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The artist's imagination is limitless. And when a talented master is able to convey his vision of the world on the canvas, real masterpieces are born. There is some extraordinary attraction in such pictures. Like a slightly opened door to an invisible fairy-tale world.
AdMe.ru invites you to look at the amazing works of artists and illustrators who bring real magic into our lives.
Fantasy and Reality by Jacek Jerka
Jacek Yerka is a talented surrealist artist from Poland. His paintings are realistic and fantastic at the same time. It seems that you will take a step and find yourself in this soft and mysterious world. Works by Jacek Yerka are exhibited in galleries in many countries of the world and are in private collections. They also make wonderful puzzles with the artist's paintings.
World of Children's Dreams by James Coleman
James Coleman devoted his life to working at the famous Walt Disney Studios. It was he who created the backgrounds of many well-known and beloved cartoons. Among them are "The Little Mermaid", "Beauty and the Beast", cartoons about Mickey Mouse and many others. The atmosphere of a fairy tale and magic is present, probably, in all Coleman's paintings.
Fairy Tales by Melanie C (Darkmello)
Illustrator Melanie Sie is better known online as Darkmello. Her works were loved by fans for their excellent performance and kind, bright atmosphere. Each Darkmello illustration is like a separate fairy tale that everyone can read in their own way.
Collection of memoirs of Charles L. Peterson
They are not immediately noticeable, but they are there, you just need to look closely. People who live and enjoy the moment. "Memories Collection" - a series of watercolor works by artist Charles L. Peterson (Charles L. Peterson). Peterson's paintings seem to be permeated with warmth and light. These are pleasant memories of a carefree childhood, joy and calm happiness.
Doors to another reality by Gediminas Prankevicius
Gediminas Pranckevičius is a young illustrator from Lithuania. He creates stunning three-dimensional illustrations of parallel universes. Cozy spaces filled with light and inhabited by unusual creatures seem to invite you to escape from reality for a while. And you need to be very careful, because in these bizarre worlds it is so easy to get lost.
Pensive Cosmos Niken Anindita
The artist, however, introduces his penetrating vision into the process of creating an aesthetic image, as we have already said, his emotional attitude to the depicted. His vision in this regard remains inevitably deeply subjective, it bears the imprint of his personality and therefore, like any other expression of the mental disposition of the individual, it can be both consonant and dissonant with social aesthetic ideals, it can be both progressive and truthful, and reactionary. and false. Reliance on the unconscious provides the artist with a specific sharpness of vision, but the interpretation he gives to what he sees, the meaning that he gives to his works, are determined by his personality. Therefore, the artistic veracity of works of art is by no means guaranteed by the possibilities created by relying on the unconscious. This truthfulness is not a function of the peculiarities of the psychological process of creating an aesthetic review, but of the place that this image occupies and the role it plays in the system of aesthetic values of the era.
Only taking into account these circumstances, it seems to us, it is possible to methodologically adequately interpret the presence of the irrational in art, to understand the impossibility of abstracting from this irrationality when considering the psychological process of the formation of an aesthetic image and, at the same time, the indeterminacy of this irrationality of the social value of the work of art created by the artist.
(2) With what we have said above, we tried to emphasize the full depth of the connection between the processes of artistic creation and the activity of the unconscious. We also noted that the understanding of the role played by the unconscious in this regard was only approached after the development of more rigorous psychological concepts of the functions of the unconscious had begun.
In Soviet literature, as is well known, the development of the concept of the unconscious for many decades has been associated with the name of D. N. Uznadze, with the idea of a psychological attitude substantiated by this thinker and his school. Based on the theory of the psychological attitude, it turned out to be possible to introduce the spirit of objectivity and experimentalism into the difficult area of ideas about the unconscious and to subordinate the consideration and interpretation of these ideas to the principles and logic of the cognitive process in its strict scientific understanding. We cannot now linger on the general characteristics of this conceptual approach; it has already been discussed on various occasions in the introductory articles to the previous thematic sections, and we will return to it in the final article of the monograph. We will emphasize only two aspects of the concept of unconscious mental activity that are directly related to the idea of a psychological attitude and come out especially clearly when the connection between the unconscious and art is examined.
