Analytical art
The universal flowering , the origin and development of the school and the works of Pavel Filonov based (1881-1941), is an art movement of the Russian avant-garde .
history
As early as 1912 Filonow proclaimed the first essay on the principles of a so-called analytical art in the essay " Canon and Law " ( Канон и закон ).
“We do not defend ourselves and we do not attack. We go our way; But if you want to prove a connection to K [ubo] fut [urism], then we answer:> You want to look for a connection between our theory and our predecessors, but not via K [ubo] fut [urism] and Pic [asso ], but about the cold and relentless negation of all their mechanics. "
The analytical art was thus deliberately set in opposition to the then prevailing Futurism ( founded by Filippo Tommaso Marinetti ) and Cubism ( introduced by Pablo Picasso ) as well as their merging in Russia to Cubofuturism . The analytical art initially had a pronounced orientation towards nature and the natural, e.g. B. the picture “Fischerschonner” (1913, 106 × 100 cm, oil on paper on canvas), in which Filonow shows a continuous metamorphosis, true to the new principles that a
"Pure form in art any thing that is painted with an open connection to the evolution taking place in it, ie with the every second conversion into something new, as well as with the functions and the becoming of this process."
From the beginning of 1914 Filonov laid the foundation stone for the establishment of an artists' association that was to follow the principles of analytical art. Among his first companions were David N. Kakabadse, Anna M. Kirillowa, Elsa A. Lasson-Spirowa and Yevgeni K. Pskowitinow. In March 1914 this association in St. Petersburg published the manifesto “Intimate Workshop of Painters and Draftsmen› Made Pictures ‹” as the first printed declaration of analytical art. A reproduction of Filonov's “The Feast of the Kings” (in the original 175 × 215 cm, oil on canvas) was printed on the title page.
“Our goal is to create paintings and drawings that are made with all the beauty of persistent work, because we know that the most valuable thing about a painting or drawing is the vigorous work of people on something in which they themselves and theirs immortal soul revealed. "
As a result of a series of written works and lectures came the declaration of ›World Heritage Blossom‹ ( Декларация "Мирового расцвета" ), which has been published since the publication in the magazine "Zizn 'Iskusstva" ( Жизнь искусстva , May 22nd, 1923) the most important documents of the analytical art.
“I am the artist of world heritage, consequently a proletarian. I describe my principle as naturalistic because of its purely scientific method of thinking about an object, foreseeing it adequately and exhaustively, intuitively guessing all its predicates up to the subconscious and superconscious perception and showing the object in a perceptually adequate design solution. It activates all the predicates of the object and its sphere: being, pulsing and its sphere, biodynamics and intellect, emanations, implications, geneses, processes in color and form - in short, life as a whole; and it does not take the sphere as mere space, but as a biodynamic sphere in which the object is in constant emanation and mutual penetration. The being of the object and the sphere are in eternal becoming, in the transformation of color, form and processes (absolute analytic vision). Here is the formula of this method: absolute analysis, foreseeing the object and its sphere in the sense of biomonism and a solution that is adequate to perception. Hence the concept of the continuity of the one front: the two predicates of realism (raw form and raw color), compressed and precisely worked out shape and color, the addition of displacements, pure active form, etc. "
It depends more on the development of the methods by which nature rules than on the forms that are produced. It is about the underlying processes of the world in order, in a scientific manner, to track down the buzzing microcosm of life, what holds it together at its core.
“Because I know, analyze, see, intuitively feel that there are not only two predicates inherent in any given object, shape and color, but also a whole world of visible and invisible phenomena, their emanations, reactions, implications, genesis, being, known or common predicates come, I reject the dogma of modern realism of the "two predicates" and all its right and left sects as unscientific and dead - utterly. In its place I put scientific, analytical, intuitive naturalism, the initiative of those who investigate all the predicates of the object, the phenomena of the whole world, the visible and invisible to the naked eye phenomena and processes in man himself, the perseverance of the researcher Artist and the principle of the »biologically made image«. "
Pavel Filonov suggested that large paintings should also be made with a small brush, such as B. “Formula of Spring” (250 × 285 cm, oil on canvas). He taught his students:
“Persistently and accurately draw every atom. Persistently and precisely introduce the colors to be worked through into each atom, so that it can dig itself into it, like warmth into a body. "
This formulation may sound exaggerated, and yet Filonov took it seriously - and in this way achieved incredible effects of depth, delicacy, complexity, chaoticism and infinity. That oscillates and pulsates, that loses and finds itself, that splinters and grows together. The non-representational and the representational constantly merge, becoming two sides of a single world. The representational is the continuation, the combination of the non-representational organic structures. And it flows back into the abstractness of the macrocosm.
