Belyaev, V. A. The Esthetic Side of Art Nouveau In Terms of Post Cultural and Intercultural Logic of its Development and the Image of a Modern Artist. Part 1. Part 2.

Abstract: The main goal of the present research article is to draw a portrait of Art Nouveau in terms of the developing project of post culture (the logic of the ‘criticism of culture’ in terms of the ‘culture – individual’ relation). The author defines post culture (or ‘differentiave culture’) as a type of socio-cultural construction that views differentiation (individuation) of the anthropological universum as the main process. By contrast, ‘culture’ (‘integrative culture’) has the priority to integrate an individual into the global community. The author views the process of post culture development starting from the period of Enlightenment, in particular, Kant’s critical philosophy when the project of ‘pure post culture’ was offered. The author views the periods ‘before’ and ‘after’ that are viewed by the author as the logical movement towards it and the logical creation of alternatives thereto respectively. The author’s model of the development of modernistic views is based on a philosophical plan. At the same time, the author tries to show how the evolution of modernistic intentions was expressed in art (mostly in fine arts). The author starts his discussion from comparing the negative portraits of ‘integrative culture’ and ‘differentiative culture’ in art. Then he goes to the logic of the positive project of post culture offered by Kant. Based on Kant’s concept as the starting point, the author describes the movement towards it and the attempt to apply it during the Great French revolution as well as the development of ‘cultural alternatives’ to Kant’s post culture including the classical Hegelian and non-classical Marxian theories. Analyzing the 20th century as the period when post-modern was created based on the criticism of the general European post-cultural victory after the First World War, the author proceeds to the discussion of ‘modernity’ and ‘interculturality’ (the logic of the development of the ‘criticism of culture’ is shown in terms of the ‘culture-culture’ relation). The author also touches upon the historical period when there were various attempts to restore the ‘cultural’ socio-cultural structure (cultural remissions). The most significant examples of the latter were social and political concepts of communism and fascism. A special focus is made on the development of the image of a ‘modern’, i.e. post cultural artist (man of art). Tracing back the logic of its development from the Romantic period till the end of the 20th century, the author shows that its structure was defined by the sensual-individual direction of post culture. At the end of his research the author analyzes V. Rozin’s position on modern art and artist expressed in his article ‘Reflections on Modern Art’.

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