This is, firstly, the possibility of the artist's simultaneous existence of a number of differently and even contradictory directed unconscious psychological attitudes - a circumstance, abstracting from which it is often impossible to understand either the genesis or the functional structure of the aesthetic image created by the artist; secondly, the possibility of the manifestation of the unconscious - due to the different nature of psychological attitudes - at different levels of organization of artistic creativity: both at the highest levels, at which the content of created aesthetic images is the mental activity of a person in all the complexity of its individual and social manifestations, and at more elementary, in which the aesthetic value of the image is determined primarily by its physical properties (geometric structure, color tone, etc.). The involvement of the unconscious in the creative activity developed at each of these different levels turns out to be largely due to the polymorphism of psychological attitudes, their representation at all levels of the hierarchy of mental states, from those expressing personality traits to those determined directly by physiological influences.
If we do not take into account these two characteristic features of the activity of the unconscious, we can easily fall into a one-sided and therefore simplified understanding of its manifestations. Let us dwell first on the first of these points.
At a symposium held in France a few years ago, specifically devoted to the problem of the relationship between art and psychoanalysis, various aspects of this complex topic were touched upon. One of them, which caused a lively discussion, was directly related to the issues we are discussing.
In the report by N. Drakoulides “The Work of an Artist Subjected to Psychoanalysis”, a question was raised and very straightforwardly resolved, returning us to the original ideas of Freud. The author of this message defended the thesis according to which the artist's work is stimulated by painful experiences that have fallen to his lot. Following the thought of Stendhal “art needs people who are a little melancholic and rather unhappy”, N. Dracoulides argues that studies of biographies and creativity make us consider frustrations and deprivations of all kinds, especially those that have the character of fairly deep mental trauma, acting on the artist’s talent as a kind of catalyst that increase the potential of talents. With this understanding, artistic creativity appears as a special form of getting rid of mental conflicts and adapting to life's failures. When traumatic experiences smooth out or disappear, the incentive to create also weakens. Neglecting the considerable dangers that are usually associated with overly broad generalizations, N. Dracoulides does not even stop at such a peculiar socio-psychological generalization as: "art flourishes among less happy peoples."
Collection output:
PROBLEMS OF THE DEVELOPMENT OF ARTISTIC VISION
Bedina Anna Fedorovna
teacher of special disciplines,
MOU DOD "Children's Art School" No. 1, Astrakhan
Watching and seeing are two processes in everyday life that serve a person as a means of orientation. I look at trees, flowers, grass. I see the landscape that surrounds me. Using these words, we most often mean the same process that the human eye carries out, fixing any objects located in any place. But these words are no longer synonymous when it comes to fine arts. How often, having come to an art gallery or an exhibition hall, we are amazed at the plots seen through the eyes of artists. It seemed that we had seen this simple life scene in the yard or on the neighboring street hundreds of times, but did not see all the beauty, joy, happiness shown to us by the artist. To look does not mean to see, but for an artist there is a huge difference between the concept of “seeing” and “seeing”. It is the set vision that distinguishes students involved in fine arts from their peers. One of the main goals of teaching fine arts is given to the development of artistic vision.
After analyzing the work of primary school students of an art school, a number of shortcomings can be traced, one of which is a constant vision. Constancy of vision is the tendency to perceive an object, its size, shape, lightness, color as stable and unchanged, regardless of the changes that occur to them. Constant vision is the main obstacle in the formation of artistic vision.
In the course of the article, we will try to explain that the act of “looking” is, first of all, a physiological process associated with the work of the eye, but the process of “seeing” is associated with perception, cognition and is a product of an intellectual nature. Consider the process of vision and analyze the issue of its formation and development. Light rays emitted by the sun or some other source, colliding with an object, are partly reflected and partly absorbed by it. Reflected rays fall on the retina and form images of objects on it. The retina has a complex structure. It contains cells that are sensitive to light - visual receptors. It is in them that the energy of light rays penetrating the eye is converted into a process of nervous excitation and nerve impulses enter the brain through the fibers of the optic nerve, carrying information about surrounding objects.
So, vision is the perception of reality, where the act of "look" is informative. But the visual system performs more important functions that are not limited to the reproduction of reality.
Perception is a complex mental process, it includes past experience in the form of knowledge, ideas. Without the inclusion of past experience in the perception, the process of cognition would be impossible, since without the correlation of perceived objects, phenomena with previously seen objects, phenomena, without the use of specific knowledge obtained in past experience, it is impossible to determine, comprehend the essence of the perceived.
Perception is closely related to thinking. This is expressed in the fact that the images that are formed in the process of perception are comprehended and generalized through concepts, mental operations, judgments and conclusions.
Of particular importance to perception is theoretical knowledge in the field of anatomy, perspective, color vision. Many artists in the development of "vision" gave great importance to knowledge. An artist must know in order to learn to see. It is the cognitive process that helps the artist in the selectivity of perception, which distinguishes him from all the others.
