of ​​primitive natural myths.
The usual parity top and bottom here is turned: toy small houses are perceived as visible at a distance from above so, that figures of animals and коровніцей "Hang" in dark heavens over the world and appear in зооморфні and антропоморфні forms with that paradoxical, is angular-exact approximations from what zodiac figures in a kaleidoscope of constellations in a night sky are outlined by a sight. Especially terrestrial scene is shown as mythical праісторія, творимая in heavens, but this heavenly is simultaneously and something is dense-primitive, reminding of primary participation of the person in fauna, about those times and about that condition of consciousness when the Supreme deity of the sky appeared in image of "a heavenly cow", and cattle breeding work was ritual religious rite, "heavenly service". It is a life what she looks from dark depths of patrimonial memory. "Impersonal "- This the formula can define a method and simultaneously a theme of art of Filonov recreating in the "hieroglyphic" form habitual for Russian art a way, process, stages of it is impersonal-natural in spiritual.
Specific of graphic language, symbolical on the origin, halves perception of visible forms and qualities of the subject world between direct and portable values. So "Dark" in Filonov's pre-revolutionary pictures is both night, and metaphysical "gloom", prehistoric "darkness"; primitively stocky figures simultaneously both масивні, and безтілесні; light and color are merged in uniform quality, reminding effect of a stained-glass window; figures as much remind primitive idols, how many and medieval "chimeras". Many qualities of graphic system of Filonov, as well as the way of creation "the new relation to the validity by revision of a series forgotten a world view ", have the nearest prototype in Vrubel's art. p> Propensity of artists of 10th years to experiment, to decomposition of complete art impression for the sum of elementary influences for the sake of familiarizing with primary bases of art expressiveness has led to allocation of this area формотворчества in independent sphere of art. In 1913 Larionov publishes the book "лучізма" which was one of the first manifestos of abstract art. However original leaders - Theorists and abstractionism experts in Russia VV Kandinsky's steels (1866-1944) and K.S.Malevich (1878-1935). p> From the moment of the origin abstract painting develops in two directions: at Kandinsky it is spontaneous, irrational game of color stains, at Malevich - visibility математично the verified, is rational-geometrical constructions. The abstractionism applied to be in art practice by as though incarnate theory of fundamental principles of painting in general. Painting problems were reduced by it to research of possible combinations of primary elements - lines, colors, forms.
If Malevich and Kandinsky's abstractionism develops originally exclusively within easel painting in VETatlina's creativity (1885-1953) object of abstract experiment there is one more element of painting - the invoice. The qualities belonging in painting to one material - paint, Татлін transforms into combinations of invoices of various materials - tins, a tree, glass, перетворюючи a picture plane in similarity of a sculptural relief. In so-called counter reliefs Татліна "Heroes" there are not valid subjects and abstract categories of the invoice - rough, fragile, viscous, soft, sparkling, - entering among themselves in difficult relations without means of any concrete graphic plot.
In architecture we face ability of art to express, not representing, passing imitation "the life facts". In properties of a graphic surface as архітектонічного fields are concluded the expressive possibilities not given, but set to the image just as gravitation laws are set to movement of bodies or a rhythm, the size, an order of rhymes are set to a verse. Research of these possibilities also was that experiment which has been done by abstract art. On this way to праоснова the art influence, hidden in the device of human memory, XX-th century art should is inevitable to meet the art worlds where required laws of expressiveness there was no time are carried already out in completeness of a principle. New offered a hand well forgotten old - and through such contact there have passed hardly probable not all masters of so-called avant-guard in XX-th century art. p> Among them the outstanding place belongs to - to S.Petrov-Vodkin (1878 - 1939). The long way of creative formation of this master rich with difficult searches crowns creation in 1912 of a picture "Bathing of a red horse". This product is considerable not only the internal maintenance, but also that in it many thorny questions of art of the beginning of XX century It have concentrated sounds as an appeal and a question and first of all that sharpness and expressiveness of the form recrea...
