Artwork helps. Artistic images in lyrics

Artistic image

Artistic image - any phenomenon creatively recreated by the author in a work of art. It is the result of the artist's understanding of a phenomenon or process. At the same time, the artistic image not only reflects, but, above all, generalizes reality, reveals the eternal in the individual, transient. The specificity of the artistic image is determined not only by the fact that it comprehends reality, but also by the fact that it creates a new, fictional world. The artist strives to select such phenomena and depict them in such a way as to express his idea of ​​life, his understanding of its tendencies and patterns.

So, "an artistic image is a concrete and at the same time a generalized picture of human life, created with the help of fiction and having aesthetic value"(L. I. Timofeev).

An image is often understood as an element or part of an artistic whole, as a rule, a fragment that seems to have independent life and content (for example, character in literature, symbolic images, as a "sail" by M. Yu. Lermontov).

An artistic image becomes artistic not because it is written off from nature and looks like a real object or phenomenon, but because it transforms reality with the help of the author's imagination. The artistic image not only and not so much copies reality, but tends to convey the most important and essential. Thus, one of the heroes of Dostoevsky's novel "The Teenager" said that photographs very rarely can give a correct idea of ​​a person, because not always human face expresses the main character traits. Therefore, for example, Napoleon, photographed at a certain moment, might seem stupid. The artist, on the other hand, must find in the face the main thing, the characteristic. In Leo Tolstoy's novel "Anna Karenina", the amateur Vronsky and the artist Mikhailov painted a portrait of Anna. It seems that Vronsky knows Anna better, understands her more and more deeply. But Mikhailov's portrait was distinguished not only by similarity, but also by that special beauty that only Mikhailov could detect and that Vronsky did not notice. “You should have known and loved her, as I loved, in order to find this sweetest expression of her soul,” thought Vronsky, although he only recognized from this portrait “this is her sweetest spiritual expression.”

On the different stages development of mankind, the artistic image takes various forms.

This happens for two reasons:

the subject of the image changes - a person,

the forms of its reflection in art also change.

There are some peculiarities in the reflection of the world (and hence in the creation of artistic images) by realist artists, sentimentalists, romantics, modernists, etc. As art develops, the ratio of reality and fiction, reality and ideal, general and individual, rational and emotional changes etc.

In the images of classic literature, for example, the struggle between feeling and duty comes to the fore, and goodies invariably make a choice in favor of the latter, sacrificing personal happiness in the name of state interests. And romantic artists, on the contrary, exalt the hero-rebel, a loner who rejected society or was rejected by it. Realists strove for a rational knowledge of the world, the identification of causal relationships between objects and phenomena. And the modernists announced that it is possible to know the world and man only with the help of irrational means (intuition, insight, inspiration, etc.). At the center of realistic works is a person and his relationship with the outside world, while romantics, and then modernists, are primarily interested in the inner world of their heroes.

Although the creators of artistic images are artists (poets, writers, painters, sculptors, architects, etc.), in a sense, those who perceive these images, that is, readers, viewers, listeners, etc., also turn out to be their co-creators. So, the ideal reader not only passively perceives the artistic image, but also fills it with his own thoughts, feelings and emotions. Different people and different eras reveal different aspects of it. In this sense, the artistic image is inexhaustible, like life itself.

Artistic means of creating images

The speech characteristic of the hero :

- dialog- a conversation between two, sometimes more persons;

- monologue- the speech of one person;

- internal monologue - statements of one person, taking the form of inner speech.

Subtext - unspoken directly, but guessed by the attitude of the author to the depicted, implicit, hidden meaning.

Portrait - the image of the hero's appearance as a means of characterizing him.

Detail -expressive detail in the work, carrying a significant semantic and emotional load.

Symbol - an image expressing the meaning of a phenomenon in objective form .

Interior -indoor environment, human environment.

Poetic art is thinking in images. The image is the most important and directly perceived element literary work. The image is the focus of the ideological and aesthetic content and the verbal form of its embodiment.

The term "artistic image" is of relatively recent origin. It was first used by J. W. Goethe. However, the problem of the image itself is one of the ancient ones. The beginning of the theory of the artistic image is found in Aristotle's doctrine of "mimesis". The term “image” was widely used in literary criticism after the publication of the works of G. W. F. Hegel. The philosopher wrote: “We can designate a poetic representation as figurative, since it puts before our eyes, instead of an abstract essence, its concrete reality.”

G. V. F. Hegel, reflecting on the relationship of art with the ideal, solved the question of the transformative impact artistic creativity to the life of society. The "Lectures on Aesthetics" contains a detailed theory of the artistic image: aesthetic reality, artistic measure, ideology, originality, uniqueness, general validity, dialectic of content and form.

AT modern literary criticism The artistic image is understood as the reproduction of the phenomena of life in a concrete, individual form. The purpose and purpose of the image is to convey the general through the individual, not imitating reality, but reproducing it.

The word is the main means of creating a poetic image in literature. The artistic image reveals the visibility of an object or phenomenon.

The image has the following parameters: objectivity, semantic generalization, structure. Object images are static and descriptive. These include images of details, circumstances. Semantic images are divided into two groups: individual - created by the talent and imagination of the author, reflect the patterns of life in a certain era and in a certain environment; and images that outgrow the boundaries of their era and acquire universal human significance.

Images that go beyond the scope of the work and often beyond the limits of the work of one writer include images that are repeated in a number of works by one or more authors. images characteristic of whole era or nations, and images-archetypes, contain the most stable "formulas" of human imagination and self-knowledge.

The artistic image is connected with the problem of artistic consciousness. When analyzing an artistic image, it should be taken into account that literature is one of the forms of social consciousness and a kind of practical-spiritual human activity.

The artistic image is not something static, it is distinguished by a procedural character. In different eras, the image is subject to certain specific and genre requirements that develop artistic traditions. At the same time, the image is a sign of a unique creative individuality.

An artistic image is a generalization of the elements of reality, objectified in sensually perceived forms, which are created according to the laws of type and genre. this art, in a certain individual-creative manner.

Subjective, individual and objective are present in the image in an inseparable unity. Reality is the material to be known, the source of facts and sensations, exploring which creative person studies himself and the world, embodies his ideological, moral ideas about the real and the proper in the work.

The artistic image, reflecting life trends, at the same time is an original discovery and the creation of new meanings that did not exist before. The literary image correlates with life phenomena, and the generalization contained in it becomes a kind of model of the reader's understanding. own problems and conflicts of reality.