In the process of visual activity, apperception is important, which is determined by the influence of past experience, goals and interests of the artist on the process of perception. This knowledge is the professional orientation of the artist and is sustainable. The artists themselves usually call them the ability to "see" nature. This is sometimes also referred to as "setting the vision".
The ability to "see" nature involves seeing in it the main, essential, which lies for the drawing in the features of the constructive structure of the object, its spatial position, proportions, color, distribution of chiaroscuro. The transfer of these properties is an important task of fine art.
"Setting the vision" or "artistic vision" is an important goal in teaching fine art to aspiring artists. The student must learn to think collectively, figuratively, and the plot he sees is presented to him as a future composition. Therefore, the teaching of "vision" must begin, of course, before the direct image on the sheet. An important role in the system of academic art education is given to drawing from nature in the lessons of drawing and painting. In these lessons, the information-psychological attitude coming from the teacher plays a huge role: this is a correctly set task for the perception and transmission of nature in the image by students. Mastering the basics of the fine arts, in addition to the task of setting the eye, also includes the setting of the hand. Both can be considered as a purely technical problem solved by the methods of practical drawing from nature, the study of the diversity of forms of the surrounding world, their structure, proportional relations of parts and the whole by means of pictorial materials within a certain pictorial plane.
Before starting work, you should carefully consider the object of the image from several sides. The point of view is not only from where we look, but also how we look, how we see. This phrase is a methodological guide to the development and education of artistic vision.
In the process of choosing a point of view, students develop the ability to analyze, compare, think in compositional-figurative, picturesque-planar, volumetric-constructive perception, which is the main quality of professional artistic vision. Having chosen the point of view that most fully reveals nature, you can get to work.
In the process of studying at an art school, students develop two types of vision: three-dimensional and picturesque. Volumetric vision is plastic, tactile, conveying a volumetric-constructive form, pictorial - visual-optical, produced by color and tone. Three-dimensional vision is most applicable to the discipline of drawing, and pictorial vision is most applicable to painting. Each of these types of vision did not arise in the visual arts on its own. However, as modern psychology has shown, it reflects certain aspects of the psychophysiological process of visual perception and human thinking.
The process of drawing at first glance is quite simple and accessible to everyone who wants to do it and has some ability to do it. Nevertheless, considering this process from the point of view of the physiology of vision, let us pay attention to two different processes of vision, which are unconscious by the painter himself while drawing. These processes are important, since in the future they become the main elements of the concept of artistic vision.
When a student begins, for example, to draw a still life of several objects, he perceives each object separately in a volume-color form in space. Turning his gaze from nature to the sheet lying in front of him, his gaze sees the plane of the sheet, limited by vertical and horizontal sections. At each moment of the gaze shift, the student's vision is rebuilt to the opposite type of vision of objects, in this case from three-dimensional to planar. The impression from an empty plane and from a spatial volume are different and incommensurable. The one who draws from nature faces the difficult task of translating a spatial form into the language of a flat image.
As the drawing advances and the objects in the image are recognizable, the eye of the painter begins to overcome the plane of the sheet and perceive the drawn image in three-dimensional-spatial terms, and the view begins to flatten the real objects by the method of generalization. The method of planar perception of visible nature by the method of generalization is used by draftsmen already at the stage of arranging an image into a format. Each time, considering nature, students have to cut off the extra space with a virtual frame, leaving and arranging the necessary inside. Over time, this becomes a professional habit, which is the essence of compositional vision. The artist, according to the tradition of his craft, almost all the time has to deal with a sheet of rectangular format, of various sizes and arrangements, which also forms his vision accordingly. This is a pictorial form of representation in which the artist tries to express himself with various pictorial means. For the teacher, knowledge of the development of the process of vision will be an indispensable aid in working with students. The theory that comprehends practice provides the key to its improvement.
Bibliography:
1. Avsiyan O. A. Nature and drawing according to representation: textbook. allowance [Text] / O.A. Avsiyan. – M.: Visual arts, 1985.-152 p.
