth II, Peter I. Monuments are erected in honor of the rulers, a monument to Catherine II. During this period of time, a large number of artists appeared: Kramskoy, Ge, Myasoedov, Makovsky, Shishkin, Vasiliev, Levitan, Repin, Surikov, etc.
Complex life processes determined the variety of forms of artistic life of these years. All types of art - painting, theatre, music, architecture - stood for the renewal of the artistic language, for high professionalism.
5. PowerAndartSovietperiodRussia(XXV.)
During the Soviet period in Russia, revolutionary cataclysms occur, these revolutionary transformations call on artists to new creative experiments. The artistic life of the country requires an acutely social and understandable art for an unprepared aesthetic mass. The October events that led to the revolution, the artists began to glorify in their work. The victory of art at the front becomes a solid element of the Bolshevik victory.
Artists at this time occupy a very active and very popular position. They are engaged in the design of cities for demonstrations, the sculptors carried out the “Leninist plan for monumental propaganda”, the graphic artists are actively working on the design of classical editions of Russian and foreign literature. A host of new, previously unrealized artistic directions are being developed. New names and new directions appear: “Russian impressionism” - A. Rylov and K. Yuon; "Blue Bears" P. Kuznetsov and M. Saryan; representatives of the "Jack of Diamonds" P. Konchalovsky and I. Mashkov with the carnival festivity of their paintings, decorative in color and composition, A. Lentulov, who made the image of the Russian medieval architecture live the intense rhythms of the modern city. Pavel Filonov worked in the 1920s. Based on the method he called "analytical", he created during these years his famous "formulas" ("Formula of the Petrograd Proletariat", "Formula of Spring", etc.) - symbolic images that embody his ideal of the eternal and permanent. K. Malevich continued his path in non-objectivity, and Suprematism developed by his students I. Puni, L. Popova, N. Udaltsova, O. Rozanova began to spread in applied art, architecture, design, graphics.
In sculpture, works inspired by "revolutionary romance" were created in the 1920s by Ivan Dmitrievich Shadr (real name Ivanov). These are made by order of Goznak (for the image on new Soviet banknotes, stamps and bonds) "Sower", "Worker", "Peasant", "Red Army Man" (all 1921-1922). One of his most famous works is the work "Cobblestone - the weapon of the proletariat, 1905". This work is dedicated to the 10th anniversary of Soviet power. Shadr sought to use the traditions of world art and create a work inspired by the spirit of modernity, as he understood it.
Thus, painters, sculptors, writers and many others, had to look for public solutions. The means for creating monumental images have become: Soviet heraldry, figurative symbols, which have become a popular designation of the atom, outer space. Symbols of friendship, labor, peace… only great ideas could give great solutions.
6. RatioauthoritiesAndartVis ourtime
Behind recent times everything has changed, but the interaction of power and art remains very important and topical issue. The relationship between these two industries is especially evident during periods of political and social change. Now there is no censorship, which means that every person who wants to express his thoughts and ideas through art can do this without fear of being punished. This is a colossal breakthrough in the field of freedom of creativity and spirit.
At the moment, in different cities there are numerous exhibitions on different topics. Periodically, exhibitions are held that highlight the problem of art and power. These exhibitions are interesting for people studying history and political science. Recently, a similar exhibition was held in the Swedish Museum, which was called "Art for the rulers." At this exhibition there were more than 100 expositions and with the participation of 400 exhibits from different eras.
Art does not stand still, it develops rapidly from different sides. Nowadays, there are many different directions. World cultural heritage replenished and replenished, and this is very good for our time.
Conclusion
In the course of the work, we found out that art has been changing under the influence of power over the centuries in different countries of the world.
After analyzing the situation, we found out that art depends on the political system and the ruler of the country. Art and power arose and developed simultaneously and are an integral part of the formation of social life.
I think that the government had more opportunities to control society and increase its power through art than it does now. Decades later, we finally freed ourselves from strict canons and all sorts of prohibitions. A person can express his individuality, as soon as he invents and wants. Artists, sculptors and musicians have unlimited freedom, but it's hard to say whether it's good or not. But after many years and our centuries, our descendants will admire and be proud.