A holistic artistic image also determines the originality of the work. Characters, events, actions, metaphors are subordinated in accordance with the original intention of the author and in the plot, composition, main conflicts, theme, idea of ​​the work express the nature of the artist's aesthetic attitude to reality.

The process of creating an artistic image, first of all, is a strict selection of material: the artist takes the most character traits depicted, discards everything random, giving development, enlarging and sharpening certain features to full distinctness.

V. G. Belinsky wrote in the article “Russian Literature in 1842”: “Now the “ideal” is understood not as an exaggeration, not a lie, not a childish fantasy, but a fact of reality, such as it is; but a fact not written off from reality, but carried through the poet's fantasy, illumined by the light of a general (and not exceptional, particular and accidental) meaning, erected into a pearl of consciousness and therefore more similar to itself, more true to itself than the most slavish copy with true to its original. Thus, in a portrait made by a great painter, a person is more like himself than even his reflection in a daguerreotype, for great painter with sharp features brought out everything that is hidden inside such a person and that, perhaps, is a secret for this person himself.

The persuasiveness of a literary work is not reduced and is not limited to the fidelity of the reproduction of reality and the so-called "truth of life". It is determined by the originality of creative interpretation, the modeling of the world in forms, the perception of which creates the illusion of understanding the phenomenon of man.

The artistic images created by D. Joyce and I. Kafka are not identical to the reader's life experience, it is difficult to read them as a complete coincidence with the phenomena of reality. This "non-identity" does not mean a lack of correspondence between the content and structure of the writers' works and allows us to say that the artistic image is not a living original of reality, but is a philosophical and aesthetic model of the world and man.

In the characterization of the elements of the image, their expressive and pictorial possibilities are essential. By "expressiveness" one should mean the ideological and emotional orientation of the image, and by "pictoriality" - its sensual being, which turns into artistic reality subjective state and assessment of the artist. The expressiveness of the artistic image is irreducible to the transfer of the subjective experiences of the artist or the hero. It expresses the meaning of certain psychological states or relationships. The figurativeness of the artistic image allows you to recreate objects or events in visual clarity. Expressiveness and figurativeness of an artistic image are inseparable at all stages of its existence - from original intention before the completion of the work. The organic unity of figurativeness and expressiveness is fully related to the integral image-system; separate images-elements are not always carriers of such unity.

It should be noted socio-genetic and epistemological approaches to the study of the image. The first establishes social needs and causes that give rise to a certain content and functions of the image, and the second analyzes the correspondence of the image to reality and is associated with the criteria of truth and veracity.

In a literary text, the concept of "author" is expressed in three main aspects: a biographical author, whom the reader knows about as a writer and a person; the author "as the embodiment of the essence of the work"; the image of the author, similar to other images-characters of the work, is the subject of personal generalization for each reader.

Definition artistic function The image of the author was given by V. V. Vinogradov: “The image of the author is not just a subject of speech, most often it is not even named in the structure of the work. This is a concentrated embodiment of the essence of the work, uniting the entire system of speech structures of characters in their relationship with the narrator, narrator or narrators and through them being the ideological and stylistic focus, the focus of the whole.

It is necessary to distinguish between the image of the author and the narrator. The narrator is a special artistic image invented by the author, like everyone else. It has the same degree of artistic conventionality, which is why the identification of the narrator with the author is unacceptable. There can be several narrators in a work, and this once again proves that the author is free to hide "under the mask" of one or another narrator (for example, several narrators in "Belkin's Tales", in "A Hero of Our Time"). The image of the narrator in the novel by F. M. Dostoevsky "Demons" is complex and multifaceted.

The narrative style and specificity of the genre determines the image of the author in the work. As Yu. V. Mann writes, "each author appears in the rays of his genre." In classicism, the author of a satirical ode is an accuser, and in an elegy, a sad singer, in the life of a saint, a hagiographer. When the so-called period of “poetics of the genre” ends, the image of the author acquires realistic features, receives an expanded emotional and meaning. “Instead of one, two, several colors, there is their motley multicolor, and iridescent,” says Yu. Mann. Authorial digressions appear - this is how the direct communication of the creator of the work with the reader is expressed.

The formation of the genre of the novel contributed to the development of the image-narrator. In the baroque novel, the narrator acts anonymously and does not seek contact with the reader, in realistic novel the author-narrator is a full-fledged hero of the work. In many ways, the main characters of the works express the author's concept of the world, embody the experiences of the writer. M. Cervantes, for example, wrote: “Idle reader! You can believe without an oath, as I would like this book, the fruit of my understanding, to be the height of beauty, grace and thoughtfulness. But it is not in my power to cancel the law of nature, according to which every living being gives birth to its own kind.

And yet, even when the heroes of the work are the personification of the author's ideas, they are not identical to the author. Even in the genres of confession, diary, notes, one should not look for the adequacy of the author and the hero. The conviction of J.-J. Rousseau is that the autobiography - perfect shape introspection and exploration of the world, was called into question by the literature of the 19th century.

Already M. Yu. Lermontov doubted the sincerity of the confessions expressed in the confession. In the preface to Pechorin's Journal, Lermontov wrote: "Rousseau's confession already has the disadvantage that he read it to his friends." Without a doubt, every artist strives to make the image vivid, and the plot captivating, therefore, pursues "a vain desire to arouse participation and surprise."

A. S. Pushkin generally denied the need for confession in prose. In a letter to P. A. Vyazemsky regarding Byron’s lost notes, the poet wrote: “He (Byron) confessed in his poems, involuntarily, carried away by the delight of poetry. In cold-blooded prose, he would lie and cunning, now trying to show off sincerity, now slandering his enemies. He would have been caught, as Rousseau was, and there malice and slander would triumph again... You love no one so much, you know no one as well as yourself. The subject is inexhaustible. But it's difficult. It is possible not to lie, but to be sincere is a physical impossibility.”

Introduction to Literary Studies (N.L. Vershinina, E.V. Volkova, A.A. Ilyushin and others) / Ed. L.M. Krupchanov. - M, 2005

The most important category of literature, which determines its essence and specificity, is the artistic image. What is the meaning of this concept? It means a phenomenon that the author creatively recreates in his creation. The image in a work of art is presented as the result of meaningful conclusions by the writer about some process or phenomenon. The peculiarity of this concept is that it not only helps to comprehend reality, but also to create your own fictional world.

Let's try to trace what an artistic image is, its types and means of expression. After all, any writer tries to depict certain phenomena in such a way as to show his vision of life, its trends and patterns.

