In nakedness of the process of creation of a picturesque thing and in pathetic піднесеності colorful sounding the initial principle of a folk art is as though formulated by Mashkov: a combination of two parties of a national life - work and a holiday.
It is so declarative, as in "Dark blue plums" Mashkov, confirmed by "A jack Of diamonds" the new approach to nature development is expressed PPKonchalovskim (1876-1956) in "G.Jakulova 's Portrait" (1910). The artist brings in traditional area of ​​domination of psychological problems натюрмортное, the substantiating beginning. It eliminates everything that concerns passing inwardness of the person, underlining all of what there are the steadiest, bright, in the true sense words picturesque signs of individual external shape. Here we deal with the specific system of simplifications peculiar to a national popular print, a toy, a signboard. Not casually criticism sometimes defined style of painting of "a jack of diamonds" as a whole as "style of a signboard ". The Same criticism repeatedly marked a direct connection of new generation of the Moscow painters with modern it the French painting ascending in the sources to Cezanne. However Cezanne's painting has been apprehended by "a jack of diamonds" through a decorative variant, in particular Matisse. p> The cult of a decorative reigning at the beginning at artists of "a jack of diamonds ", dispersed from Cezanne's painting in one rather essential point: in easing of sculptural sensation of the form. The impression of materiality of a subject which artists in the first products tried to achieve, arose not at the expense of sculpturing-volume construction of the form, and at the expense of massiveness of the invoice while the space looked decoratively spread and is frequent owing to it amorphous. In overcoming of this lack a known role the cubism - the current of the painting finding theoretical motivation to the experiments in the recommendation given once by Cezanne to make the mental analysis of difficult forms by their approach to the basic geometrical configurations - to a cube, a cone and a sphere has played. Masters of "a jack of diamonds" used similar receptions. So, Konchalovsky's "Agave" (1916) represents a variant of mastering of experience of the cubism, passing extreme measures of schematic splitting of the form. The artist has seen a way of the analysis of spatial relations in cubism. The picture space is thought as a certain subject, from it with effort subjects represented which form as if breaks, deformed, with effort winning for them the necessary vital environment take shape. Things actively take root into space surrounding them, as if overcoming its resistance. From here impression of dramatic character. Things as though are on guard of the won place, they do not yield easily, seem hostile to the person, aloof from it.
The genre of a still-life begins capable to transfer the new maintenance, conformable the present with its contradictions and sensation of approaching shocks. In painting of "a jack Of diamonds" value of high art has been returned a still-life.
Along with a cubism the futurism - one more arisen in Italy in the same years a painting current becomes the important component of graphic style of "a jack Of diamonds "from the middle of 10th years. Proclaiming original language of the future industrial rhythms of an epoch of scientific and technical revolution, it demanded introduction of these rhythms in the design of a work of art. One of its receptions is "installation" of subjects or parts of the subjects taken as though at various times and from different points of the review. Movement of the subject, i.e. the spectator, is transferred on object which is allocated with spontaneous dynamics, by ability to freakish updating of the form. This effect in a combination to cubic "Shift" of forms and stratification of spatial plans we see in AVLentulova's decorative pictures-panels (1882-1943) "Vasily Blazhennyj "(1913) and" Ring "(1915). p> The image surface is thought here by similarity of the mirror jingling and split by a powerful sound wave in which the colorful Moscow architecture is reflected. Concerning Russian artists to receptions of modern West European art there was a known share of ironicalness. At Лентулова it has affected, for example, in transferring of receptions of the futurism intended for expression of rhythms of an industrial epoch, on absolutely other in the being object - architecture. From this paradoxical combination of modern graphic language to images of the Moscow olden time there is unexpectedly bright art effect - the ancient architecture as though excited by invasion of industrial rhythms, involved in an orbit of perception of the modern person feeling and all around in incessant movement.
To products of other representative of "a jack of diamonds" to RRFalka (1886 - 1958) are not...