Listusedliterature:
1. T.V. Ilyin. Art history. domestic art. Moscow. year 2000
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Alexander Alexandrovich Vlaskin
Political motives of art
Artistic creativity, self-expression, as well as the activities of politicians, have a great impact on society. A lot has been said and written about the close connection between art and politics, this connection was strengthened back in ancient times, when sculptors and artists formed heroic images rulers, reflected their exploits and victories. Late art began not only to praise, but also to denounce, vilify certain figures or ideologies. What are the political motives of art, those who create it?
Politicians make history, stay in it, just as artists and writers strive to stay in it... The authors not only depict the world for posterity, but also contribute to the formation of modernity, give an assessment and offer their vision. At the same time, both processes are politically engaged, because what arouses public interest is beneficial to those who want to gain power.
Mass culture, progress in the field of information transfer, the emergence of global means of communication, as well as the dominance of the clip model of consciousness - all this has significantly affected both art and politics. In fact, modern man it is difficult to hide from propaganda, offers of different opinions, and art can clothe some ideologemes in a popular and fashionable form.
In itself, contemporary art is part of the aesthetic and ethical paradigm, materializes the spirit of the times in certain works, and therefore does not remain aloof from topical issues.
Modern Art seeks to shape fashion, fashion influences the way of life and the worldview of the consumer society. The author, in turn, can engage in artistic labeling, demonizing some and exalting others, and part of the audience adopts his views, not even being interested in politics as such. Since contemporary art is often a protest, a rebellion of the author, a response to established norms, stereotypes, a test of public morality, then political opposition is also characteristic of it. Figures of contemporary art in different periods of history were singers and artists of revolutions, even if some later understood the tragedy of such a path. However, contemporary art in Russia is now partly used as a political tool.
Contemporary Art Intervention and Post-Soviet Russia
Mayakovsky, who for his time was a provocative and progressive author, spoke about “a slap in the face of public taste”. At the end of the twentieth century, slaps turned into a series of blows, into a kind of provocative competition.
The period of perestroika, and later the 90s, is characterized by the fact that a number of scandalous authors received a kind of “all-terrain vehicle pass” into all spheres of society. The competition of permissiveness resulted in dozens of exhibitions, events, performances, where the moral bar was lowered, there was an attack on traditional, conservative foundations and values.
The landmark event that Vladimir Salnikov speaks of has become very characteristic: “The art of the 90s itself was born on April 18, 1991, when Anatoly Osmolovsky’s group “These” laid out the word of their three letters with their bodies on Red Square.”
One of the symbols of the strengthening and spread of new approaches was the naked Oleg Kulik, who portrayed a dog. The prehistory of this act, which received worldwide recognition, is also indicative - the artist “became a dog” from hunger. He simply gave the critics what they successfully presented to Western society, but which remained wild for Russia.
Despite the fact that the majority of citizens still adhered to conservative views, and were far from studying the subtleties of art history, a large and vibrant community of informals formed in the dying Soviet Union. From the informal environment, dozens of artists, poets, and musicians emerged, who, in the period of permissiveness and encouragement to go beyond the moral framework, received an unlimited opportunity for creative experiments.
The new art, which received a certain carte blanche and was supported by awards, could not reformat the consciousness of the older generation, but it could have a very serious impact on young people, especially in the absence of state programs in this area.
Like bright, but artificial and often harmful products, in the wake of perestroika, samples of Western art, which were not previously widespread, but began to be called advanced and progressive. Here is abstractness, seeking to displace realism, and existential experiences, and depressiveness, and the denial of the canons, and experiments with the body instead of exploring the soul. And such a product was cultivated, as chewing gum or alcohol was cultivated.
However, there are dozens of examples of works and authors who did not have a destructive impact on society, but some precedents can be considered serving pro-Western political interests. For example, the figure of a professional political strategist Marat Gelman, who became a conductor of contemporary art. He actively participated in the political life of the country in the 90s and early 2000s, but after a series of scandals when his exhibitions were called insulting and violating the foundations of Russian society, he announced the curtailment of the contemporary art market in Russia, and later moved to Montenegro, actively criticizing the policies of Vladimir Putin.
Called himself a political activist and Alexander Brener. He gained fame by appearing naked in certain places, explaining this with various subtexts. One of his most memorable actions was a show on the Execution Ground of Red Square in boxing gloves with a challenge to the fight of the then President Boris Yeltsin. True, in this case Brener was still in his shorts.
