Fantastic realism is a term applied to various phenomena in art and literature.

Usually the creation of the term is attributed to Dostoevsky; however, the researcher of the writer's work, V. N. Zakharov, showed that this was a delusion. Probably the first to use the expression "fantastic realism" was Friedrich Nietzsche (1869, in relation to Shakespeare). In the 1920s, this expression is used in lectures by Yevgeny Vakhtangov; later it became established in Russian theater studies as a definition of Vakhtangov's creative method.

It seems that "Vakhtangov" is a sharp transition from the golden age to the silver age, from the classical reformism of Stanislavsky - to the audacity of modernity, to the restless world of retro, to a special philosophy, where fantasy has more truthfulness than reality itself. The profession of directors became the business of intellectuals, young doctors, accountants, engineers, teachers, civil servants, girls from decent families gathered around Vakhtangov. The theater for the intelligentsia, as Stanislavsky conceived it, became the theater of the intelligentsia itself, gathered by Vakhtangov under the banner of his studio. "Vakhtangov" is the "non-fear" of form in any era, even when the word "formalism" was the most terrible word. Being, like Stanislavsky, a director-psychologist, Vakhtangov simply looked for his good in something else - the psychology of the image was revealed to him in theatrical conventions, in masks of an eternal worldly masquerade, in an appeal to distant theatrical forms: to the commedia dell'arte in "Princess Turandot", to mysteries in "Gadibuk", to the farce in Chekhov's "The Wedding", to the morality in "The Miracle of St. Anthony". "Vakhtangov" is a special artistic concept of "fantastic realism", outside of this concept there is, in essence, not a single performance of Vakhtangov, just as there are no best creations of his great spiritual brothers - Gogol, Dostoevsky, Sukhovo-Kobylin, Bulgakov.

The Vakhtangov Theater stubbornly, with difficulty, is looking for its Vakhtangov path, and God grant it many successes on this path. Let us only remember that Vakhtangov was the first in a series of brilliant Russian directors to tell the Theater that he should not renounce anything, declare anything archaic, should not trample on convention, should only welcome realism. The theater is everything at once: both the classical text, and free improvisation, and the deepest acting transformation, and the ability to see the image from the outside. Theater, as Vakhtangov thought, is also a fundamental "not a reflection" of a specific historical day, but a reflection of its inner, philosophical essence. Vakhtangov was dying to the sparkling, like champagne, waltz from his performance, he was dying to the applause of the Moscow audience of the twenties, which stood up to the modern performance, which was taking on the features of eternity before our eyes.

"fantastic realism"- Vakhtangov began to search, starting from two opposite foundations - the Stanislavsky Art Theater (by the way, it should be noted that during Vakhtangov's lifetime the theater was called the 3rd studio of the Moscow Art Theater) and the Meyerhold Theater. It can be said that in his performances - or more specifically - in his performance "Princess Turandot" based on the fairy tale by Carlo Gozzi, the external expression of scenery and costumes (not quite the same as Vsevolod Emilevich's, but still) is combined with the psychological depth inherent in productions of the Moscow Art Theater. Carnival spectacle was combined with strong inner feelings.

Vakhtangov tried to separate the actor and the image that the actor embodied. The actor could go out in ordinary clothes and talk on topical topics for the country, and then dress up on stage in a fantastic outfit and reincarnate as a character in the play.

Principles of the Vakhtangov Theatre.

All the techniques gave the feeling that on the one hand it was a theater, but on the other it was not. The principle of the organization of the action is taken from the Teatro Del Arte, for example, the people who occupied the audience between stages, strived for the full seriousness of the game and did not tolerate hypocrisy. The scene is both real and insanely conditional, i.e. (newspaper cup). B- was for the real relationship of 2 actors, the credibility of the game itself. Stanislavsky believed that it was unnecessary to combine conventionality and everyday life.
The main x-ki theater Vakhtangov:
1. Theatricalization of the theater - theater is a holiday for both the actor and the spectator.
2. Theater is a game, a game with an object, costume details, with a partner, insert numbers that created a general atmosphere: (a stick, like a flute).
3. Improvisation.
4. The speech was perceived as a parody.
5. Lighting also creates an atmosphere
6. Music is also conditional, it creates a general atmosphere or conveys an emotional state.
A theatrical bright, festive game took place on the stage.

Vakhtangov found his actor in the person of Mikhail Chekhov, in whom he saw an ally to his ideas. Vakhtangov affirms the priority of the actor's personality over the image he creates. When Vakhtangov wanted to try to play the main role in his play, and Chekhov played it, he realized that this was impossible, because he gave everything he had to Chekhov.
The last performance of Vakhtangov's Princess Turandot by K. Gozzi (1922) is still perceived as the most significant. Turandot, despite its distance from the revolution, sounded like "The anthem of the victorious revolution." Vakhtangov was keenly aware of the poetics of play theater, its overt conventionality and improvisation. In such a theater, there is much from the ancient origins of the stage, folk games, areal and farce spectacles. The air of Russia in the 1920s seems to be charged with the game. And the paradox is that 1921, hungry and cold, and as if not conducive to fun at all. But in spite of everything, people of this era are filled with a romantic mood. The principle of "open play" becomes the principle of Turandot. The play of the actor with the audience, with the theatrical image, with the mask becomes the basis of the performance. Performance-holiday. A holiday for that and a holiday that everything changes places. And Vakhtangov's actors play tragedy by means of comedy.
Vakhtangov himself did not consider "Turandot .." a standard, since each performance is a new form of thin expression.

Ticket number 18. Nemirovich-Danchenko on the essence of directing and acting creativity. Ticket number 19. The grain of the performance and the 2nd plan.

Just in case, a little about the creative path.

N.D. 1858-1943

Born in the Caucasus in a military family.

Entered Moscow University. He was brought up on the traditions of the small theater. Was shocked by the game Yermolova. What inspired me to become a theater critic.

Was on tour of the Munich theater. He began to write plays: "The price of life."

1896 Nominated for the Griboyedov Prize, declined in favor of Chaika.

1891 Creates Studio

He sees Stanislavsky's performance of Othello, he is very impressed. In his work with Stanislavsky, N_D expresses his position precisely on the dramaturgy of the play. He believes that the actor is the heart of the theater and everything should go to help him.

It is he who invites Chekhov to the theater. He will also find Gorky.