In the summer of 1925 Filonov was able to work with his new students in one of the rooms of the Russian Art Academy . They formed an artistic group, the "collective of masters of analytical art" ( Мастера аналитического искусства , MAI ), which was only officially recognized as an artist society around 1927 with around 40 members. This was also called the workshop of analytical art ( Мастерская аналитического искусства ).
These artists look at things more with a knowing and not just seeing eye, in order to represent them at the same time in “series of transformation processes”. Such analytical art strives for the plant-like-organic as well as the mystical-cosmic and its founder to a Russian counterpart of Paul Klee .
In his autobiography of April 1929, Filonov was able to determine his influence, even if only partially or partially, on the currents in painting and graphics from Suprematism to German Expressionism . In 1930 Filonow's theoretical work "The Ideology of Analytical Art" was published.
“Here is a concise list of my means as masters and their definitions: Compressed and sharply expressed form and color. Form containing displacement, biodynamics of displacement. Pure active form, absolutely adequate to the object and its predicates, their selection or the absolute complex (same definition also for color and sound). The formula: a complex or a selection of pure, active forms, abstract and artistic selection in all of these things. Organic aesthetics, aesthetic dissonance. The same applies to the construction and law of a painting, from the biological to the most constructive as such. Conversion of the pulse beat into rhythm and its maximum tension, inclusion of the sound as conversion via rhythm. I neither set up rules, nor do I found a school (I reject this approach), instead I offer a simple, purely scientific method as a basis, which everyone, right or left, can use. The slogans> made painting <,> rejection of modern art criticism <,> transfer of the focus of contemporary art to Russia <,> pure active form <,> world heritage <were first issued by me in 1914/1915 in Petrograd. "
The artist group MAI, like some others, was simply dissolved by Soviet cultural policy in 1932. Some of a total of around 70 students continued to use his workshop (until the founder's death from starvation in besieged Leningrad ), while his successors continued to implement the principles so intensely articulated.
Selection of artists
- Juri Borissowitsch Chrschanowski (1905–1987), painter and graphic artist, worked at the theater
- Tatjana Glebowa (1900–1985), painter, graphic artist, set designer
- Boris Gurwitsch (1905–1985), painter, graphic artist, set designer. Design of the Soviet pavilion at the Paris World Exhibition in 1937
- Nikolai Jewgrafow (1904–1942), painter and graphic artist
- Pawel Kondratjew (1902–1985), painter and graphic artist, works for various publishers
- Julie Mehretu (* 1970), painter of analytical imagery
- Alevtina Mordwinowa (1900–1980), graphic artist and book illustrator
- Sofia Saklikowskaja (1899–1975), painter and graphic artist
- Pawel Salzmann (1912–1985), painter, graphic artist and writer
- Vsewolod Sulimo-Samuillo (1903–1965), painter, graphic artist, set designer
- Alisa Poret (1902–1984), painter, graphic artist and book illustrator
- Mikhail Zybassow (1904–1967), painter and book illustrator (including Kalevala )
literature
- Jürgen Harten , Jewgenija Petrowa: Pawel Filonow and his school Städtische Kunsthalle Düsseldorf September 15 - November 11, 1990, DuMont Buchverlag, Cologne 1990, ISBN 3-7701-2634-3 .
- John E. Bowlt, Nicoletta Misler: Filonov: Analytical Art. ( Russian Филонов: Аналитическое искусство ) Translation from English into Russian 1990, ISBN 5-269-00078-4 .
Web links
Individual evidence
- ↑ Manuscript in the manuscript department of the Institute for Russian Literature ( Институт русской культуры ), F. 656. ( Pushkin House in St. Petersburg)
- ^ Yevgeny Kovtun: The eyewitness of the invisible. About the work of Pavel Filonov
- ^ Culture: Olaf Cless on the exhibition "Filonow and his school" in the Düsseldorf art gallery. In: People's newspaper. No. 39, Friday, September 21, 1990, p. 10 "From immersing the small brush into the universe"
- ↑ Painting: Knowing Eye . In: Der Spiegel . No. 9 , 1990, pp. 234 f . ( online - February 26, 1990 ).