In the processes of promoting new and incomprehensible creativity, art managers and gallery owners come to the fore, which can contribute to the development and prosperity of the author. They also send requests to his activities, bring, if necessary, a political component in the order or selection of works.
By the beginning of the 21st century, a community had developed in Russia that dealt not so much with classical art as with provocative experiments. This applied to the visual arts, and cinema, and theater. Depressive art that denies authority and despises classical canons began to be elevated to the norm. It also brings to mind “Norma” by Vladimir Sorokin, a cult writer who gained popularity just at the turn of the century. It was not for nothing that his prose was called "excremental", since much attention was paid to excrement.
Features of the positioning of contemporary art
Of course, not all authors and gallery owners pursue political goals and increase their popularity through provocations. For example, the well-known gallery owner Sergei Popov spoke about the cutting of icons and other mockery at exhibitions: “I reacted extremely negatively to the exhibition“ Caution, Religion ”- it was a provocation in its purest form. And it gave rise to a very bad reaction of the conservative public to contemporary art, we are still reaping the fruits of such idiotic actions. As a provocation, art can only be presented in countries where they are ready for it. But artists do not have the right to slaughter pigs and show images of naked women in countries where Sharia is in force - they will be beheaded for this. And in Russia it is impossible to organize provocations on religious topics, not to take into account the context of the country.
Thus, provocativeness is not a prerequisite for contemporary art. This is more of a choice, and a conscious and motivated choice. Those who have made this choice often become participants in not only artistic, but also political processes, a tool in the hands of political technologists.
Actionism has become an important feature of the post-Soviet period. One of the leading artists, Anatoly Osmolovsky, described this phenomenon as follows: “In a society that is not sensitive to art, the artist has to hit the head with a microscope, instead of observing some beneficial bacteria in it. Society in Russia is not sensitive to art, therefore, since the 90s, our artists have been practicing direct entry into society itself - these are actions, interventions.
Actionism, being a way out of the usual artistic spaces, is also close to politics, and a number of actions carry political overtones. This kind of activity also attracts the media, which actively broadcast bright and provocative actions. With the development of the Internet, clip and viral events are becoming a popular product that reaches a wide audience. This is the undoubted benefit of using contemporary art to promote the desired ideology.
Journalists brought actionism, which often falls under the article of the Criminal Code of the Russian Federation on hooliganism, to a new level of popularity. It is strange in itself that the action of the group "War" with the overturning police car generally called an artistic act. But this group also received in 2011 the prestigious Kandinsky State Prize, established by the Ministry of Culture for an action with a drawing of a member on a drawbridge opposite the FSB building in St. Petersburg.
The current "troublemakers" who implement an ideologically destructive message are the artist Pavlensky, " Pussy Riot”,“ Blue Rider ”, formerly the art group“ War ”- all of them were formed just under the influence of the style of the 90s, encouraging permissiveness, which was made synonymous with freedom. And such examples can be called one of the weapons of the information war. Just as in the late 80s, rock and roll became a weapon against communism and "sovietism". True, unlike rock hymns, the actions of drawing huge phalluses or wrapping in barbed wire do not get such a large number of fans.
The political overtones of Brener or the provocations of Ter-Oganyan, who cut icons with an ax, were replaced by an orgy of the art group "Voina" in the museum, dancing in the temple, but the essence remained the same - the author gains fame (albeit scandalous) and citation, and a possible customer or patron - a political metaphor accessible to the masses, which can be actively used in the future.
According to the artist Nikas Safronov, today about a hundred people decide the policy of all art in the world, and it does not matter whether you can draw or not. If you have charisma, if you made people talk about themselves, this can already be part of the art.
Clash of provocateurs and conservatism
In fact, as many experts said, including A. Konchalovsky in his famous lecture on contemporary art, the goal of provoking often replaces artistic skill, as can be seen from the flagships of the genre.
With the strengthening of conservative sentiments, with the strengthening civic patriotism and statehood in general, the free actions of artists-provocateurs began to receive more and more criticism.