What is an artistic image

Domestic literary criticism borrowed the word "image" from the Kievan-church lexicon. It has a meaning - a face, a cheek, and its figurative meaning is a picture. But it is important for us to analyze what an artistic image is. By it they mean a specific, and sometimes a generalized picture of people's lives, which carries aesthetic value and is created with the help of fiction. element or part literary creation having an independent life - that's what an artistic image is.

Such an image is called artistic not because it is identical to real objects and phenomena. The author simply transforms reality with the help of his imagination. The task of the artistic image in literature is not just to copy reality, but to convey the most important and essential.

So, Dostoevsky put into the mouth of one of his heroes the words that it is rarely possible to recognize a person from a photograph, because the face does not always speak of the most important character traits. From photographs, Napoleon, for example, seems stupid to some. The task of the writer is to show in the face and character the most important, specific. Creating a literary image, the author in words reflects human characters, objects, phenomena in an individual form. By image, literary scholars mean the following:

1. Characters artwork, heroes, actors and their characters.
2. Depiction of reality in a concrete form, with the help of verbal images and tropes.

Each image created by the writer carries a special emotionality, originality, associativity and capacity.

Changing forms of artistic representation

In the course of how humanity changes, so there are changes in the image of reality. There is a difference between what the artistic image was 200 years ago and what it is now. In the era of realism, sentimentalism, romanticism, modernism, the authors displayed the world in different ways. Reality and fiction, reality and ideal, general and individual, rational and emotional - all this changed in the course of the development of art. In the era of classicism, writers highlighted the struggle between feelings and duty. Often heroes chose duty and sacrificed personal happiness in the name of the public interest. In the era of romanticism, rebel heroes appeared who rejected society or it them.

Realism introduced rational knowledge of the world into literature, taught to identify cause-and-effect relationships between phenomena and objects. Modernism called on writers to cognize the world and man by irrational means: inspiration, intuition, insight. For realists, at the head of everything is a person and his relationship with the outside world. Romantics are interested in the inner world of their characters.

Readers and listeners can also be called in some way co-creators of literary images, because their perception is important. Ideally, the reader does not just passively stand aside, but passes the image through his own feelings, thoughts and emotions. Readers of different eras open up completely different sides of what kind of artistic image the writer portrayed.

Four types of literary images

The artistic image in literature is classified on various grounds. All these classifications only complement each other. If we divide the images into types according to the number of words or characters that create them, then the following images stand out:

• Small images in the form of details. An example of an image-detail is the famous Plyushkin pile, a structure in the form of a heap. She characterizes her character very clearly.
• Interiors and landscapes. Sometimes they are part of the image of a person. So, Gogol constantly changes interiors and landscapes, making them a means of creating characters. Landscape lyrics are very easy for the reader to imagine.
• Character images. So, in the works of Lermontov, a person with his feelings and thoughts is at the center of events. Characters are also called literary heroes.
• complex literary systems. As an example, we can name the image of Moscow in the lyrics of Tsvetaeva, Russia in the work of Blok, St. Petersburg in Dostoevsky. An even more complex system is the image of the world.

Classification of images according to generic and style specifics

All verbal and artistic creations are usually divided into three types. In this regard, the images can be:

• lyrical;
• epic;
• dramatic.

Every writer has their own style of portraying characters. This gives reason to classify images into:

• realistic;
• romantic;
• surreal.

All images are created according to a certain system and laws.

The division of literary images according to the nature of generalization

Uniqueness and originality are characterized by individual images. They are invented by the imagination of the author himself. Individual images used by romantics and science fiction writers. In Hugo's Notre Dame Cathedral, readers can see an unusual Quasimodo. The Shuttlecock in Bulgakov's novel "The Master and Margarita", the Demon in the work of the same name by Lermontov, is an individual.

The generalization, opposite to the individual, is characteristic. It contains the characters and customs that people of a certain era have. Such are the literary heroes of Dostoevsky in The Brothers Karamazov, Crime and Punishment, in Ostrovsky's plays, in Galsworthy's The Forsyte Saga.

The highest level of characteristic characters are typical images. They were the most probable for a particular era. Exactly typical heroes found most often in realistic literature XIX century. This is the father of Goriot and Gobsek Balzac, Plato Karataev and Anna Karenina Tolstoy, Madame Bovary Flaubert. Sometimes the creation of an artistic image is intended to capture the socio-historical signs of an era, universal human character traits. Don Quixote, Don Juan, Hamlet, Oblomov, Tartuffe can be added to the list of such eternal images.

From the framework of individual characters go motif images. They are constantly repeated in the subject matter of the works of some author. As an example, Yesenin's "village Rus" or " beautiful lady"Block.

Typical images found not only in the literature of individual writers, but also of nations, eras, are called topos. Such Russian writers as Gogol, Pushkin, Zoshchenko, Platonov used the topos image of the "little man" in their writings.

The universal image, which is unconsciously transmitted from generation to generation, is called archetype. It includes mythological characters.

Means of creating an artistic image

Each writer, to the best of his talent, reveals images with the means available to him. Most often, he does this through the behavior of the characters in certain situations, through his relationship with the outside world. Of all the means of artistic image, an important role is played by speech characteristic heroes. The author can use monologues, dialogues, internal statements of a person. To the events taking place in the book, the writer can give his author's description.

Sometimes readers observe an implicit, hidden meaning in the works, which is called subtext. Of great importance external characteristics of the heroes: height, clothes, figure, facial expressions, gestures, voice timbre. It's easier to call it a portrait. A great semantic and emotional load is carried in the works details, expressing details . To express the meaning of a phenomenon in objective form, the authors use symbols. The idea of ​​​​the habitat of a particular character gives a description of the interior of the room - interior.

In what order is literary

character image?

To create an artistic image of a person is one of the most important tasks of any author. Here's how to characterize this or that character:

1. Indicate the place of the character in the system of images of the work.
2. Describe it in terms of social type.
3. Describe the character's appearance, portrait.
4. Name the features of his worldview and worldview, mental interests, abilities and habits. Describe what he does, his life principles and influence on others.
5. Describe the sphere of feelings of the hero, the features of inner experiences.
6. Analyze author's attitude to the character.
7. Reveal the most important character traits of the hero. As the author opens them, other characters.
8. Analyze the actions of the hero.
9. Name the personality of the character's speech.
10. What is his relationship to nature?

Mega, macro and micro images

Sometimes the text of a literary creation is perceived as a mega-image. It has its own aesthetic value. Literary critics give him the highest generic and indivisible value.

To depict life in larger or smaller segments, pictures or parts, macro images are used. The composition of the macro image is made up of small homogeneous images.

The microimage is distinguished by the smallest text size. It can be in the form of a small segment of reality depicted by the artist. It can be one phrase word (Winter. Frost. Morning.) Or a sentence, a paragraph.