In 1910 The Brothers Karamazov staged Julius Caesar, Tolstoy's Sunday 1930.37 Anna Karekina with Tarasova, Lyubov Yarovaya, 3 sisters and King Lear.

Gives scene life to novels.

; later it became established in Russian theater studies as a definition of Vakhtangov's creative method.

Fantastic realism in painting - adheres to an artistic trend akin to magical realism, including more surreal, supernatural motifs. Close to surrealism, but unlike the latter, it adheres more strictly to the principles of the traditional easel image "in the spirit of the old masters"; can rather be considered a late version of symbolism. Since 1948, there has been a "Viennese School of Fantastic Realism" in painting, which had a pronounced mystical and religious character, referring to timeless and eternal themes, studies of the hidden corners of the human soul and focused on the traditions of the German Renaissance (representatives: Ernst Fuchs, Rudolf Hausner).

Founding of the Vienna School of Fantastic Realism

Together with Arik Brauer, Wolfgang Hutter, Rudolf Hausner and Anton Lemden, Ernst Fuchs founds a school, or rather creates a new style of Fantastic Realism. Its rapid development falls on the beginning of the 60s of the 20th century. Its five brightest representatives Fuchs, Brouwer, Lemden, Hausner and Hutter became the main group of the entire future movement, Clarwein, Escher, Jofra soon appeared, each bringing their own manner and method of work from their national schools. Paetz, Helnwein, Heckelmann and Wahl, Odd Nerdrum also formed part of the general movement. Giger worked in Switzerland.

Modern Russian literature

In our time, actively promotes the concept of "fantastic realism" Vyach. Sun. Ivanov.

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Literature

An excerpt characterizing Fantastic Realism

“No, I will go, I will certainly go,” Natasha said decisively. - Danila, tell us to saddle, and Mikhail to ride out with my pack, - she turned to the huntsman.
And so it seemed indecent and hard for Danila to be in the room, but it seemed impossible for him to have any business with the young lady. He lowered his eyes and hurried out, as if it did not concern him, trying somehow not to inadvertently harm the young lady.

The old count, who always kept a huge hunt, but now transferred all the hunting to the jurisdiction of his son, on this day, September 15, having cheered up, was about to leave himself too.
An hour later, all hunting was at the porch. Nikolai, with a stern and serious look, showing that there was no time now to deal with trifles, walked past Natasha and Petya, who were telling him something. He inspected all parts of the hunt, sent a flock and hunters ahead to the race, sat on his red bottom and, whistling the dogs of his pack, set off through the threshing floor into the field leading to the Otradnensky order. The horse of the old count, a playful merenka called Viflyanka, was led by the count's stirrups; he himself had to go straight in a droshky to the manhole left for him.
All the hounds were bred 54 dogs, under which 6 people left as dodzhachim and vyzhlyatnikov. In addition to the gentlemen, there were 8 greyhounds, followed by more than 40 greyhounds, so about 130 dogs and 20 horse hunters went into the field with the master's packs.
Each dog knew the owner and nickname. Each hunter knew his business, place and purpose. As soon as they went beyond the fence, everyone, without noise or conversation, evenly and calmly stretched out along the road and the field leading to the Otradnensky forest.
As if horses were walking on a furry carpet across the field, occasionally splashing through the puddles when they crossed the roads. The misty sky continued to descend imperceptibly and evenly to the earth; the air was quiet, warm, soundless. From time to time one could hear the whistling of a hunter, then the snoring of a horse, then a blow with a rapnik or the squeal of a dog that was not walking in its place.
Having driven a mile away, five more riders with dogs appeared out of the fog towards the Rostov hunt. In front rode a fresh, handsome old man with a large gray mustache.
“Hello, uncle,” Nikolai said when the old man drove up to him.
- A clean march! ... I knew it, - my uncle spoke (he was a distant relative, a poor neighbor of the Rostovs), - I knew that you couldn’t stand it, and it’s good that you were going. Pure business march! (That was my uncle's favorite saying.) - Take your order now, otherwise my Girchik reported that the Ilagins were willingly standing in Korniki; you have them - a clean march! - under the nose they will take a brood.
- I'm going there. What, bring down the flocks? - Nikolai asked, - dump ...
The hounds were united in one flock, and uncle and Nikolai rode side by side. Natasha, wrapped in kerchiefs, from under which a lively face with shining eyes could be seen, galloped up to them, accompanied by a hunter and a bereytor, who was assigned by the nanny with her, who did not lag behind her, Petya and Mikhaila. Petya laughed at something and beat and pulled his horse. Natasha deftly and confidently sat on her black Arab and with a sure hand, without effort, laid siege to him.
Uncle looked disapprovingly at Petya and Natasha. He did not like to combine pampering with the serious business of hunting.
- Hello, uncle, and we're going! Petya shouted.
“Hello, hello, but don’t pass the dogs,” my uncle said sternly.
- Nikolenka, what a lovely dog, Trunila! he recognized me,” Natasha said about her beloved hound dog.
“Trunila, first of all, is not a dog, but a survivor,” thought Nikolai and looked sternly at his sister, trying to make her feel the distance that should have separated them at that moment. Natasha understood this.
“You, uncle, don’t think that we interfere with anyone,” said Natasha. We stand where we are and don't move.
“And a good thing, countess,” said my uncle. “Just don’t fall off the horse,” he added, “otherwise it’s a pure march!” - nothing to hold on to.
The island of Otradnensky order could be seen a hundred fathoms away, and those arriving approached it. Rostov, finally deciding with his uncle where to throw the hounds from and showing Natasha a place where she should stand and where nothing could run, headed for the race over the ravine.
“Well, nephew, you’re becoming a seasoned one,” said the uncle: don’t iron (pickle).
- As it is necessary, answered Rostov. - Punish, fuit! he shouted, answering this call to the words of his uncle. Karay was an old and ugly, burly male, known for taking a seasoned wolf alone. Everyone got into place.
The old count, knowing his son's hunting fervor, hurried not to be late, and before the arrivals had time to drive up to the place, Ilya Andreevich, cheerful, ruddy, with trembling cheeks, on his crows, rolled through the greenery to the manhole left to him and, straightening his fur coat and putting on hunting shells, climbed onto his smooth, well-fed, meek and kind, gray-haired like him, Bethlyanka. The horses with the droshky were sent away. Count Ilya Andreich, although not a hunter by heart, but who knew the laws of hunting firmly, rode into the edge of the bushes from which he was standing, took apart the reins, straightened himself in the saddle and, feeling ready, looked around smiling.
Beside him stood his valet, an old but heavy rider, Semyon Chekmar. Chekmar kept in a pack of three dashing, but also fat, like the owner and the horse - wolfhounds. Two dogs, smart, old, lay down without a pack. About a hundred paces away in the edge of the forest stood the count's other aspirant, Mitka, a desperate rider and a passionate hunter. The count, according to an old habit, drank a silver glass of hunting casserole before the hunt, ate and washed down with a half bottle of his favorite Bordeaux.
Ilya Andreich was a little red from the wine and the ride; his eyes, covered with moisture, especially shone, and he, wrapped in a fur coat, sitting on the saddle, looked like a child who was gathered for a walk. Thin, with retracted cheeks, Chekmar, having settled down with his affairs, looked at the master with whom he had lived for 30 years in perfect harmony, and, understanding his pleasant mood, was waiting for a pleasant conversation. Another third person approached cautiously (it was obvious that it had already been learned) from behind the forest and stopped behind the count. The face was an old man in a gray beard, in a woman's bonnet and a high cap. It was the jester Nastasya Ivanovna.
“Well, Nastasya Ivanovna,” the count said in a whisper, winking at him, “just stomp the beast, Danilo will ask you.”
“I myself ... with a mustache,” said Nastasya Ivanovna.
- Shhhh! the count hissed and turned to Semyon.
Have you seen Natalya Ilyinichna? he asked Semyon. - Where is she?
“He and Pyotr Ilyich got up from the Zharovs weeds,” answered Semyon smiling. - Also ladies, but they have a big hunt.
“Are you surprised, Semyon, how she drives… huh?” - said the count, if only the man was in time!
- How not to wonder? Bold, smart.
- Where is Nikolasha? Above Lyadovsky top or what? the Count asked in a whisper.
- Yes, exactly. They already know where to be. They know the ride so subtly that Danila and I marvel at other times, ”Semyon said, knowing how to please the master.
- Drives well, doesn't it? And what is it like on a horse, huh?
- Paint a picture! As the other day from Zavarzinsky weeds they pushed the fox. They began to jump, from a lot, passion - a horse is a thousand rubles, but there is no price for a rider. Yes, look for such a young man!
“Look…” the count repeated, apparently regretting that Semyon’s speech ended so soon. – Search? he said, turning back the flaps of his fur coat and taking out a snuffbox.
- The other day, as from mass, they came out in all their regalia, so Mikhail then Sidorych ... - Semyon did not finish, hearing the rut clearly heard in the still air with the howling of no more than two or three hounds. He bowed his head, listened, and silently threatened his master. “They ran into a brood ...” he whispered, they led him straight to Lyadovskaya.

