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Man and Culture
Reference:
Nikolovskaya Y.V., Semeyskaya G.O.
Image and Style in a Modern Landscape Painting
// Man and Culture.
2022. № 6.
P. 78-89.
DOI: 10.25136/2409-8744.2022.6.39496 EDN: TGZHHQ URL: https://en.nbpublish.com/library_read_article.php?id=39496
Image and Style in a Modern Landscape Painting
Nikolovskaya Yuliya Vasilievna
Associate Professor of the Department of Painting and Composition, Member of the VTOO "Union of Artists of Russia", Kuban State University
350040, Russia, Krasnodar Territory, Krasnodar, Stavropol str., 149
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ynika22-artist.@mail.ru
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Other publications by this author
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Semeyskaya Galina Olegovna
Associate Professor of the Department of Painting and Composition, Member of the VTOO "Union of Artists of Russia", Kuban State University
350040, Russia, Krasnodar Territory, Krasnodar, Stavropol str., 149
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info@minobrnauki.gov.ru
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DOI: 10.25136/2409-8744.2022.6.39496
EDN: TGZHHQ
Received:
23-12-2022
Published:
30-12-2022
Abstract:
Статья ретрагирована в связи с недопустимым заимствованием публикации другого автора:
Дрозд А.Н. Образ и стиль в современной пейзажной живописи // Вестник Кемеровского государственного университета культуры и искусств. 2015.№. 32.С. 196-204.
The subject of research in this article is a description of a number of creative formalist approaches to modern landscape painting, which are born under the influence of rethinking the leading stylistic trends of the 20th century by artists. Approaches in the landscape genre are analyzed, which are based on the study of world experience and the artistic heritage of different countries, as well as the principles of academicism. Particular attention is paid to analyzing specific examples of modern landscape practice. Also, it is extremely important to characterize the plots and images of paintings, variations of the artistic language that are used in visualization. The main conclusions of the study of the topic is a detailed disclosure of the concept of "image" of landscape painting. There is also a distinction between the concept of style in art into a stylistic direction, considered in a narrow sense, and a historical style, considered more broadly. The author's special contribution to the study of the topic is that in modern landscape painting the formalistic approach can become one of the structural components of a new style in art, if this is accompanied by appropriate factors. The form in this perspective is precisely the link that the creator lacks to create a full-fledged creative image that has developed in his imagination.
Keywords:
nature, style trends, landscape painting, landscape, historical style, painting, image, trends, visualization, art
References
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4. Benois A. N. History of Russian painting in the XIX century.-M.: Respublika, 1995.-488 p.
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10. Pilipenko V. N. Landscape painting.-St. Petersburg: Artist of Russia, 1993.-208 p.
11. Rosenthal A. V. The main thing about art.-Ogiz: Izogiz, 1937.-132 p.
12. Sarabyanov D. V. Style and individuality of Russian painting of the late XIX-early XX centuries // Russian Painting. Awakening memory.-M.: Art, 1998.-S. 179-192.
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Peer Review
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The author submitted his article "Image and style in modern landscape painting" to the magazine "Man and Culture", in which a study of the relationship between style and image in fine art at all historical stages of its formation was conducted. The author proceeds in studying this issue from the fact that despite the variety of forms and trends of modern art and their apparent isolation from reality and traditions, the formation of new approaches is based on the heritage of world art. Modernist genres, as the author notes, although based on the individual imagination and self-expression of the artist, are formed on the basis of old creative postulates, acquiring only a new form. After analyzing the landscape works of different eras, the author notes that each artist tries to illustrate his historical time and displays it depending on the trends that exist during his work. Unfortunately, it is impossible to understand from the text of the article what the relevance and scientific novelty of the research is. The methodological basis of the study was an integrated approach containing historical, socio-cultural, artistic and compositional analysis. The theoretical basis of the research is the works of A.V. Rosenthal, J. Gerras, D.V. Sebastianov, O.A. Krivtsun, etc. The empirical basis of the study was the samples of modern landscape painting. Accordingly, the purpose of this study is to analyze the specifics of the transmission of images of landscapes, as well as the forms of reproduction of thoughts and experiences, which involve the creation of objects that affect the public as aesthetic levers. Having studied the degree of scientific elaboration of the problem, the author concludes that some scientists consider this problem from a rather narrowly focused position, perceiving painting as one of the types of art that relies on how the painter perceives the reality surrounding him. However, the author explains this position by the existence of various trends in the field of classical art, which were widespread in the era of modernism. Having conducted a historical analysis, the author identifies the main periods of the origin and development of world landscape painting, paying special attention to the study of the variety of directions of the landscape genre of Russian artists, starting in the XVIII century and up to the present. Analyzing the dynamics of the development of the landscape genre, the author states that each creator sees his art individually, depending on the emotions, views, values that he has developed. Therefore, the author's position is such that painting cannot be considered only in the context of one style, it is important to analyze several key approaches here in order to fully perceive the idea that the author wanted to put into his work. Many paintings are painted much deeper than it might seem at first glance. They embody the historical dynamism, the plot, and the individualism of the creator. Based on the works of D.V. Sebastianov and O.A. Krivtsun, the author interprets the concept of style as a community of emotional, mental, as well as intellectual and semantic components. Currently, the style in landscape painting, according to the author of the article, is going through a stage of its active development. It is often expressed in rather abstract and often bizarre forms, undergoing numerous changes at all levels. Most often, the style is now becoming fragmented, and the awareness of the target community of art is gradually being leveled. In modern times, out of the many artistic trends, the style, which manifests itself as an expressive concept, stands out in the works of the Impressionists and postmodernists, and later the avant-gardists. Using the examples of landscape works by the artist A. Drozd ("Mallorca Island, Valdemossa", "View of the Tom River from the workshop window", "Tom River"), the author conducts a stylistic and compositional analysis, identifies techniques and expressive means peculiar to modern landscape art. Based on the analysis of landscapes, the author concludes about the stylistic directions that are characteristic of landscape painting in the 21st century, namely: associative, allegorical landscape (the artist's view is focused on a specific problem or topic that is significant to him); full-scale landscapes that are made using decorative techniques (do not follow the laws of aerial perspective, such landscapes depict more conventional color schemes than in the depicted nature); preference for monochrome technique. After conducting the research, the author presents the conclusions on the studied materials. It seems that the author in his material touched upon relevant and interesting issues for modern socio-humanitarian knowledge, choosing a topic for analysis, consideration of which in scientific research discourse will entail certain changes in the established approaches and directions of analysis of the problem addressed in the presented article. The results obtained allow us to assert that the study of the dynamics and transformation of a certain direction of fine art, depending on both the historical period and the artist's worldview, is of undoubted theoretical and practical cultural interest and can serve as a source of further research. The material presented in the work has a clear, logically structured structure that contributes to a more complete assimilation of the material. An adequate choice of methodological base also contributes to this. The bibliographic list of the study consists of 13 sources, which seems sufficient for the generalization and analysis of scientific discourse on the subject under study. The author fulfilled his goal, received certain scientific results that allowed him to summarize the material. It should be noted that the article may be of interest to readers and deserves to be published in a reputable scientific publication.
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