How did Russian art develop from the end of 19 to the beginning of the 20th century?

/kloc-from the end of 0/9 to the beginning of the 20th century, the contradiction of Russian capitalism was unprecedentedly concentrated and the development of Russian art was the most complicated. Due to the attack of pessimism and decadence, pathological phenomena began to rise in some painters' works. People who once spoke highly of the tendency of roving painting school to intervene in the times now think that this school exaggerates the narrative function too much, which leads to the limitation of color application and urgently needs to explore new painting forms.

During this period, the landscape school developed rapidly and the so-called "emotional landscape" works appeared. The task of "emotional landscape" is to personalize nature. Express human emotional world through natural state. Levitan (1860— 1900) is a painter who founded "emotional landscape painting". 1879, Autumn Falcon Park, painted by Levitan when he was a student, was fortunately collected by Trechakov. Later, when Levitan mentioned this work, he said, "Lonely tree-lined road, lonely woman." One sentence tells the idea that the artistic conception of the scenery and the artistic conception of the characters are integrated. Levitan painted on the Volga River four times. His works, such as Dusk on the Volga River (1887- 1888) and Golden Plymouth (1889), can express the painter's unique feelings, which are unique to the Russian people. These works made Levitan famous all over Russia. 1892 His Road to Vladimir is a powerful testimony to history. Levitan's genius contribution to landscape painting has become a treasure of human spiritual world.

During this period, a group of painters stood out in the landscape painting genre and soon became members of the Russian Artists Association. They all have their own creative characteristics, such as Gorabar (1871-1960), Ostroff (1859-1929) and Lilov (1870-/). Their landscape creation is different from that of roving painters and Levites. They explored new painting techniques at the beginning of the 20th century, and more and more widely combined landscape painting with genre painting.

Arkhipov (1862- 1930) explored new painting techniques on the basis of inheriting the tradition of roving painting school, such as his Laundry Woman (1890- 189 1) and On the Oka River (60. The works of Kolovin (1861-1939), another member of the Russian Artists Association, are the same as those of arkhipov, and the influence of Impressionism can be seen from the aspects of color treatment and avoiding plot narration as much as possible. Representative works include Portrait of Lyubadochekova (1880) and Spanish Girl (1886).

Artistic Creation Alliance: At the turn of the 20th century, Russian painters and critics have been thinking about styles, which led to the formation of artistic creation alliance from 65438 to 0893. Art World tries to strive for the aesthetic elements in art and free art from the role of utilitarianism. Art World uses its publication of the same name to promote "cosmopolitanism" in the Russian art world. It advocates art with international style, such as baroque art, while itinerant painting and academic art become the objects of its opposition. During the period of 1889- 1904, Art World reached its heyday, which once caused a sensation in Russian painting circles and even attracted famous painters like Lie Bin. The basic members of the art world are Benoit (1870- 1960), Somov (1869- 1939) and Baxter (1864- 1924). This creative alliance is compatible with different types of artists, so that it is difficult to form a certain standard style. However, judging from the creative situation of the core members of the school, they are generally not interested in realistic themes, but pay more attention to historical themes that reflect the characteristics of ancient fashion and customs, such as 18 century French court life scenes. Generally speaking, the art world is used in stage art, and its achievements in the fields of book binding and practical art are more breakthrough.

During this period, the famous painters who still maintained the creative tradition of the roving school mainly included Ivanov (1864- 1900) and Kasatkin (1859- 1930). The former's work Death of Immigrants (1889) reflects the major social problems at that time. The latter's artistic activities highlight the miners' life and the revolutionary consciousness of the working class. The representative work is Female Miner (1894). The painter's realistic creation activities continued until the late Soviet era, and had an impact on a new generation of painters, so he was an inter-generational painter.

/kloc-sculpture art from the end of 0/9th century to the beginning of 20th century: the sculpture in this period has made great progress compared with the sculpture in the second half of 0/9th century. Konenkov (1874- 197 1) was sent abroad for further study when he was still at school. He has been to Germany, France and Italy. His first work reflecting the 1905 revolution was the Worker Warrior Irchurkin (1906), and another work Nikai quoted the name of the Greek goddess of victory, but actually portrayed the image of a Russian girl. The creative fate of the female sculptor Grubjingna (1864— 1927) is also closely related to the revolutionary movement. She studied abroad twice and got the guidance of the famous sculptor Rodin. His works "Workers" (190 1) and "Forward" (1902) both depict the awakening image of the working class, and she absorbed the impressionist experience in carving techniques, making her works lifelike.