The section is very easy to use. In the proposed field, just enter the desired word, and we will give you a list of its meanings. I would like to note that our site provides data from various sources - encyclopedic, explanatory, word-building dictionaries. Here you can also get acquainted with examples of the use of the word you entered.

What does "fantastic realism" mean?

Encyclopedic Dictionary, 1998

fantastic realism

artistic trends akin to magical realism, including more surreal, supernatural motifs. Close to surrealism, but unlike the latter, it adheres more strictly to the principles of the traditional easel image "in the spirit of the old masters"; can rather be considered a late version of symbolism. Typical examples include the work of V. Tyubke or the masters of the "Viennese school of fantastic realism" (R. Hausner, E. Fuchs, and others).

Wikipedia

fantasy realism

fantastic realism- a term applied to various phenomena in art and literature.

Usually the creation of the term is attributed to Dostoevsky; however, the researcher of the writer's work, V.N. Zakharov, showed that this was a delusion. Probably the first to use the expression "fantastic realism" was Friedrich Nietzsche (1869, in reference to Shakespeare). Nachgelassene Fragmente 1869-1874 Herbst 1869:

Die griechische Tragödie ist von maßvollster Phantasie: nicht aus Mangel an derselben, wie die Komödie beweist, sondern aus einem bewußten Princip. Gegensatz dazu die englische Tragödie mit ihrem phantastischen Realismus, viel jugendlicher, sinnlich ungestümer, dionysischer, traumtrunkener.

In the 1920s, this expression is used in lectures by Yevgeny Vakhtangov; later it became established in Russian theater studies as a definition of Vakhtangov's creative method.

Fantastic realism in painting - adheres to an artistic trend akin to magical realism, including more surreal, supernatural motifs. Close to surrealism, but unlike the latter, it adheres more strictly to the principles of the traditional easel image "in the spirit of the old masters"; can rather be considered a late version of symbolism. Since 1948, there has been a "Viennese School of Fantastic Realism" in painting, which had a pronounced mystical and religious character, referring to timeless and eternal themes, studies of the hidden corners of the human soul and focused on the traditions of the German Renaissance (representatives: Ernst Fuchs, Rudolf Hausner).

; later it became established in Russian theater studies as a definition of Vakhtangov's creative method.

Since 1948, there has been a "Viennese School of Fantastic Realism" in painting, which had a pronounced mystical and religious character, referring to timeless and eternal themes, studies of the hidden corners of the human soul and focused on the traditions of the German Renaissance (representatives: Ernst Fuchs, Rudolf Hausner).

Founding of the Vienna School of Fantastic Realism

Together with Arik Brauer, Wolfgang Hutter, Rudolf Hausner and Anton Lemden, Ernst Fuchs founds a school, or even rather creates a new style of Fantastic Realism. Its rapid development falls on the beginning of the 60s of the 20th century. Its five brightest representatives Fuchs, Brouwer, Lemden, Hausner and Hutter became the main group of the entire future movement, Clarwein, Escher, Jofra soon appeared, each bringing their own manner and method of work from their national schools. Paetz, Helnwein, Heckelmann and Wahl, Odd Nerdrum also formed part of the general movement. Giger worked in Switzerland.

Modern Russian literature

In our time, the concept of "fantastic realism" is actively promoted by Vyach. Sun. Ivanov and Viktor Ulin, although in this case it is more of a retrospective manifesto.

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Notes

Literature

Wikimedia Foundation. 2010 .

