Symbolism in the painting of Russian artists

Symbolism in Russia differs significantly from this direction in the art of other European countries. Emerged in the late nineteenth century, Russian symbolism has its own characteristics that make it recognizable and unique. Its origin is associated with the activities of famous publicists and poets - Z. Gippius, D. Merezhkovsky, V. Bryusov. Symbolism in their work is primarily religious-mystical, Christian. In other words, the comprehension of a symbol is an act of God-knowledge. Bright representatives of this area can be considered SM. Solovyov and F.M. Dostoevsky.

In general, literary symbolism is a unity of ideas, a common direction and meaning. Symbolism in painting is contradictory and ambiguous, and in some ways enters into an ideological conflict with the literary basis. The answer to the spiritual aspirations of the writers is a pure reflection of spirituality (Vision for the Bartholomew, The Hermit, The Works of St. Sergius by M. Nesterov), the overly pathetic mood - irony and grotesque (Spring by M. Chagall, Bathing the Red Horse "Petrov-Vodkin and so on).

Symbolism in painting was first used by M. Vrubel. The bright, tense, it is possible to say, mosaic painting of this great master is epic, monumental. There is a contradiction between the real world around him and the author's imagination. His work immerses us in the epoch of heroes epic, gray antiquity, which appears before us as something fabulous and fantasy.

A vivid example of how symbolism is shown in painting is Vrubel's famous work Pearl. Infinite universe, shimmering mysteriously and fabulously pearly tones, is reflected in a tiny pearl. Or another, no less famous, "The Demon Seated." Thanks to compositional techniques, the look of the character depicted in the picture hypnotizes and fascinates, evoking a sense of fear and inner discomfort. But, despite such mixed feelings, it is impossible to look away from him.

Further development of symbolism in painting was due to the creation of an association of artists called "Blue Rose". The brightest representative of this group was VE Borisov-Musatov. The period of the creativity of this artist coincides with the boundary of the centuries, which affected his writing style. Starting from the impressionistic sketches, he gradually came to a new style of picture-panel, organically conveying imagery, which is filled with symbolism in painting. The famous work "Tapestry" seems at first sight ordinary and does not attract simplicity of the plot. However, in the manner in which the two women conversing are depicted, immeasurable depth is hidden. The spectator is given a special tension of the composition. There is a feeling that the "Tapestry" hides the mysterious signs of the higher being and something unexplored.

Over time, symbolic artists unite around the magazine "World of Art." The turning point in the history of the state, as it were, was predicted in the very spirit of symbolism, and later it was transmitted and interpreted in the painting of artists. In the post-revolutionary period, the techniques of this style served as an instrument for expressing a new era: KF Yuon's "New Planet", BM Kustodiev's Bolshevik, etc.