2. Arnheim R. Art and visual perception: textbook. allowance [Text] / R. Arnheim. – M.: Progress, 1974.-392 p.
3. Trouble G.V. Painting: textbook. allowance [Text] / G.V. Trouble. – M.: Enlightenment, 1986.-208 p.
4. Kuzin V.S. Psychology: textbook. allowance [Text] / V.S. Kuzin - M .: Higher School, 1982.-226 p.
5. Radlov N.E. Drawing from nature: textbook. allowance [Text] / N.E. Radlov. - L .: Artist, 1978.-130 p.
This autumn, residents and guests of Frankfurt could visit the first in Germany exhibition of paintings by the talented Moscow artist Misha Levin called "Vision", which was held at the German Film Museum (Deutsches Filmmuseum). Having started painting at the age of four, the young talent, whom critics once dubbed the modern Matisse, today is reputed to be a master of painting, his paintings are exhibited in Moscow, London, Geneva, Cincinnati and other cities of the world. Misha Levin's paintings are kept in private collections of Elizabeth II, Prince Charles, Vladimir Spivakov, as well as art connoisseurs in Germany, Japan and America. At the vernissage on the occasion of the opening of a solo exhibition in Frankfurt, we had the opportunity to talk with the Russian artist about his work, success story, sources of inspiration and future plans.
Misha, is this the first time you present your paintings in Germany? Why did you choose Frankfurt?
Yes, this is my first exhibition in Germany. The offer to present the paintings in Frankfurt came from the co-director of the German Film Museum, Dr. Hensel, who was introduced to us by friends of our family. Once he arrived in Moscow and saw my works, he became interested and offered to exhibit them in the main hall of the museum, where the space allows you to show many large-format paintings. I am very glad that the vernissage took place - this is a good opportunity to present the works made in recent years in such a large volume.
What impression did Frankfurt make on you?
My wife and I found Frankfurt a comfortable and pleasant city to live in. Of course, it does not impress with the beauty of architecture, but nevertheless, there is a very good atmosphere here. Unlike many critics of mixing such different architectural styles, I have always been attracted by the visual contrast between rather low buildings, which apparently survived during the war, and skyscrapers. The city does not seem boring.
At what age did you realize that you wanted to devote your whole life to the fine arts?
In fact, my interest in art was born very early. I grew up in a musical family and started learning to play the violin at the age of six. Despite my musical ability, I did not like these activities. Also, due to stage fright and over-anxiety, I couldn't perform as well as I did in rehearsals. When I was eleven years old, my father, after another not very successful exam, said that he was ready to give me a choice between fine arts and music. I began to draw literally from the age of three, so without hesitation I chose painting. And never regretted it for a second. Although, of course, this profession is very difficult and fraught with many pitfalls. When it comes to the fine arts, most people are intimidated by the question of how to earn a living. Since I now teach a lot, I try to somehow motivate my students to engage later not in design, but in fine art. Of course, there is no guarantee that everyone will definitely become a successful artist, but I am lucky: I can combine my own practice and teaching, which gives the necessary stability.
Is it true that the outstanding musician Vladimir Spivakov helped you at the beginning of your career?
Yes, my father studied with him at the Central Music School, and subsequently played in his Moscow Virtuosos orchestra for more than twenty years. Vladimir Teodorovich heads a charitable foundation for young talents, of which I was also a member. My first solo exhibition abroad was organized at his music festival, which takes place annually in Colmar, France. Then I was ten years old.
Personal exhibition at the age of ten?
Yes. Vladimir Teodorovich is a great lover of art and, one might say, one of my first connoisseurs. I also participated in a large number of Russian projects. In Moscow, there is a charitable foundation "New Names", whose president today is Denis Matsuev. Thanks to the foundation, my personal exhibition was held in Thailand, and as part of the campaign, works were donated to President B. N. Yeltsin and Queen Elizabeth II.
How did it happen that your painting ended up with the Queen of Great Britain?
In 1994, the first official visit of Elizabeth II to Russia after the collapse of the Soviet Union took place. At the official reception in St. Petersburg, the New Names Foundation organized a concert. I, an eight-year-old boy, was taken to the queen and introduced personally. Not knowing English, I memorized a speech, which I delivered: “Your Highness, I am very pleased to meet you. I want to give you a picture of you leaving Westminster Cathedral.” She didn't realize at first that it was my painting. (Laughs) Later, during my studies at the Drawing Academy founded by Prince Charles, I was invited to a reception at Windsor Palace, where the entire collection of gifts from the royal family is kept. At my request, they looked through the archives and found my painting. After fourteen years, it was still kept there.
You studied painting both in Russia and in Great Britain. How did fate bring you to Foggy Albion?