See what "Fantastic Realism" is in other dictionaries:

FANTASTIC REALISM, artistic tendencies akin to magical realism (see MAGIC REALISM), incorporating more surreal, supernatural motifs. Close to surrealism (see SURREALISM), but unlike the latter, it is stricter ... ... encyclopedic Dictionary

Artistic tendencies akin to magical realism, including more surreal, supernatural motifs. Close to surrealism, but unlike the latter, it adheres more strictly to the principles of the traditional easel image in the spirit of the old ones ... ... Big Encyclopedic Dictionary

SOCIALIST REALISM- the creative method of socialist claims, which originated at the beginning of the 20th century. as a reflection of the objective processes of development of art. culture in the era of the socialist revolution. Historical practice has created a new reality (unknown until now ... ... Aesthetics: Dictionary

Rudolf Hausner Rudolf Hausner Rudolf Hausner in 1980 Date of birth: December 4, 1914 ... Wikipedia

To tie? Gallery SLAVINSKY ART Date of foundation 2007 Location St. Petersburg, Vasilyevsky Island, 6th line, 5/5 ... Wikipedia

This term has other meanings, see Fantasy (meanings). Fiction is a kind of mimesis, in the narrow sense, a genre of fiction, cinema and fine arts; its aesthetic dominant is ... ... Wikipedia

Fiction is a kind of mimesis, in the narrow sense, a genre of fiction, cinema and fine arts; its aesthetic dominant is the category of the fantastic, which consists in violating the framework, boundaries, rules of representation ... ... Wikipedia

Fiction is a kind of mimesis, in the narrow sense, a genre of fiction, cinema and fine arts; its aesthetic dominant is the category of the fantastic, which consists in violating the framework, boundaries, rules of representation ... ... Wikipedia

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Books

• Surrealism, The book is dedicated to surrealism (from the French "sur" - over, above) - one of the leading artistic trends in the world art of the first half of the 20th century. Surrealism is the art of the highest... Category: Epochs and styles Series: Great Illustrated Encyclopedia Publisher:

The rapidly increasing distance between genuine artistic values ​​and actively replicated and - alas! - widely demanded mass art in its most vulgar form is a process, of course, irreversible. “Why is it fruitless to argue with the century” (Pushkin). Any time tends to regard itself as timelessness, lamentations are meaningless and always smack of obnoxious conservatism. Complaints are not important, but understanding, awareness of the process.

In the space of "unreal", fantastic art, to which the article is devoted, the leading role fell, of course, to cinema, as a formative artistic phenomenon of the 20th-21st centuries, moreover, it is cinema that is most able to combine both mass character and high quality.

Suffice it to recall and compare the films of German expressionism, headed by the immortal Doctor Caligari's office Robert Wiene, paintings by Buñuel, Greenway, blow-up Antonioni, Tarkovsky's tapes with popular fantasy blockbusters, including entire virtual mega-spaces (from films to comics) of Star Wars. Fantasy, the sacrament of the “second plan” becomes the lot of the few and is rapidly reduced.

With the artist Nikolai Danilevsky, whose art I wrote an article about a year ago, we talked a lot about exactly the phenomenon that is commonly called "fantastic realism." Visual art, next to cinema, due to its much more intimate role in the current world, remains a kind of laboratory, a closed but active world where the fantastic beginning (having, fortunately, freed from both the possibilities and the burden of box-office special effects) develops in the silence of workshops.

The longer our conversations lasted, the more obvious it became: the current terminology is so confusing, vague and indefinite, its fundamental concepts are used so arbitrarily and even sloppily, that without a detailed analysis of the main meanings, definitions, prolegomena, no discussions are inconceivable.

The proposed text was the result.

To explain what seems to be banal clear - what could be more difficult. "Fantastic realism" - this term is followed by a helpful chain of associations that set the teeth on edge. Here are Hoffmann, and Gogol, and Dostoevsky, even Kafka, Bulgakov, Orwell, philosophical fiction, glamorous quasi-fantasy literature and beyond - up to computer games and other nonsense, not to mention artists directly. Bosch, Arcimboldo, Francisco Goya, the famous Vienna School of Fantastic Realism, Böcklin, Vrubel, Somov, Odilon Redon, Surrealists - in all these names and trends there is something close to fantastic realism. Separating even the obvious cereals from the visible tares is not so easy. Moreover, few people think that even these two words, which make up such a familiar definition, are used approximately, and, most importantly, in completely different senses, sometimes opposite.

Without pretending to establish some general norms, it is necessary to determine the conventional, but definite meaning of these concepts in this context. In doing so, keep in mind the following:

The concept of "realism" as applied to the analysis of different types of artistic creativity is blurred to the point of complete indistinctness. Goethe said that the exactly depicted pug is another pug and not a new work of art. And indeed: most often, “realism” is innocently understood as a kind of “resemblance to reality”, recognizability, understandability and accessibility, which leads to the reduction of the term and makes it synonymous with accessibility in the most vulgar sense of the word. Here realism passes into the space of mass culture and is identified with it.

A somewhat more professional understanding of the term reduces it to a constant approximation to a vaguely understood "truthfulness" and presents realism as almost the goal of evolution. In this case, the history of literature and other arts is defined as a continuous movement towards perfection (as was often asserted in Soviet aesthetics), whereby the mediocre Biedermeier artist, the minor Wanderer or the Socialist Realist were represented as artists superior in some sense to Goya or Valentin Serov.

Often the term "realism" was used in relation to those usually ideologized, artistic currents that resisted (or would like to counteract) any daring search that aims to enrich expressive means (say, romanticism); then Courbet was preferable to Delacroix, and Korolenko to Dostoevsky.

Hence - a completely absurd understanding of realism, as a trend that has its own style and chronological framework, enters into controversy, and even battles, with romanticism, impressionism, and even more so with abstraction. Moreover: the logical series (on the example of France of the 19th century) "romanticism - realism - impressionism" is considered. At the same time, it is overlooked that realism is not a period, but an immanent quality of any genuine art. And the equally ridiculous assumption that, say, Hoffmann is not a realist, Delacroix is ​​unlikely, but the Biedermeier artists and, of course, the Wanderers - realists. What to do with Phidias, Rublev, Giotto and Dante remained unclear.

Realism has traditionally been understood (and is still understood today) as an axiological, evaluative category, in other words, it has become synonymous with high quality.

These traditional ideas completely confuse all ideas about the term "realism".

In this context, realism is seen as a method immanent (permanently inherent) in any true art, since every true artist - consciously or unconsciously - strives in his work to create an accurate and, to the best of his ability, objective similarity not to the world, but to one's own idea of ​​it, which he perceives as the only true one.

