ating of a trunk upwards and in breadth, it seems an embodiment of spontaneous power of the nature, really "a life tree". So the by, through specific activization of the picturesque form, Сар'ян comes to a condensation ordinary-real to eternal poetic symbols.
As a direction of Russian painting of the beginning of XX century "the Blue rose "is closest to symbolism poetics. A basis of this affinity is basic installation on transformation of images of the validity on purpose to exclude possibility of literal perception of things and the phenomena, having cleared in them not ordinary, high communications and values.
In the fine arts it pours out in predilection for any transformations in sphere of visual perception - to sharp perspective reductions and the unexpected foreshortenings altering the form of subjects, to reflex ions in water, on glass, in mirrors, to the stuffy vibration dissolving contours, etc.
The theatre becomes sphere of the most effective any more only visual, and universal transformation of the validity at that time. It has appeared that soil where painting of "the Blue rose" and symbolism have met directly. The most interesting variant of this dialogue of painting with symbolism at theatre represents NNSapunova's creativity (1880-1912).
Together with other master of "the Blue rose" - SJSudejkinym (1882-1946) it became the designer of symbolical dramas first in Russia M.Meterlinka (at Theatre-studio MHT on Cook, 1905). Cooperation with from here originates. Мейєрхольдом - In statements "Гедда Габлер" Ibsen, "Балаганчика". p> On the other hand, "the magic of theatre", forcing to worry artificial, invented and fantastic as original and live, it is transferred to easel painting. So there is a whole group of the products written "apropos" of corresponding theatrical performances.
The romantic artist who has become isolated in the world, created by whims of imagination, starts to accept generations of own imagination for the validity. There is a transformation symbolical "the magic world" in "Buffoonery" - are that "теза" and the symbolism "antithesis", noted by the Block in 1910, and still earlier, in the 1906 which have become by a theme of a lyrical drama "Балаганчик", which statement made out. From the moment of work on this performance at creativity constantly there are elements of exhibition buffoonery, baste stylization and grotesque. These tendencies reach the apogee in not finished picture "Tea drinking" (1912)
"A jack of diamonds "
The boundary is noted 1910-1911 by occurrence on arena of an art life of new grouping under the causing name "a jack Of diamonds". A constant kernel of the society which have existed actually till 1916, the artists P.Konchalovsky, I.Mashkov, A.Lentulov, A.Kuprin, R.Falk who have become subsequently by visible masters of the Soviet art have made. "The jack of diamonds ", the having charter, exhibitions, collections of articles, was a new influential direction in Russian art of the beginning of XX century
The impressionism in all its updating was simultaneously and a starting point of art development, and that creative method in which overcoming artists of "A jack of diamonds" saw the priority. From the very beginning they act as furious opponents of previous art - "the art World", the refined psychologist of painting of "the Blue rose" are rejected from a threshold. At the heart of discontent of young artists with a state of affairs in the modern art social motives - crisis in Russia, with especial force shown in revolution 1905-1907, and come then years of reaction (1907 - 1910) laid. This discontent with a "twilight" epoch was expressed in відкиданні all vague, mysterious, held back in art.
In a counterbalance of symbolical painting of "the Blue rose" artists of "A jack Of diamonds" aspired to express most considerably movement from concentration on subjective not clear sensations to finding of stability of a vision, colors, to the constructive logic of picture construction. The statement of a subject and concreteness in a spatiality counterbalance makes an initial principle of their art.
In this connection painting of subjects - a still-life is put forward on the first place. Polemic problems of painting of "a jack of diamonds" have found especially bright embodiment in creativity of one of group II founders. Mashkov (1881 - 1944). "Dark blue plums" (1910) it is possible to consider it as the original slogan of this direction. The image of the fruit laid in a static decorative composition, as though has fallen asleep halfway from crude substance of paints of a palette to real color of nature. The artist assimilates the work to work of the handicraftsman doing things. In this case such thing is the picture. The artist approaches painting to national creativity with feeling of an initial material inherent in it.
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