Image-symbols

A characteristic feature of such images is metaphor. They carry semantic depth. So, the hero Danko from Gorky's work "The Old Woman Izergil" is a symbol of absolute selflessness. He is opposed in the book by another hero - Larra, who is a symbol of selfishness. The writer creates a literary image-symbol for hidden comparison, in order to show its figurative meaning. Most often, the symbolism is found in lyrical creations. It is worth remembering Lermontov's poems "The Cliff", "It Stands Lonely in the Wild North...", "Leaf", the poem "Demon", the ballad "Three Palm Trees".

Eternal images

There are images that never fade, they combine the unity of historical and social elements. Such characters of world literature are called eternal. Prometheus, Oedipus, Cassandra immediately come to mind. Any intelligent person add here Hamlet, Romeo and Juliet, Iskander, Robinson. There are immortal novels, short stories, lyrics in which new generations of readers discover unprecedented depths.

Artistic images in lyrics

An unusual look at ordinary things allows you to see the lyrics. The keen eye of the poet notices the most everyday things that bring happiness. The artistic image in the poem can be the most unexpected. For some it is the sky, the day, the light. Bunin and Yesenin have a birch. The images of the beloved or beloved are endowed with special tenderness. Very often there are images-motives, such as: a woman-mother, wife, bride, beloved.

From the socio-cultural necessity of art, its main features follow: special treatment art to reality and a special way of ideal development, which we find in art and which is called the artistic image. Other areas of culture - politics, pedagogy - turn to the artistic image in order to "elegantly and unobtrusively" express the content.

An artistic image is a structure of artistic consciousness, a way and space of artistic development of the world, existence and communication in art. An artistic image exists as an ideal structure, unlike a work of art, a material reality, the perception of which gives rise to an artistic image.

The problem of understanding the artistic image lies in the fact that the initial semantics of the concept of image captures the epistemological relation of art to reality, the relation that makes art a kind of similarity. real life, prototype. For the art of the 20th century, which has abandoned lifelikeness, its figurative nature becomes doubtful.

But nevertheless, the experience of both art and aesthetics of the twentieth century suggests that the category of "artistic image" is necessary, since the artistic image reflects important aspects artistic consciousness. It is in the category of artistic image that the most important specific features of art are accumulated, the existence of an artistic image marks the boundaries of art.

If we approach the artistic image functionally, then it appears as: firstly, a category denoting the inherent in art perfect way artistic activity; secondly, it is the structure of consciousness, thanks to which art solves two important tasks: mastering the world - in this sense, an artistic image is a way of mastering the world; and transmission of artistic information. Thus, the artistic image turns out to be a category that outlines the entire territory of art.

Two layers can be distinguished in a work of art: material-sensory (image) and sensual-supersensible (artistic image). The work of art is their unity.

In a work of art, the artistic image exists in a potential, possible, correlative world with perception. The perceiving artistic image is born anew. Perception is artistic to the extent that it affects the artistic image.

The artistic image acts as a specific substratum (substance) of artistic consciousness and artistic information. The artistic image is a specific space of artistic activity and its products. Experiences about the characters take place in this space. An artistic image is a special specific reality, the world of a work of art. It is complex in its structure, multi-scale. Only in abstraction can an artistic image be perceived as a supra-individual structure; in reality, an artistic image is “attached” to the subject that generated it or perceives it, it is an image of the consciousness of the artist or the perceiver. exists at the level of perception. And in the performing arts - and at the level of performance. In this sense, the use of the expression "My Pushkin", "My Chopin", etc. is justified. And if we ask the question, where does the genuine Chopin sonata exist (in Chopin's head, in notes, in performance)? An unequivocal answer to it is hardly possible. When we talk about "variant multiplicity", we mean "invariant". The image, if it is artistic, has certain characteristics. Directly given to a person characteristic of the artistic image - integrity. The artistic image is not a summation, it is born in the mind of the artist, and then the perceiver in a leap. In the mind of the creator, he lives as a self-propelled reality. (M. Tsvetaeva - “A work of art is born, not created”). Each fragment of the artistic image has the quality of self-movement. Inspiration is the mental state of a person in which images are born. Images appear as a special artistic reality.

If we turn to the specifics of the artistic image, the question arises: is the image an image? Can we talk about the correspondence between what we see in art and the objective world, because the main criterion of imagery is correspondence.

The old, dogmatic understanding of the image proceeds from the interpretation of correspondence and falls into a mess. In mathematics, there are two understandings of correspondence: 1) isomorphic - one-to-one, the object is a copy. 2) homomorphic - partial, incomplete correspondence. What kind of reality does art recreate for us? Art is always transformation. The image deals with the value reality - it is precisely this reality that is reflected in art. That is, the prototype for art is the spiritual value relationship between the subject and the object. They have a very complex structure and its reconstruction is an important task of art. Even the most realistic works do not give us just copies, which does not cancel the category of correspondence.

The object of art is not an object as a “thing-in-itself”, but an object that is significant for the subject, i.e., possessing a valuable objectivity. In the subject, the relation is important, internal state. The value of an object can only be revealed in relation to the state of the subject. Therefore, the task of the artistic image is to find a way to connect the subject and the object in a relationship. The value significance of the object for the subject is a manifest meaning.

An artistic image is an image of the reality of spiritual and value relations, and not of an object in itself. And the specificity of the image is determined by the task - to become a way of realizing this special reality in the mind of another person. Each time the images are a recreation of certain spiritual and value relations with the help of the language of the art form. In this sense, we can talk about the specifics of the image in general and about the conditionality of the artistic image by the language with which it is created.

Art forms are divided into two large classes - pictorial and non-pictorial, in which the artistic image exists in different ways.

In the first class of arts, artistic languages, value relations are modeled through the reconstruction of objects and the subjective side is revealed indirectly. Such artistic images live because art uses a language that recreates a sensual structure - the visual arts.

The second class of arts is modeled with the help of their language of reality, in which the state of the subject is given to us in unity with its semantic, value representation, non-graphic arts. Architecture is “frozen music” (Hegel).

An artistic image is a special ideal model of value reality. The artistic image performs modeling duties (which relieves it of the obligation of full compliance). An artistic image is a way of representing reality inherent in artistic consciousness and, at the same time, a model of spiritual and value relations. That is why the artistic image acts as a unity:

Objective - Subjective

Subject - Value

Sensual - Supersensible

Emotional - Rational

Experiences - Reflections

Conscious - Unconscious

Corporeal - Spiritual (With its ideality, the image absorbs not only the spiritual-psychic, but also the corporal-psychic (psychosomatic), which explains the effectiveness of its impact on a person).