Xie Luofu (1865 ~1911) is the most successful realism school in Russian plastic arts at the end of the 20th century. Although Xie Luofu is a painter who grew up on the track of roving painting school, his creation has started a new stage. He often highlights the main characteristics of the object and even emphasizes the inherent mode. But it is an accidental gesture and gesture, which emphasizes the role of contour lines. His early portraits, Girls and Peaches (1887) and Girls in the Sun (1888), immediately attracted people's attention. The representative works in the prosperous times include The Portrait of Palmarova (1905), The Great Entrepreneur Ge Richmann (19 1 1), Peter the Great and so on.

During this period, another great artist, Froebel (1856-1910), presented a complex artistic phenomenon. When studying in the Academy of Fine Arts, Fu Loubier was an excellent student of Che Shakov, a famous art educator. 1884 was recommended by the school to participate in the restoration work of Kirillovski church murals, and never returned to the college. Attracted by the work of restoring murals, he went to Italy to study memorial murals. He completed the restoration of 150 broken murals in the church, which proved that he was a talented monument painter. His easel paintings include Spain (1894), Princess Swan (1900) and Monti (1890). Fu Loubere's painting style is unique, and the further development of his creative tendency is modernist art. At the turn of the century, modernist art found followers in Russia.

Trend of Modernist Art: The art world reflects the rise of Russian unrealistic art to a great extent, and then the modernist art with more radical form and more obvious anti-traditional tendency finally appeared in Russian painting circles. At the beginning of the 20th century, golden fleece (1906), Green Rose (1907) and Prince of the Red Diamond (19 10) were published one after another. Then, French symbolism, post-impressionism, and the "Art Nouveau Movement" in Britain and Austria were introduced into Russia in large quantities. At the same time, more Russian artists went to Western Europe to learn about the artistic trends such as Fauvism, Cubism and Futurism. Some Russian collectors also included French modernist art in their collection plans at this time.

Different from Russia's imitation of western European art in the18th century, Russian modernist art not only draws lessons from western European modernist art, but also has its own independent expansion. Specifically, it not only took the lead in exploring and practicing abstract art, but also produced artists like Kandinsky (1866- 1944), Malevic (1875- 1935) and Xia Jiaer (1887-). Xia Jiaer's creation is usually regarded as a harbinger of surrealist painting, while Kandinsky and Malevik are pioneers of abstract painting.

Larionov (188 1- 1964) and Goncharova (188 1- 1962) are representatives of the early achievements of Russian modernist art. From the characteristics of emphasizing the dynamic image of the picture and the outward radiation of lines, However, Russian painters seem to have gone further, and some of their works began to show the nature of abstract paintings. As a response to "radioism" painting, Malevik introduced the so-called "supremacist" painting in 19 15. According to Malevik's own explanation, supremacism means that pure feelings and feelings are supreme in painting. "Supremacism" extremely excludes non-aesthetic elements attached to painting, so "Supremacism" works usually take geometric patterns such as squares, triangles and circles as the performance objects.

In the field of sculpture, Russian modernist artistic trend of thought has created a kind of "constructivism" that completely denies the traditional style. This school opposes art imitating other things, and thinks that sculpture should have a free form, which should not only express the spatial meaning, but also reflect the time factor. According to these principles, there are no restrictions on the form, materials and modeling techniques of sculpture. Can be made into a hanger, can also be made into a pull structure, and can also be moved by power. Some ideas of "constitutionalism school" have similarities with the industrial design thought that pays attention to product function, so it has a great influence on the later practical art and industrial design. The sculptors of constitutionalism are mainly Tatlin (1885-1953), Pavzner (1885-1953) and gabor (1890-1953). The art of "constitutionalism" has been active in Russia for about three or four years. In the early 1920s, Russian modernist art, including "constitutionalism", was rejected for political reasons, so the experience and future of Russian modernist art moved out of the emerging Soviet Union with artists who migrated to Western Europe.