Exactly submission about the world, not the world itself.

For both the Egyptian artist, who created a geometrized, flattened likeness of a person, and the Hellenes, the author of an exact, if not a copy, then a strikingly similar, poetic image, and a medieval master, the body, how many hieroglyphs of emotions, and even an abstract artist who is looking for a direct plastic analogue of the world of the subconscious in a non-objective image - they are all striving for the same goal. Towards the creation of an artistic and (according to one’s own idea) truthful analogue his truth and only to her.

And in the history of realism (in the proposed understanding) it is not impressionism or romanticism that is opposed, but two other, eternal, like him) tendencies: formalism And naturalism.

Wingless passion for a coquettish and entertaining form, experiment, as such, is just as contraindicated in art as a wretched copying of the visible in order to create illusion reality. Realism in the lofty and serious sense of the term, as between Scylla and Charybdis, develops in eternal opposition to these two miserable but seductive extremes. Extremes, usually liked by the public. Large-scale manifestations, even in these areas, always have even more simplified versions, presenting to the naive viewer their vulgar public versions.

Thus, already at the beginning it is possible to declare genuine artistic quality as the sine qua non of realism. Moreover, both formalism and naturalism are, by definition, outside the realm of art.

It should not be forgotten that (since the history of art is inseparable from the history of public taste) the perception of the fine arts has changed far from synchronously with the development of art itself. At a time when, according to Pliny's story, birds flew in to peck at the grapes in the painting by Zeuxis, and Zeuxis himself mistook the coverlet painted by Paarrasius for the fabric itself, the assessment of art was reduced only to the degree of illusion (for many, even now such a primitive principle of assessment remains relevant). "White marble" for posterity, Greek statues were once painted in bright colors, but time required convention, the sculpture became monochrome and turned, in Diderot's words, into a muse "passionate, but silent and secretive (silencieuse et secrete)". Illusory painting turned into a nice parlor genre of "deception".

The ideas of positivism, in line with which both ordinary wisdom and popular opinion developed, made in the middle of the nineteenth century the theoretical concept of "realism" a synonym for asserting unvarnished truth in art. Naturally, at this time the concept truth departed from both the sentimental-enlightenment and sublimely heroic ideas of romanticism (the concept of “enlightenment realism” was common in official aesthetics). Romance - even as a system of forms - was far from a rigid and concrete social problem (in this sense, even Liberty Delacroix was perceived as a deviation from social truth).

However, the direct depiction of the fantastic (fabulous, mythological) is in complete opposition to “fantastic realism. An example of this is the work of Gustave Dore: absolutely reliable dragons, giants, ghosts, monsters, etc. are conveyed with naive and majestic authenticity. The imagination of a child enchanted by a terrible fairy tale, realized with artistry and scope, but without much taste, and most importantly, without any plastic overtones, everything has been said, there is no room for imagination.

If the big Western painting kept devotion to the ideals of the art form, thereby spiritualizing the “substance of art” and seeing priorities in it, the Russian pictorial tradition brought the idea to the fore.

At the turn of the century (the German "Jahrhundertwende" seems to be much more capacious than the usual "turn of the century" or "Fin fin de siecle"), art changed rapidly. However, for the majority of readers and viewers, for the liberal Russian intelligentsia, the messianic role of art still remained a priority. Changes in artistic language have not yet occupied everyone's attention: no matter how innovator in the field of artistic form, for example, Dostoevsky, his books were perceived, first of all, as moral phenomena.

In the West, bold social ideas were most often realized in a new art form (Goya, Delacroix, Courbet). In Russia, as a rule, it is more than traditional. The feat of the Wanderers was already partly perceived as self-destructive: the sermon is verbal and in the visual arts turns into tongue-tied rigorism. And if the fantastic in the highest achievements of Russian literature (Gogol, Dostoevsky), precisely because of the priority of the word, was still perceived as a natural part of the real, then something else reigned in the visual arts.

Russian writers, in fact, have almost nothing to do with the visual arts. The life of a Russian person passes entirely under the sign of a bowed brow, under the sign of deep reflection, after which any beauty becomes unnecessary, any brilliance becomes false. He raises his gaze only to fix it on a human face, but in it he does not seek harmony or beauty. He seeks to find in it his own thoughts, his own suffering, his own destiny and those deaf roads along which long sleepless nights passed, leaving these traces. . This special gift of vision brought up great writers: without it, there would be no Gogol, no Dostoevsky, no Tolstoy. But he cannot create great artists. The Russian person does not have enough dispassion to look at a face from a picturesque point of view, that is, calmly and disinterestedly as an object, without taking human participation in it; from contemplation, he imperceptibly passes to compassion, love or readiness to help, that is, from figurative content to plot content. It is no coincidence that Russian artists have been writing “plots” for a long time. So Rainer Maria Rilke wrote about Russian culture, which he knew and loved.

It was this "plot" that later became the main object of not only protest, but also cruel, sometimes excessive condemnation on the part of young "World of Art".

“To get away from the backwardness of Russian artistic life, get rid of our provincialism and move closer to the cultural West, to a purely artistic searches (my italics, M.G.) of foreign schools, away from literature, from the tendentiousness of the Wanderers, away from the helpless dilettantism of quasi-innovators, away from our decadent academicism ”(Alexandre Benois).

Freedom of fantasy (we are not talking about fairy tales in the spirit of Vasnetsov or Repinsky Sadko) only partly began to peep through Vrubel, but the tragic events of the revolution and the subsequent changes in the social life of Russia stopped the tradition for a long time, which can very conditionally be called Russian fantastic realism.

However, to some extent, the search for the fantastic was also synthesized with the magical meaning of the abstract form.

So and Black square Malevich in his silent, formidable, strangely gloomy significance.

It is inscribed in a white shimmering field in such a way that there is an unprecedented feeling of not airy, not empty space, not “abstract”, in the decorative sense of the word, space, but space in general - a kind of thick “spatial substance”. A space devoid of beginnings and ends, length and scale, in relation to which the black rectangle is perceived as a kind of "zero-space", "anti-space", "black hole", "super-heavy star" - from those categories of the highest standard of poetic scientific fiction, which will appear in another half a century. None of its angles is equal to 90 degrees, it remains in eternal becoming, as if alive. The square and the background seem to be floating in the same plane, in a visually perceptible weightlessness (Malevich invented the term "plastic weightlessness", guessing the possibilities of anti-gravity), without stepping forward and not retreating in depth, creating a powerful feeling of a materialized idea of ​​the primary elements, of a kind of foundations " periodic table" forms, or, using Khlebnikov's expression, about "construction of the alphabet of concepts." Fiction, is it fiction? The epigraph contains the answer to this question. "I exist in your imagination, and your imagination is part of nature, so I exist in nature."