The combination of the spiritual and the physical in art becomes an expression of merging with the world. Psychologists have proven that during perception, identification with the artistic image occurs (its currents pass through us). Tantrism is merging with the world. The unity of the spiritual and the corporeal spiritualizes, humanizes the corporality (greedily eat food and greedily dance). If we feel hungry in front of a still life, then it means that art has not had a spiritual influence on us.

In what ways is the subjective, value (intonation), supersensible revealed? General rule here: everything that is not depicted is revealed through the depicted, the subjective - through the objective, the value - through the objective, etc. All this is realized in expressiveness. Due to what is this happening? There are two options: the first is that art concentrates the reality that is related to a given value meaning. This leads to the fact that the artistic image never gives us a complete transfer of the object. A. Baumgarten called the artistic image "a reduced Universe".

Example: Petrov-Vodkin "Playing Boys" - he is not interested in the specifics of nature, individuality (blurs faces), but universal values. "Thrown away" does not matter here, because it leads away from the essence.

Another important function of art is transformation. Changing the contours of space color solution, proportions human bodies, temporal order (the moment stops). Art gives us the possibility of an existential communion with time (M. Proust "In Search of Lost Time").

Every artistic image is a unity of life-like and conditional. Conventionality is a feature of artistic figurative consciousness. But a minimum of lifelikeness is necessary, because we are talking about communication. Different types the arts have varying degrees of lifelikeness and conventionality. Abstractionism is an attempt to discover new reality, but retains an element of resemblance to the world.

Conditionality - unconditionality (of emotions). Due to the conditionality of the subject plan, the unconditionality of the value plan arises. The worldview does not depend on objectivity: Petrov-Vodkin "Bathing the Red Horse" (1913) - in this picture, according to the artist himself, his foreboding found expression civil war. The transformation of the world in art is a way of embodying the artist's worldview.

Another universal mechanism of artistic and figurative consciousness: a feature of the transformation of the world, which can be called the principle of metaphor (the conditional likening of one object to another; B. Pasternak: "... it was like a lunge on a rapier ..." - about Lenin). Art reveals other phenomena as properties of some reality. There is an inclusion in the system of properties close to this phenomenon, and, at the same time, opposition to it, a certain value-semantic field immediately arises. Mayakovsky - "Hell of the city": the soul is a puppy with a piece of rope. The principle of metaphor is the conditional likening of one object to another, and the further the objects are separated, the more the metaphor is saturated with meaning.

This principle works not only in direct metaphors, but also in comparisons. Pasternak: thanks to metaphor, art solves enormous problems, which determine the specifics of art. One enters into the other and saturates the other. Thanks to a special artistic language (according to Voznesensky: I am Goya, then I am the throat, I am the voice, I am hunger), each subsequent metaphor fills the other with content: the poet is the throat, with the help of which certain states of the world are voiced. In addition, internal rhyming and through the system of stresses and alliteration of consonances. In the metaphor, the principle of the fan works - the reader unfolds the fan, in which everything is already folded up. This works throughout the entire system of tropes: the establishment of some similarity both in epithets (an expressive adjective - a wooden ruble), and in hyperbolas (exaggerated size), synecdoches - truncated metaphors. Eisenstein wears the doctor's pince-nez in the film Battleship Potemkin: when the doctor is thrown overboard, the doctor's pince-nez remains on the mast. Another technique is comparison, which is an extended metaphor. Zabolotsky: "Straight bald husbands sit like a shot from a gun." As a result, the simulated object is overgrown with expressive connections and expressive relationships.

An important figurative technique is rhythm, which equates semantic segments, each of which carries a certain content. There is a kind of flattening, crushing of saturated space. Y. Tynyanov - tightness of the verse series. As a result of the formation of a single system of saturated relations, a certain value energy arises, realized in the acoustic saturation of the verse, and certain meaning, condition. This principle is universal, in relation to all kinds of art; as a result, we are dealing with a poetically organized reality. The plastic embodiment of the principle of metaphor in Picasso is “Woman is a flower”. Metaphor creates a colossal concentration of artistic information.

Artistic generalization

Art is not a retelling of reality, but an image of force or traction through which a person's figurative relationship to the world is realized.

Generalization becomes the realization of the features of art: the concrete gets more common sense. The specificity of artistic and figurative generalization: the artistic image unites the subject and the value. The purpose of art is not a formal logical generalization, but a concentration of meaning. Art gives meaning related to objects of this kind , art gives meaning to the value logic of life. Art tells us about fate, about life in its human fullness. In the same way, human reactions are generalized, therefore, in relation to art, they talk about the worldview and worldview, and this is always a model of attitude.

Generalization occurs by transforming what is happening. Abstraction is a distraction in a concept, theory is a system of logical organization of concepts. A concept is a representation of large classes of phenomena. Generalization in science is a move from the individual to the universal, this is thinking in abstractions. Art, on the other hand, must retain the concreteness of value and it must generalize without being distracted from this specificity, which is why the image is a synthesis of the individual and the general, and individuality retains its separateness from other objects. This happens due to the selection, transformation of the object. When we look at the individual stages of world art, we find typological, well-established features of ways of artistic generalization.

The three main types of artistic generalization in the history of art are characterized by the difference in the content of the general, the originality of singularity, the logic of the relationship between the general and the individual. We distinguish the following types:

1) Idealization. We find idealization as a type of artistic generalization both in antiquity, and in the Middle Ages, and in the era of classicism. The essence of idealization is a special general. Values ​​brought to a certain purity serve as a generalization. The task is to single out ideal entities before sensual incarnation. This is inherent in those types of artistic consciousness that are guided by the ideal. In classicism, low and high genres are strictly separated. High genres represents, for example, the painting by N. Poussin "The Kingdom of Flora": a myth presented as the fundamental being of entities. The individual does not play an independent role here, the unique characteristics are eliminated from this individual, and the image of the most unique harmony appears. With such a generalization, momentary, everyday characteristics of reality are omitted. Instead of a domestic environment, an ideal landscape appears, which is, as it were, in a dream state. This is the logic of idealization, where the goal is the affirmation of the spiritual essence.