By the beginning of the new century, postmodernist fashion had become stronger in the theater, in literature, and in the visual arts, while the chosen conservative course of the state led to a clash of interests and preferences in the artistic environment. Some sought to show something that required additional explanation, something that largely repeated the Western tradition of ten, twenty and thirty years ago. But the principles of shock therapy in art, popularized at the same time that shock therapy was applied in the economy in relation to the whole country, did not captivate the majority of citizens. Outrageous, arrogant, obscure, defiant, sometimes aggressive and depressing - all this remained alien. Realizing this, the conductors of such art began to insist on the elitism of their product, on the fact that it is only for the elite, educated and highly developed. This division became one of the factors of the conflict. This feature has already manifested itself more than once in Russian history, but not everyone draws conclusions. The people are called cattle, gray mass, quilted jackets and so on. Separate epithets are awarded to the Orthodox community, which was recorded as "obscurantist". This approach small group fences off, and also cuts off the possibility of spreading popularity to the general public, calling his product "art not for the masses." Take, for example, the play "Boris Godunov" by Bogomolov, where on stage academic theater the situation in power is displayed with a hint of modernity, and on large screens the titles “The people are stupid cattle” go on and on.
Following the traditions and principles for one part of society is portrayed as something shameful and backward, and this is one of the important tasks of the Russian liberal ideology. The image of the "stealing priest" appears in films ("Leviathan"), and in songs (Vasya Oblomov's "Multi-Move"), and on stage ("Boris Godunov"). All this looks like the development of one trend, and the most effective remedy for this seems to be the creation of an alternative artistic product of a mass orientation. Excellent examples in this area are the film "The Island", the book "Unholy Saints", etc.
Perhaps the most resonant conflicts of provocation and conservatism were the recent situation with the opera Tannhäuser, as well as the scandals around the Forbidden Art exhibition in 2006. Here we can already talk about the clash of political concepts, liberalism and Westernism against guardianship, when there is a deliberate destructive effect on objects and objects of religious worship.
The Church and Orthodoxy in general become one of the targets of artistic provocation, which can be called a way of influencing national archetypes. These are the famous cathedrals of blue enemas, and the cutting of icons, and so on.
True, contemporary art can influence politics in a more straightforward way. The same play "Boris Godunov" is a caricature of the current government with images of both the president and the patriarch. There are also performances at the “independent” Theatre.doc, where the plays Berlusputin, Bolotnaya Delo, ATO appeared, and now they are preparing a play about the Ukrainian director Sentsov, who was convicted of preparing terrorist acts in Crimea. Here there is a defense of the right to swear on stage, which is called an integral artistic device.
At the same time, when this theater began to have problems with the premises, they actively stood up for it as famous Russian figures cultures as well as Western ones. The inclusion of foreign cultural stars in the political agenda is a popular technique. They stood up for the "Tannhäuser", and for the same Sentsov. It is worth remembering Madonna, who went to one of the concerts with the inscription "Russian Riot" on her back, although she really did not know anything about this band. Such examples demonstrate the unity of political goals, and the general lines that directors, actors and artists are willing to serve.
It is also interesting to observe the penetration of politicized contemporary art into the regions. Liberals traditionally had low popularity in the provinces, and art can convey those theses that are difficult to perceive from the lips of visiting politicians. The Perm experience with the massive introduction of modern and incomprehensible art to the Ural region proved to be in the best way. The apotheosis of the participation of politics in this process was the exhibition of Vasily Slonov, who depicted the symbols of the Sochi Olympics in a disgusting and frightening way. But theatrical productions are more understandable, with their help it is easier to broadcast the worldview. Therefore, Theatre.doc tours with pleasure, therefore they tried to put on a scandalous play "The Bath Attendant" in Pskov, therefore the "Orthodox Hedgehog" appears in Tomsk.
A number of cultural figures joined the columns of demonstrators and protesters. In itself, this is not new, since there have always been many rebels in art, that's just the current Russian situation devoid of any romantic revolutionism, it is rather a monotonous game of dissidence, to which Ulitskaya, Makarevich, Akhedzhakova, Efremov, partly Grebenshchikov and others joined talented people mostly retirement age. They are glad to see representatives of the old intelligentsia, who still remember the kitchen policy and samizdat, but the youth are such "leaders public opinion"Somehow not impressed. Of the young opposition figures, in addition to Tolokonnikova and Alyokhina, who are perceived ambiguously even by the opposition, one can single out musicians Vasya Oblomov and Noize MC, who, however, are not so radical.
Guardians in contemporary art
Along with the liberal forces, which see in modern pro-Western, postmodern art their life-giving environment, as well as the opportunity to broadcast an ideology close to them, more and more authors began to appear, as well as creative unions who, using the avant-garde style, pop art, already defend patriotic values.