It is worth considering attentively and with caution the phenomena that are often perceived by the audience precisely as being excessively similar and, therefore, capable of appearing naturalistic.

It is easy to mistake for pure naturalism and works created in line with the current called hyperrealism - from the French hyperrealisme (other names: "photorealism", "superrealism", "cold realism", "sharp focus realism"). This is a broad movement in Western, primarily American art, which has declared itself since the mid-1960s and has been an active opposition to abstractionism. The world, seen and objectified as if through dispassionate photo optics (often with its help), is scrupulously reproduced in a work of art, so photographic information is reincarnated into pictorial information. Hyper-realistic paintings and sculptures affirm impersonal accuracy, offering the viewer a unique man-made image based on a mechanical reproductive basis, affirm the triumph of visible reality over artistic will, creative subjectivity. The resemblance to reality becomes both aggressive and poetic - the hyperrealist artist offers the viewer an image that does not require co-creation - even more detailed than the material world itself. This monumentalizes everyday life, creates a kind of aesthetics of the world of consumption, reproduces the human environment, where the person himself with his emotions and thoughts is practically absent.

But - oddly enough - even in this ultra-similar, super-material principle of reproduction of the objective world, there is a deeply hidden fantasy, a dull subtext of anxiety.

Photorealism with its (in the words of one of the critics) “embalmed gloss” of objects is to some extent associated in the American mind with the masters of the period of “romantic objectivity” beloved in the USA, for example, with the famous Edward Hopper.

Painting early sunday morning(1930, Whitney Museum of American Art, New York) Hopper has a strange attraction, a piercing sense of American identity, American urbanism, far removed from the conventional images of skyscrapers or the Brooklyn Bridge. The effect of a cinematic freeze-frame (the composition of many of the artist’s paintings, it seems, goes back to the aesthetics of cinema; Hopper lasts as long as the viewer wants, and the artist knows how to enchant the viewer. The beginning of the day is perceived as the beginning of life, children’s wary joy, the effect . e. the effect of estrangement, a new discovery of a familiar place), when the habitual inhabited habitat is seen as mysterious and unknown. Hopper achieves this feeling while remaining in the space of hyper-realistic protocol accuracy. Probably precisely because in persistently authentic, frontal, "still life" an image of a brick house that is ordinary to the point of toothache, in which, behind closed windows for tired and boring residents, the night still lasts, a breath of early bright sunny freshness breaks in, which the viewer spied along with the artist. The instantaneous state of light and air in a musty and boring little world, flashed as a presence, as an opportunity for a different look, this is probably the secret.

Effects of this kind are also realized by the anthropomorphism of accurately drawn, but still living architecture, the ability to convey the loneliness of a house in an empty field ( House by the railroad, 1925, MoMA, New York). It is curious that this picture became for Hitchhok the source of scenery for the famous film Psychosis(1960). Therefore, an unexpected - albeit hyper-accurate - image of something seen as if for the first time is also a move in the formation of fantastic realism.

By the way, returning to Hitchhawk in particular and to cinema in general, we can add that the closeness of the eye and the poeticization of real details in cinema may well become (and is becoming!) Poetic and quite metaphorical (hence, with a touch of “fantasticity”) part of the artistic whole. . Accentuated material detail in the same Hitchhawk (very far from the high "art house") to the famous still lifes of Luchino Visconti, Greenway, Tarkovsky, precisely by its objectivity, objectivity, immobility, becomes both an effective counterpoint, and, at the same time, a mute accompaniment to live actors and a dynamic camera, accompaniment, sometimes more eloquent than the plot itself and the play of the artists.

The works of another American classic, Andrew Wyeth, have a similar secret power in the "almost cinematic or photographic" depiction of an ordinary scene, starting with his recognized masterpiece Christina's World(1948, MoMA, New York). Even a viewer unfamiliar with the plot (an almost paralyzed woman is depicted) guesses a certain tragic catharsis in the picture. Here it is fashionable to recall the term "magic realism" by Franz Roch.

A simple, even ordinary perception of the unthinkable, as well as a paradoxical perception of the ordinary, is one of the foundations of this kind of vision. Here is a phrase from Hoffmann's story golden pot: "he turned and went out, and then everyone realized that the important little man was, in fact, a gray parrot (eigentlich ein grauer Papagei war)". No one was scared, everyone just laughed - a domestic misunderstanding in the world of Hoffmaniad.

In the structure of fantastic realism, a frequent and important component is, as it were, the presence of two registers of perception: the ordinary ("important little man") and the incredible (it is not known why he is already a parrot), synthesized into the unity of an unsolved mystery - intellectual or emotional. At the same time, unlike a fairy tale or legend, fantastic realism persistently strives to ground the irrational and affirm the dialectical unity of the imaginary and the material. In the story of the same Hoffmann elemental spirit the lord of otherworldly forces appears in the form of an army major and summons a ghost, reading a text from a French grammar: “it should not matter what means I will use<...>to manifest in a tangible form my connection with the world of spirits. Ordinary, vulgarity of the situation emphasizes the scale of otherworldly horror.

The cult of unsaid (this is very important) otherworldly anxiety reigned in the so-called metaphysical painting ("Scuola Metafisica"). Longing for infinity named his 1911 painting by the Italian artist Giorgio De Chirico.

“What I listen to is worthless, there is only what I see with open eyes, but even better - with closed ones,” wrote Giorgio De Chirico. A direct connection with the title (and meanings) of Kubrick's last film Eyes Wide Shut (Eyes Wide Shut)…

For Chirico, the most valuable qualities of a painting were contact with a dream or a childhood dream. A strange combination of mystical ideas, anxieties, striving for the values ​​of primarily inner life, constant associations with antiquity (in the Roman, “Caesarian” sense of it), but dead, motionless - such a world becomes the habitat of his characters.

His pictorial dreams are amazingly authentic. To a certain extent, Kiriko does the same thing as Kandinsky and Klee, but clothes his unconscious in an objective form.