2) Typification. A type of artistic generalization characteristic of realism. The peculiarity of art is the disclosure of the fullness of this reality. The logic of movement here is from the concrete to the general, a movement that retains the outgoing significance of the most concrete. Hence the features of typification: to reveal the general in the laws of life. A picture is created that is natural for this class phenomena. Type is the embodiment of the most characteristic features of this class of phenomena as they exist in reality. Hence the connection between typification and the historicism of the artist's thinking. Balzac called himself the secretary of the society. Marx learned more from the novels of Balzac than from the writings of political economists. The typological feature of the character of the Russian nobleman is falling out of the system, extra person. The general here requires a special individual, empirically full-blooded, with unique features. The combination of the unique, inimitable concrete with the general. This is where individualization becomes reverse side typing. When they talk about typing, they immediately talk about individualization. When perceiving typical images, it is necessary to live their life, then the intrinsic value of this particular one arises. There are images of unique people, which the artist individually writes out. This is how art thinks, typifying reality.

The practice of art of the 20th century has mixed everything up, and realism has not been the last resort for a long time. The 20th century has mixed up all the ways of artistic generalization: one can find typification with a naturalistic bias, where art becomes a literal mirror. Falling into the specifics, which creates even a special mythological reality. For example, hyperrealism, which creates a mysterious, strange and gloomy reality.

But in the art of the XX century there is also new way artistic generalization. A. Gulyga the exact name this method of artistic generalization is typology. Example − graphic works E. Unknown. Picasso has a portrait of G. Stein - transmission hidden meaning man, face-mask. Seeing this portrait, the model said: I am not like that; Picasso immediately replied: You will be like that. And she, indeed, became such, having grown old. It is no coincidence that the art of the 20th century is fond of African masks. Schematization of the sensual form of an object. "Avignon Girls" by Picasso.

The essence of typology: typology was born in the era of the dissemination of scientific knowledge; it is an artistic generalization oriented to the multi-knowing consciousness. Typologization idealizes the general, but, unlike idealization, the artist depicts not what he sees, but what he knows. Typology says more about the general than about the individual. The singular comes to scale, cliché, while retaining some plastic expressiveness. In the theater you can show the concept of the imperial, the concept of Khlestakovism. The art of a generalized gesture, a clichéd form, where details model not empirical, but supra-empirical reality. Picasso "Fruit" - scheme of an apple, portrait "Woman" - scheme female face. A mythological reality that carries a colossal social experience. Picasso "Cat holding a bird in his teeth" - a picture painted by him during the war. But the pinnacle of Picasso's work is Guernica. Portrait of Dora Maar - a typological image, analytical beginning, work with the image of a person analytically.

The art of the 20th century freely combines all methods of artistic generalization, for example, the novels of M. Kundera, U. Eco, which, for example, can combine a realistic description with reflections, where the essay takes precedence. Typology is an intellectual version of contemporary art.

But any genuine artistic image is organically integral, and the mystery of this organic matter has worried for many times. born from inner peace the artist's image itself becomes an organic whole.

Bibliography:

Belyaev N.I. ... THE IMAGE OF A HUMAN IN FINE ART: INDIVIDUAL AND TYPICAL

A. Barsh. sketches and drawings

Bychkov V.V. Aesthetics: Textbook. M. : Gardariki, 2002. - 556 p.

Kagan M.S. Aesthetics like philosophical science. St. Petersburg, LLP TK "Petropolis", 1997. - P.544.

Article. Psychological features of image perception Journal of Psychology, Volume 6, No 3, 1985, p. J50-153

Article. S.A. Belozertsev, Shadrinsk Artistic image in educational productions

Internet resource Composition / Artistic image / Objectivity and subjectivity...

www.coposic.ru/hudozhestvennyy- HYPERLINK "http://www.coposic.ru/hudozhestvennyy-obraz/obektivnost-subektivnost"obraz HYPERLINK "http://www.coposic.ru/hudozhestvennyy-obraz/obektivnost-subektivnost"/obektivnost-subektivnost

artistic image - Encyclopedia of Painting

painting.artyx.ru/books/item/f00/s00/z0000008/st002.shtml

Kuzin V.S. Picture. Sketches and sketches

Quick sketch technique

GOALS:

• give an idea of ​​the essence of a work of art and its structure;
• to form the skills of analyzing works of art;
• develop the ability to distinguish different ways creation artistic imagery and the ability to explain and justify them.

1) Features of a work of art.

2) The concept and specificity of the artistic image.

3) The main types of artistic generalization.

A work of art can be viewed as a three-level system. The specificity of the work can be revealed as the existence, the interaction of these levels. Of course, a work of art is, first of all, an artifact, a product of human activity, and there is nothing specific about it yet. But there are two important features of an artistic artifact: it is an artifact, which is a special thing, it is a text - an object. The second is an artifact - a text that embodies and transmits certain information; it is a consciously made message intended by a person for a person who will perceive it. A work of art, therefore, is the modeling and transmission of certain information. The artist creates the text and knows that he creates the text as a message from himself to other people. Art information is a text that a person should be able to read. Art is a form of contact of one person with another . Another one important feature artistic texts - their aesthetic quality. The aesthetic organization of the text itself is based on the creator's claim to create something perfect, and this aesthetic quality is created for the perceiver. And, although the modern recipient of art becomes the subject of practical activity, if he participates in a happening, for example, but here, too, the activity is contemplative, co-creative, not with the goal of achieving a practical result. The artistic texts of contemporary art are becoming more and more encrypted, and yet, by nature, this text still remains a message directed to the public.

What does the text carry as a product of artistic activity?

There are also two levels. Let's go straight to the level of information in its purest form, to the content of a work of art. In contemporary art, information is no longer subject-cognitive in nature; art no longer conveys knowledge about reality. In the twentieth century, aesthetics came to the conclusion that art carries valuable information, information about the significance of the world for man and about the relationship of man to the world. But value information also has a certain specificity in art. If this information is of a bodily-motivating nature (the inscription on the pole: do not climb - it will kill), this is not enough. Art models and conveys spiritual value information, information that carries the life of the human spirit.

The second feature of information is that art gives a peculiar spiritual value information synthesis. The information that we call artistic is an alloy of various types of information: information of an aesthetic nature, information of an ideological nature. It is a work of contemporary art that carries a mindset for worldview interpretation. Modern Art often models certain states, intentions of human consciousness, but art carries out modeling of a holistic type of consciousness, this is its specific task.

So, with the help of texts, art models a special reality, makes a certain consciousness visible. But, most importantly, how it appears to a person, how it is given to us and how it is revealed in artistic activity.

Art exists as a special, intrinsically valuable reality, which is as conditional as it is unconditional. We perceive art world, which is not external to us, but powerfully seizes us, turns us into a part of ourselves, and the more we are drawn in, the more definitely we say that this is an artistic world. A person begins to feel that he lives a special life, and this applies to any work of art. Why does reality exist, what is the essence of art?