Fashionable areas of art can and should be a means of self-expression and transmission of the necessary theses for the protectors, for those who need an independent Russia that honors traditional values.
Examples of political protection in art can be seen not only in the halls and galleries, but also on the streets of our cities. Many exhibitions of artists supporting the Kremlin's policies, as well as thematic performances, are held under open sky, attracting both hundreds of spectators and journalists.
Separately, one can note street culture - street art, one of the most popular manifestations of which is graffiti. In Moscow and a number of other cities, more and more patriotic graffiti began to appear, and large-scale ones, covering hundreds of square meters of the surface.
There are also artists who draw inspiration from patriotic themes and images of the country's leaders. So, a discovery in this area a few years ago was the St. Petersburg artist Alexei Sergienko, who became famous for a series of portraits of Vladimir Putin. Then he created a number of paintings in the style of Andy Warhol, but only with iconic Russian symbols, as well as a collection of "patriotic" clothes, in which the ornament was from nesting dolls and other classical elements of Russian culture.
In music and literature, a certain patriotic layer has formed around the theme of Donbass. These are Zakhar Prilepin, who was previously considered an oppositionist and collaborated with the NBP, and Sergey Shargunov, and the most popular group "25/17" with heartfelt lyrics, and a number of others famous authors. These people and collectives, each of which has thousands or tens of thousands of fans, constitute a serious counterbalance to the liberal wing of creative figures.
Entire associations also attract attention. Thus, the Art Without Borders Foundation caused a huge resonance with the exhibition “At the Bottom”, which collected examples of immoral and sometimes offensive scenes in modern Russian theater. At the same time, attention was drawn to the fact that budgetary funds were received for a number of scandalous productions. This action has caused a storm of indignation in a part of the theatrical environment .
The fund itself, however, is also known art exhibitions, in which young authors demonstrate works on current political topics in the style of pop art.
There were also theatrical performances in a patriotic spirit. One can recall the attempt of the Vladimir theater to transfer the story of the "Young Guard" to modern Ukraine - this performance received many angry reviews from critics.
There is also the SUP project, which was noted not only for readings on the Ukrainian conflict, but also for a small political performance about dreams about revolutions and historical experience that denies these very revolutions.
In the season that has begun (both political and creative), we should rather expect a strengthening of the protective link, strengthening and greater artistic diversity. At the very least, the prospect of attracting an audience depends on the quality of an artistic product, its originality and spectacularity, and this is, in fact, a struggle for the intelligentsia, for those who can be leaders of public opinion. And the reflection of opinions and beliefs on the stages and in the halls is no less important than street performances.
On the current situation in the field of contemporary art
By the 2015-2016 season, the liberal part of the art community continued to talk about “tightening the screws” and increasing government pressure. The scandal with the prize " golden mask”, which they decided to reformat. The established expert council from among “their own” was changed, which angered many critics and directors. Kirill Serebrennikov and Konstantin Bogomolov even refused to participate in upcoming events. But the experts simply became different, with different opinions and views, and not people from the same camp. But even this angered liberals, who saw politics in the change. It turns out that the so-called "freelancers" are intolerant of criticism, and the most prestigious theater award was usurped in order to introduce its own canons and principles, far from classical and academic, into the domestic theater. The authors of the main stage scandals at one time became the owners of this award. The “Golden Mask”, in turn, played the role of some protection: “Well, you can’t scold him, he’s the winner of the“ mask ”.
Figures of contemporary art are trying to present themselves as special, outstanding, while dictating own opinion paying attention to politics. Political motives can only intensify next year, which will see parliamentary elections and, consequently, an increase in political activity. Due to the Internet, a number of authors and critics get access to a wide audience, and bright and original works will be aimed at spreading the necessary ideologies. Even manifestations of a new wave of political actionism are not ruled out.
Naturally, it is both difficult and irrational to suppress such a wave with prohibitions and restrictions. On the other hand, the practice of symmetrical responses seems to be quite viable - something that has already been successfully tested in foreign policy. That is, in the world of art it will be a response of creativity to creativity, creativity to creativity, a battle for the audience, despite the fact that the majority of the population is still inclined towards conservative and traditional values, is not looking for ways to understand the abstract, is not ready to substitute its taste for " slaps" artists. Naturally, this statement does not apply to outright provocations and violations of the law, for countering which there are completely different reliable mechanisms.