However, his objects do not turn the vague spheres of spiritual secrets inside out, do not overwhelm the viewer with the disgusting materialized details of hidden or suppressed ideas, which will be typical for the surrealists, for many works by Ernst and especially Dali with his "fictionalized" and detailed nightmares.

In the numb, empty world of De Chirico's paintings, it is not passions, pain, life or death that reign, but only their distant, fading "visual echo". Landscapes after emotional battles, petrified scars, tragedies turned into marble monuments to themselves. Such sometimes in a painful dream, as if from the outside, a person sees himself in a dangerous, unearthly space. In a dream, he often feels small, lost in a vast world of displaced proportions and spaces. In De Chirico's paintings, this effect of painful unrecognition constantly dominates - "jamais vu" (familiar, seemingly seen for the first time) - a quality, as has been noted more than once, immanent to any understanding of fantastic realism.

Kiriko's paintings are indeed the space of a dream, where there are no distances, where objects are removed or brought closer only thanks to some perspective hints, where what seems to be more significant suddenly turns from distant into close, like in a movie with the help of a modern zoom lens. A slow kaleidoscope of visions, from which it is impossible to wake up, dominate objects and people. The objects united by the will of the artist on the canvas remain in non-intersecting spatial worlds. They are from different dreams.

A life-like depiction of the non-existent (if it does not remain within the framework of a fairy tale, a myth, and does not pretend to materialize the unsteady images of the subconscious) in a simplified version turns into a large-scale falsification.

So great is the temptation for the practicing artist to associate the meaning of "fantastic realism" with surrealism, which is directly directed towards the world of subconscious fantasies. That art should plunge its roots “to the depths of the unconscious” was argued by Tristan Tzara, one of the most talented theorists of Dadaism and surrealism. Unfortunately, the superficial "salon" understood "unconscious" turned out to be extremely popular: the French are right in asserting that "half-learned is doubly fool (demi-instruit double sot)". Self-confident little knowledge leads to aggressive ignorance.

Unfortunately, the average consciousness is captivated, first of all, by the speculative and bad-tasting (albeit very effective) work of Dali, perceived as a kind of absolute, no longer subject to criticism, artistic analysis, as a phenomenon that has gone beyond the context of art proper. The most understandable and entertaining of the surrealists, who lowered the images of the subconscious to the level of modern computer film effects, he was doomed to success and became the first large-scale representative of modernist kitsch, a mass version of an inherently intellectual artistic movement.

Unlike many of his famous contemporaries, Dali was and remains not only a bad painter, but also a mediocre draftsman. The lethargy of the drawing and the simplified palette brought into his paintings that approximation, that absence of professional magic, which is usually characteristic of artistic demagogues who lowered art to the level of "consumer culture". This is confirmed by the mass cult of Dali, which exists to this day among circles that are far from true interest in art. Dali's works remain a simple master key to the most difficult world of surrealism, and even modernism, thanks to which even the inertial and lazily thinking viewer feels the triumph of his own intellect. The artist strove to touch everything - religion, politics, sex, finding straightforward and at the same time piquant answers, masterfully invented and executed with a rare plastic uniformity. The petty naturalness of the unthinkable deprives Dali's images (with rare and serious exceptions) of true tragedy.

And if Ernst, Mason, Georgia O’Keeffe, Miro and many others really created their imaginary worlds, really based on the images of the unconscious or convincingly likened to them, that is, in other words, depicted artistic picture of spiritual secrets, then Dali claimed a kind of naturalistic protocol for overtly simulated visions, creating falsified, but willing to appear authentic, quasi-documentary images.

Much more important for the modern realization of the worldview of fantastic realism is Rene Magritte. The artist did not seek to caress the eye of the viewer (which Dali claimed very persistently, striving, no matter how repulsive his characters would be, to a banally understood, but still attractive, to the effect of “realness”, surrealistic Trompe-l "oeil). Magritte, on the other hand, limited himself to simply visual information about what his inventive imagination produced. And these images, partly primitive, although executed with protocol skill, are indeed immersed in the roots "to the depths of the unconscious" (Tzara).

In the texture, color, linear constructions of Magritte, there is absolutely no desire to please the taste of the layman, his terrible devoid of sweet appeal, it is based not on naturalistic details. But, most of all, on a detached and always significant, meaningful comparison of objects and phenomena, sometimes even inscriptions.

Believing that painting is only a means of communicating ideas, he practically ceases to be interested in the “substance of art”. Magritte had a special gift: in his comparisons of ordinary things, that sublime horror arose, which is characteristic of visions, delirium, and heavy sleep. The daily routine of things in the disturbing touches of Magritte inspires indistinct and formidable anxiety.

The metaphor of undeciphered fear, not images of the subconscious, but those pictures that the unconscious sends to us not yet deciphered - this is the area where Magritte knows no equal.

One of Magritte's secrets - in the ability with frightening simplicity, without encryption and plastic hints - to put the viewer in front of a clearly fixed "frame", as if thrown by the subconscious into the visible objective world. Yes, watercolor. In praise of the dialectic (Eloge de la dialectique)(1936, private collection) becomes an emotional and frightening metaphor for the well-known Hegelian judgment that the inside, devoid of the outside, cannot be signified by the inside: he depicts the house seen through the window of the house, inside it, and not outside - the typological situation of a nightmare, objectively and dispassionately stated.

Magritte anticipated a lot by creating a kind of guide to the labyrinths of postmodern art. His inscriptions on the pictures, asserting, say, that the depicted pipe is not a pipe (because it is only its image or simply because an intellectual-absurdist game is being played with the viewer), is a direct path to conceptual constructions. Combining fragments of classical paintings with his own painting, turning the face into the body, cold and rational eroticism, undeniable cinematography, closeness to science fiction of the highest standard. And, of course, a distant look at yourself and your work from the outside, multiple cold reflections, where “frames” through the looking glass are reflected in ordinary and unusual mirrors so many times that they again begin to seem like reality. And when Magritte painted his picture Trying the Impossible (La tentative de l'impossible)(1928, private collection), depicting an artist painting a model, he created an unprecedented and at the same time exact equivalent of a subconscious creative act: under the artist’s brush, a real living body arose in the space of the room, and not on the canvas, and everything around remained, probably, only a painted plane.

Of particular importance in our context is one of the most amazing paintings by Magritte Key to fields(1936, Thyssen-Barnemiss collection), where the fallen fragments of broken window glass retain the landscape seen through them until recently, a picture that contains many meanings and, of course, opens up new perspectives on still unfilmed cinema and even computer effects.