An artistic image is a structure of artistic consciousness, a way and space of artistic development of the world, existence and communication in art. An artistic image exists as an ideal structure, unlike a work of art, a material reality, the perception of which gives rise to an artistic image.

The problem of understanding the artistic image is that the initial semantics of the concept of image fixes the epistemological relation of art to reality, the relation that makes art a kind of semblance of real life, a prototype. For the art of the 20th century, which has abandoned lifelikeness, its figurative nature becomes doubtful.

But still, the experience of both art and aesthetics of the twentieth century suggests that the category of "artistic image" is necessary, since the artistic image reflects important aspects of artistic consciousness. It is in the category of artistic image that the most important specific features of art are accumulated, the existence of an artistic image marks the boundaries of art.

If we approach the artistic image functionally, then it appears as: firstly, a category denoting the ideal way of artistic activity inherent in art; secondly, it is the structure of consciousness, thanks to which art solves two important tasks: mastering the world - in this sense, an artistic image is a way of mastering the world; and transmission of artistic information. Thus, the artistic image turns out to be a category that outlines the entire territory of art.

In a work of art, two layers can be distinguished: material-sensory ( artistic text) and sensual-supersensible (artistic image). The work of art is their unity.

In a work of art, the artistic image exists in a potential, possible, correlative world with perception. The perceiving artistic image is born anew. Perception is artistic to the extent that it affects the artistic image.

The artistic image acts as a specific substratum (substance) of artistic consciousness and artistic information. The artistic image is a specific space of artistic activity and its products. Experiences about the characters take place in this space. An artistic image is a special specific reality, the world of a work of art. It is complex in its structure, multi-scale. Only in abstraction can an artistic image be perceived as a supra-individual structure; in reality, an artistic image is “attached” to the subject that generated it or perceives it, it is an image of the consciousness of the artist or perceiver.

The artistic image is realized through an individual attitude to the world, which leads to a variant plurality of the artistic image, which exists at the level of perception. And in the performing arts - and at the level of performance. In this sense, the use of the expression "My Pushkin", "My Chopin", etc. is justified. And if we ask the question, where does the genuine Chopin sonata exist (in Chopin's head, in notes, in performance)? An unequivocal answer to it is hardly possible. When we talk about "variant multiplicity", we mean "invariant". The image, if it is artistic, has certain characteristics. The characteristic of an artistic image that is directly given to a person is integrity. The artistic image is not a summation, it is born in the mind of the artist, and then the perceiver in a leap. In the mind of the creator, he lives as a self-propelled reality. (M. Tsvetaeva - “A work of art is born, not created”). Each fragment of the artistic image has the quality of self-movement. Inspiration is the mental state of a person in which images are born. Images appear as a special artistic reality.

If we turn to the specifics of the artistic image, the question arises: is the image an image? Can we talk about the correspondence between what we see in art and the objective world, because the main criterion of figurativeness is correspondence.

The old, dogmatic understanding of the image proceeds from the interpretation of correspondence and falls into a mess. In mathematics, there are two understandings of correspondence: 1) isomorphic - one-to-one, the object is a copy. 2) homomorphic - partial, incomplete correspondence. What kind of reality does art recreate for us? Art is always transformation. The image deals with value reality - it is precisely this reality that is reflected in art. That is, the prototype for art is the spiritual value relationship between the subject and the object. They have a very complex structure and its reconstruction is an important task of art. Even the most realistic works do not just give us copies, which does not cancel the category of correspondence.

The object of art is not an object as a “thing-in-itself”, but an object that is significant for the subject, i.e., possessing a valuable objectivity. In the subject, the attitude, the internal state is important. The value of an object can only be revealed in relation to the state of the subject. Therefore, the task of the artistic image is to find a way to connect the subject and the object in a relationship. The value significance of the object for the subject is a manifest meaning.

An artistic image is an image of the reality of spiritual and value relations, and not of an object in itself. And the specificity of the image is determined by the task - to become a way of realizing this special reality in the mind of another person. Each time the images are a recreation of certain spiritual and value relations with the help of the language of the art form. In this sense, we can talk about the specifics of the image in general and about the conditionality of the artistic image by the language with which it is created.

Art forms are divided into two large classes - pictorial and non-pictorial, in which the artistic image exists in different ways.

In the first class of arts, artistic languages, value relations are modeled through the reconstruction of objects and the subjective side is revealed indirectly. Such artistic images live because art uses a language that recreates a sensual structure - the visual arts.

The second class of arts is modeled with the help of their language of reality, in which the state of the subject is given to us in unity with its semantic, value representation, non-graphic arts. Architecture is "frozen music" (Hegel).

An artistic image is a special ideal model of value reality. The artistic image performs modeling duties (which relieves it of the obligation of full compliance). An artistic image is a way of representing reality inherent in artistic consciousness and, at the same time, a model of spiritual and value relations. That is why the artistic image acts as a unity:

Objective - subjective

Subject - Value

Sensual - Supersensible

Emotional - Rational

Experiences - Reflections

Conscious - Unconscious

Corporal - Spiritual (With its ideality, the image absorbs not only the spiritual-psychic, but also the corporal-psychic (psychosomatic), which explains the effectiveness of its impact on a person).

The combination of the spiritual and the physical in art becomes an expression of merging with the world. Psychologists have proven that during perception, identification with the artistic image occurs (its currents pass through us). Tantrism - merging with the world. The unity of the spiritual and the corporeal spiritualizes, humanizes the corporality (greedily eat food and greedily dance). If we feel hungry in front of a still life, then it means that art has not had a spiritual influence on us.

In what ways is the subjective, value (intonation), supersensible revealed? The general rule here is: everything that is not depicted is revealed through the depicted, the subjective - through the objective, the value - through the objective, etc. All this is realized in expressiveness. Due to what is this happening? Two options: the first - art concentrates the reality that is related to a given value meaning. This leads to the fact that the artistic image never gives us a complete transfer of the object. A. Baumgarten called the artistic image "a reduced Universe".

Example: Petrov-Vodkin "Playing Boys" - he is not interested in the specifics of nature, individuality (blurs faces), but universal values. "Thrown away" does not matter here, because it leads away from the essence.

The second case is subtext. We are dealing, as it were, with a double image. It is the subtext that is most expressive. Subtext stimulates our imagination, and imagination is based on our personal experience - this is how we turn on.

Another important function of art is transformation. The contours of space, the color scheme, the proportions of human bodies, the temporal order change (the moment stops). Art gives us the possibility of an existential communion with time (M. Proust "In Search of Lost Time").

