How art captive (III)

Even the Sezanne and the Picasso. Unknown when he moved to France, he sought works of art, met with Renoari and other impressiveists who even informed him of the existence of a talented painter like Sezanne. Volar fell behind him, searched for him, found the stranger Sezanne by then, looked at his paintings and made me buy 150 pieces at a very low price, and so in one year Sezane became a star of avangard and French painting. Volar did nothing but do as the market law wants: buy cheaply. But who can cost cheaply? Unknown artist! And the unknown must be found! What does finding mean? Novatorine! The invention. The new one! New artist! I found out! The Sesanne resort became practically inevitative of all modernism. All thanks to the triad: Find out, buy free, invent new. And in the whole race, in all that terrible spin of innovation, there emerged the trends of a new condition: being young you must be the killer of the old. This is also the point from which, in my opinion, the decline of European art began.

Vola and Sezani

(public question): What is your favorite art work, and why?

Konchalovsky: There is no certain work I would isolate. I like those paintings I can sit across and watch without trying to understand. Just sit next to them and enjoy it. I find it hard to cope with pictures that need six pages of text to explain that they are works of art. For Montreal, no explanation is needed. But some complex pyramid-like or square-like boxes, or as it is, excuse me, the Black Cable “18x1> of Malevich, for such, requires six pages of text to express it as art. I don't want to understand anything, I want to feel like Tolstoji said. I get emotional, I sit and watch for hours. Usually in the Museum, I prefer to see only one painting and then run away. I refuse to run through the entire exhibition because it's not necessary, and even the hall is crowded by many guests. So even the best time to visit the exhibition is when visitors or when they are few. So that's when nobody bothers you. Stay, look, and go! Art takes time, veining and dedication, and commitment indigates in an area of mountain, sea or prayer.

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I have many questions, not answers, but questions that I would like to analyze with you. It's actually a complex sound to answer to such problems, but maybe we can do it together. We're going to try to understand how in European culture, compared to that of the Russian people, came to process the artist's speech from truth. I can't hold back from reading some of Solzhenicin's thoughts, Tatiane Tolstoya and some other interesting people. Solzhenjnic wrote some interesting works in the late '80s and early 90s when he lived in Europe and America. In one of his plays, he wrote that the cause of the European cultural downturn is a lack of faith in God, infidelity. Religion has disappeared from culture. He wrote that there have already been centuries since the world of Enlightenment under the veil of supposedly humanism, and in the 20th century it has had totalitarian forms. Anthropocentrism has no answers to many fundamental questions about life, and to the extent that these questions deepen, anthropocentrism becomes even more powerless. The spiritual atonement has been made from human nature, and on its foundation a system of human values has been built that appeals to the greatest distance from nature and the world.

Aleksandar Solzhenic

But what is such anthropocentrism? Anthropocentrism is the viewpoint in which one is the center of the world. The center of the world is man. He stands upon the living and dead, he's the king of nature, he changes it, he just creates the world. The anthropocentric idea in question has led to serious ecological problems today. The first two serious humanists were Walter and Russo. This philosophy that venerates man as a center of nature and as a world center was then expanded not only as self - reference philosophy or as an undercover thought in politics but also in works of art.
And ever since, so at the beginnings of the century. X coordinate V III, the idea of the individual, the revolutionary artist who opposes himself, began to develop. In fact, such an artery of thought in Europe had been existing in a long time ago, but the author of an idea of free artist, that there are no barriers to religion or ethics, was Lord Byron, revolutionary and destructive of all ethical standards and other norms. Hero and soldier at the same time, he was once one of the first pops. He even challenged society and debt, consumed opium.

Lord Byron

<x)

His poem was later expanded throughout Europe and, as a result, to Russia. The publishers saw in it the rejected modern genius, and his photo of opium was supported by newspapers. What is now known as the “Trademark” - the mark of the trade also affected Pushkin - to the extent that he adapted his own painting. This vision of the neglected hero always came and strengthened especially in Europe; in France this trend was known as the trend of the cursed “pots”. All the heroes of society like Rembo were supposed to be drug addicts, adventurers... the Rembo that went to Africa probably lost even the leg that traveled to distant lands is cut open and as a newly converted hero. This was the case with Gegeno, Rembo, so it was with everyone who was touched by the “ala Byron”, which became a highly popular brand of commerce. But to be successful, this vision of our man as our hero, we must have our hero live in misery, occupied by the exotic country and open hope. The photograph of the unable-God, the destroyer of tradition, has succeeded in generating the negotiation of everything. As a result, the cult in question brought to life the mask where the truth was most important. Important was the mask of the revolutionary, the one who despises morals, such as bourgeois. At that world, the mask was very important and I think that radicalism of art, which began at the beginning of the 20th century, came as a result of coming to terms of the vision that haunts the artist's depletion. The vision that the artist says should break the boundaries in search of conveying feelings that should not see something magnificent in nature and convey it to the people, but that instead it is worth the effort to appeal to the mask, which should be the trade brand for which the deed/product can be sold. In that sense, the mask became quite attractive to the scandal.

“Pushkin welcomes sea” Ivan Aivazovky

If one of you has read the extraordinary book, “Jedno Ipooki Strackaque” of Benedict Livshiči event's host of futurist direction for the time you'll find a part where he talks about how once with Mayakovski they wanted to buy a black rag so the mother could shut on onions with which she wore cigarette cigarettes from the most expensive brands and with the last money in her pocket. These were new people, exposed to the scandal, and it wasn't just like that with Majakovski, but also with Malevchi, with many other artists, including the <x2 artistic group. > Karo Pub” to whom my grandfather Petrovic Konchalovski belonged. But what's important here? How did all of this begin?

Benedict Livsic

Vladimir Majakovski

Early in the 20th century, academics were the most valuable layer of society, but independent artists in Paris, at “Independents' Hall” created an exhibition that remains in history. The picture of the so-called “Muzhu on the Adriatic” was displayed. The work of artist Boronolio. Unknown painter Boronol. An Austrian collector bought the painting in question since in advance an expert received the resensis that the canvas in question belongs to the representative in question. In fact, paintings in question, “Mazzhew over the Adriatic”, as has later witnessed a group of independent artists, did not do any Boronoli, since such a painter did not even exist, but is actually “fixed” through the addition of the brush to the tail of an ass. The donkey had waved its tail while eating hay, and “the chiefry” had only changed colors in the brush, while the name Boronol was a fabrication by a fable of La Fonten. What can you say to that but a total ridicule and contempt with criticism? Yet, this has only attracted even more attention, and the painting just got more expensive. As for the painter, he had an ass.

Accomplice “

For Periscope, translated Fatlum Sadiku