Let us add that a lot of terminological and essential confusion arises in those cases when an artist or some association of artists in the process of hasty self-identification finds a name for itself. That's exactly what happened with Vienna School of Fantastic Realism (Wiener Schule des Phantastischen Realismus), at the turn of the XIX-XX centuries. Consisting of artists, mostly focused on surrealist roots. Interesting masters in their own way - Albert Paris Gütersloh (Albert Konrad Kitreiber), Ernst Fuchs, Arik Brauer, Anton Lemden, Rudolf Hausner, Wolfgang Hutter and others, they were more or less influenced by Max Ernst, and, of course, most of all They focused on external exaggeratedly frightening effects, combined with the use of decorative effects, partly echoing the style of the secession. The movement was distinguished by frank eclecticism, although in the painting of Gütersloh (the group theorist) there is an undoubted temperament and pictorial dramatic energy, anticipating the discoveries of German expressionism. One way or another, the declared name belongs only to history, but is very far from the true problems of "fantastic realism".

Naturally, Soviet aesthetics practically excluded the fantastic beginning from the context of realistic art, just as it is natural that since the late 1980s it began to return from the world of the underground to exhibition venues and gained a certain success (especially in the world of gallery art).

The city itself contributes a lot to this. St. Petersburg is one of the youngest famous cities in the world, which has managed to be both an imperial capital and a regional center, a city that has changed faces and disguises, a city that has changed its name three times (or, more precisely, four times!) and, probably, its fate. “If Petersburg is not the capital, then there is no Petersburg. It only seems that he exists” (Andrey Bely).

The unsteady mixture of the imaginary and the real is the phantom of Pushkin's "proud idol". And Pushkin's odic lines, beginning with the words "I love", are almost refuted by the "heavy-voiced" galloping of the idol chasing the unfortunate madman. And this is also Pushkin (1828):

The city is magnificent, the city is poor,
Spirit of bondage, slender appearance,
The vault of heaven is green-pale,
Boredom, cold and granite.

So many gloomy judgments have not been expressed about any city, although for everyone it remains the “beauty and marvel” of “midnight countries”.

Everything is a lie, everything is a dream, everything is not what it seems! "The most deliberate city in the whole world" (Dostoevsky); “And my city is iron gray” (Block). Even Chekhov, by no means a Petersburg writer, saw in the inhabitants of Petersburg “a special breed of people who are specially engaged in making fun of every phenomenon of life; they cannot even pass by a hungry person or a suicide without saying vulgarity” (Story of an unknown person).

The city itself is a solid quote, sometimes it seems that it arose not by the will of Peter, but by the movements of goose feathers, would it have been without the nightmares of Herman or Galyadkin, without the torments of Raskolnikov, without Blok's Retribution! And without the lofty and merciless dreams of the doomed Decembrists, without political assassinations, without the "three revolutions" that we were taught to be so proud of. Everything is a lie, everything is a dream?

On the icy St. Petersburg stage, open to the winds of European culture, the passions seen through the “magic crystal” of the city and those who wrote about it were painfully highlighted.

And the "cinema" gradually poeticized and adorned the city: it spread out as fields of polished asphalt under the wheels of "Emka"-taxi driver Petya Govorkov - the future great singer (Sergey Lemeshev) and ZIS arrogant and stupid Tarakanov (Erast Garin) in Musical History, surrounding the funny Americanized utopia with the light of cast-iron lanterns and the patrician facades of St. Petersburg palaces; the city also became the scenery of romantic fantasies of revolutionary fairy tales, its factories, ennobled by the skill of excellent cameramen, turned into the scenery of the famous films about Maxim, “legends were created in the world of prose”, in the words of Verharn, and Leningrad turned into a magical legend about itself. What kind of “doubtful fantastic light is there, like we have in St. Petersburg” (Dostoevsky).

But, unfortunately, it is the parlor, entertaining version of “fantastic realism” that attracts the public, which seeks to join the elementary, inviting, which only pretends to be deep and complex.

As Nikolai Danilevsky said, my thoughtful interlocutor is either a like-minded person or even an opponent: “A distinctive feature of St. Petersburg fantastic realism, from similar trends, is the absence of catharsis. This is a fairy tale with an unhappy ending. Here I completely agree with him. Moreover, it is he who consistently tries in his artistic practice to find, if not a happy ending, then a genuine artistic quality, without which any experiment is doomed. Refusing traditional figurativeness, the artist seeks and finds a purely plastic equivalent to his vision, where fantasy becomes the very truth.

There are probably other ways. In the meantime, we have taken the first steps towards understanding the root system of Fantastic Realism. Escapes - in the process of implementation. Many artists simply call themselves "fantastic realists." Everyone has a right to it, everyone proves it in their own way.

It must be assumed that Fantastic realism is a concept that primarily includes the desire for a meaningful, stylistically unified formal system (resemblance to nature, traditional objectivity may or may not exist), but sine qua non - integrity, suggestiveness and individuality of artistic substance realizing the artist's ideas about phenomena beyond sensory experience.

The only way to survive in a world you have to fight is to know more about it.

Footnotes

* Nikolai Sergeevich Danilevsky - the founder of the "Petersburg School of Fantastic Realism".
1 Rilke R. M. Moderne russische Kunst-bestrebungen. Samtliche Werke in zwolf Banden. Frankfurt a. M., 1976, Bd 10. S. 613-614
2 Benois A. The emergence of the "World of Art", L., 1928, p. 21
3 Cit. by: 100 oeuvres nouvelles 1974-1976. Musee national d'art moderne. P., 1977. P. 24

Mikhail Yurievich German- Soviet and Russian writer, art historian, doctor of art history, professor, member of the International Association of Art Critics (AICA) and the International Council of Museums (ICOM), member of the International PEN Club and the Union of Russian Writers, member of the Union of Journalists of St. Petersburg and the International Federation of Journalists (IFJ). Leading Research Fellow of the State Russian Museum

Special thanks for the materials provided Nikolai Danilevsky

Herman M. Yu. Fantastic realism: myth, reality, present day (answers to unasked questions). -- St. Petersburg, Pushkin Museum: almanac. Issue. 8, All-Russian Museum of A.S. Pushkin, 2017. -- 432 p., ill. -- ISBN 978-5-4380-0022-8.)