Every artistic image is a unity of life-like and conditional. Conventionality is a feature of artistic figurative consciousness. But a minimum of lifelikeness is necessary, since we are talking about communication. Different types of art have different degrees of lifelikeness and conventionality. Abstractionism is an attempt to discover a new reality, but retains an element of similarity with the world.

Conditionality - unconditionality (of emotions). Due to the conditionality of the subject plan, the unconditionality of the value plan arises. The worldview does not depend on objectivity: Petrov-Vodkin "Bathing the Red Horse" (1913) - in this picture, according to the artist himself, his foreboding of the civil war found expression. The transformation of the world in art is a way of embodying the artist's worldview.

Another universal mechanism of artistic and figurative consciousness: a feature of the transformation of the world, which can be called the principle of metaphor (the conditional likening of one object to another; B. Pasternak: "... it was like a lunge on a rapier ..." - about Lenin). Art reveals other phenomena as properties of some reality. There is an inclusion in the system of properties close to this phenomenon, and, at the same time, opposition to it, a certain value-semantic field immediately arises. Mayakovsky - "Hell of the city": the soul is a puppy with a piece of rope. The principle of metaphor is the conditional likening of one object to another, and the further the objects are separated, the more the metaphor is saturated with meaning.

This principle works not only in direct metaphors, but also in comparisons. Pasternak: thanks to metaphor, art solves enormous problems, which determine the specifics of art. One enters into the other and saturates the other. Thanks to a special artistic language (according to Voznesensky: I am Goya, then I am the throat, I am the voice, I am hunger), each subsequent metaphor fills the other with content: the poet is the throat, with the help of which certain states of the world are voiced. In addition, internal rhyming and through the system of stresses and alliteration of consonances. In the metaphor, the principle of the fan works - the reader unfolds the fan, in which everything is already there in a folded form. This works throughout the entire system of tropes: the establishment of some similarity both in epithets (an expressive adjective - a wooden ruble), and in hyperbolas (exaggerated size), synecdoches - truncated metaphors. Eisenstein has a doctor's pince-nez in the movie Battleship Potemkin: when the doctor is thrown overboard, the doctor's pince-nez remains on the mast. Another trick is comparison, which is an extended metaphor. Zabolotsky: "Straight bald husbands sit like a shot from a gun." As a result, the simulated object is overgrown with expressive connections and expressive relationships.

An important figurative technique is rhythm, which equates semantic segments, each of which carries a certain content. There is a kind of flattening, crushing of saturated space. Y. Tynyanov - tightness of the verse series. As a result of the formation of a single system of saturated relations, a certain value energy arises, realized in the acoustic saturation of the verse, and a certain meaning, a state arises. This principle is universal, in relation to all kinds of art; as a result, we are dealing with a poetically organized reality. The plastic embodiment of the principle of metaphor in Picasso is “Woman is a flower”. Metaphor creates a colossal concentration of artistic information.

The three main types of artistic generalization in the history of art are characterized by the difference in the content of the general, the originality of singularity, the logic of the relationship between the general and the individual. We distinguish the following types:

1) Idealization. We find idealization as a type of artistic generalization both in antiquity, and in the Middle Ages, and in the era of classicism. The essence of idealization is a special general. Values ​​brought to a certain purity serve as a generalization. The task is to single out ideal entities before sensual incarnation. This is inherent in those types of artistic consciousness that are guided by the ideal. In classicism, low and high genres are strictly separated. High genres are represented, for example, by N. Poussin's painting "The Kingdom of Flora": a myth presented as the fundamental being of entities. The individual does not play an independent role here, the unique characteristics are eliminated from this individual, and the image of the most unique harmony appears. With such a generalization, momentary, everyday characteristics of reality are omitted. Instead of a domestic environment, an ideal landscape appears, which is, as it were, in a dream state. This is the logic of idealization, where the goal is the affirmation of the spiritual essence.

2) Typification. A type of artistic generalization characteristic of realism. The peculiarity of art is the disclosure of the fullness of this reality. The logic of movement here is from the concrete to the general, a movement that retains the outgoing significance of the most concrete. Hence the features of typification: to reveal the general in the laws of life. A picture is created that is natural for this class of phenomena. Type - the embodiment of the most characteristic features of a given class of phenomena as they exist in reality. Hence the connection between typification and the historicism of the artist's thinking. Balzac called himself the secretary of the society. Marx learned more from the novels of Balzac than from the writings of political economists. The typological feature of the character of the Russian nobleman is falling out of the system, an extra person. The general here requires a special individual, empirically full-blooded, with unique features. The combination of the unique, inimitable concrete with the general. Here individualization becomes the reverse side of typification. When they talk about typing, they immediately talk about individualization. When perceiving typical images, it is necessary to live their life, then the intrinsic value of this particular one arises. There are images of unique people, which the artist individually writes out. This is how art thinks, typifying reality.

The practice of art of the 20th century has mixed everything up, and realism has not been the last resort for a long time. The 20th century has mixed up all the ways of artistic generalization: one can find typification with a naturalistic bias, where art becomes a literal mirror. Falling into the specifics, which creates even a special mythological reality. For example, hyperrealism, which creates a mysterious, strange and gloomy reality.

But in the art of the 20th century, a new way of artistic generalization also arises. A. Gulyga has the exact name of this method of artistic generalization - typology. An example is the graphic works of E. Neizvestny. Picasso has a portrait of G. Stein - a transmission of the hidden meaning of a person, a face-mask. Seeing this portrait, the model said: I am not like that; Picasso immediately replied: You will be like that. And she, indeed, became such, having grown old. It is no coincidence that the art of the 20th century is fond of African masks. Schematization of the sensual form of an object. "Avignon Girls" by Picasso.

The essence of typology: typology was born in the era of the dissemination of scientific knowledge; it is an artistic generalization oriented to the multi-knowing consciousness. Typologization idealizes the general, but, unlike idealization, the artist depicts not what he sees, but what he knows. Typology says more about the general than about the individual. The singular comes to scale, cliché, while retaining some plastic expressiveness. In the theater you can show the concept of the imperial, the concept of Khlestakovism. The art of a generalized gesture, a clichéd form, where details model not empirical, but supra-empirical reality. Picasso "Fruit" - a diagram of an apple, a portrait of a "Woman" - a diagram of a woman's face. A mythological reality that carries a colossal social experience. Picasso "Cat holding a bird in his teeth" - a picture painted by him during the war. But the pinnacle of Picasso's work is Guernica. The portrait of Dora Maar is a typological image, an analytical beginning, working with the image of a person analytically.