When I was thirteen or fourteen years old, the question arose of which educational institution to choose. I originally thought of entering the Surikov or Stroganov School in Moscow, although I have always been an opponent of the education system in our art universities, according to which a student must first, before becoming an individual, undergo a routine training in technique. I believed that I had a special vision of art, so at the age of fifteen I went to study abroad. He lived in Oxford for two years, adapting, studying at school, additionally studying the language and passing a certain number of exams for entering the university. After four years of study at the Slade School of Fine Art at the University of London, I completed my bachelor's degree.
Some critics call you a modern Matisse. In your opinion, which master's work influenced you the most? With whom do you associate yourself more? Who is closer to you in spirit?
As a child, I tried to imitate eminent artists. For example, from the age of six to eleven, I was in love with Rembrandt, I was interested in depicting only biblical scenes. Later he became interested in the Impressionists and Post-Impressionists. With age, of course, you realize that you cannot fall under such a strong influence, because one way or another you become just an imitator. And for the artist, the most important goal is to preserve his individuality. Although it is certainly necessary to follow the art. Therefore, I cannot now name any one painter as my mentor or inspirer. In general, modern German painting is very close to me, I like the work of such German artists as Neo Rauch, Daniel Richter, Max Beckmann and Otto Dix.
How would you describe your painting style?
You could say it's a kind of neo-expressionism. You can also trace the influence of neoclassicism, neo-pop. That is, this is such a vinaigrette, but I would like it to be my own style. (Laughs) For me, in any case, the most important thing is to constantly search, not to stop at a certain style that has been achieved. Therefore, the exhibition presents works made in various techniques. But they are united by the main thing - the human personality, the image in the plot, which somewhere becomes more realistic, and somewhere goes into abstract art.
How long does it take you to finish one painting?
Differently. Sometimes a picture is painted literally in three or four days, and sometimes you return to work within a year. Usually some motive, idea or plot is reflected in several works. Sometimes a series becomes a separate project, which consists of ten or fifteen paintings. Each such project for me is a new page in creativity.
In conclusion, I would like to know about your plans. Are you planning other solo exhibitions in Europe?
I plan. I am working on one big project - an exhibition in the Russian Museum, the idea of which was laid back in 2009. I will also participate in the project in Vienna. Russian cultural figure Roman Fedchin plans to hold a large exhibition "Austria through the eyes of Russian masters of painting" next spring, which will feature works by fifteen artists. There are also negotiations on my exhibition with the director of the Vienna Jewish Museum. There are many plans, but the organization of exhibitions is, unfortunately, a very complicated process that takes months and includes negotiations, transportation of paintings and many other details.
H.v. and develops corresponding language means. At the same time, the possibilities of artistic imagination at any historical stage are not unlimited: in his own era, everyone finds certain “optical possibilities” on which he turns out to be dependent. The dominant ideas of contemporaries (the picture of the world) "pull" all the variety of artistic practices into a certain focus, they act as the fundamental basis of the cultural ontology of artistic consciousness (i.e., ways of being, creative manifestation of artistic consciousness within the boundaries of the corresponding cultural community). H.v. types have, therefore, their own history, and their discovery can be considered as the most important task of aesthetics and cultural studies of art. The study of the evolution of H.v. capable of shedding light on the history of mentalities, the logic of the development of mankind as a kind, at the stage of a general cultural process.
H.v. reveals itself primarily in the form, in the ways of constructing a work of art. It is in the methods of artistic expression of the artist to the model and to reality that it is revealed not as his subjective whim, but as the highest historical conditioning. At the same time, quite a few problems arise in the way of studying the types of H.V. encountered in history. So, one cannot ignore the fact that the same people in the same era have different types of H.v. coexist. This splitting, for example, can be observed in Italy in the 15th century, France in the 18th century, Russia in the second. floor. 19th century The sense of form, which is central to the concept of X.v. one way or another comes into contact with the foundations of national perception. In a broader context H.v. can be perceived as a generative source of the general cultural mentality of the era. In this sense, the stable forms of the H.v. epochs have a root, a single basis with common forms of contemplation in everyday consciousness and non-artistic thinking. If this is so, then it is legitimate to attempt to trace the evolution of various types of art, step by step, on the material of art, which, being built in a regular sequence, could shed light on the history of human perception as a whole (carried out by G. Wölfflin and M. Dvorak).
The identification in the work of artists, writers, composers of a commonality of one or another type of vision allows us to approach the solution of the problem of constructing an art history without names. The stages of this history could be the specific types of the 19th century, which in each epoch act as nothing more than artistically transformed forms of the mentality of different historical epochs.
Philosophy: Encyclopedic Dictionary. - M.: Gardariki. Edited by A.A. Ivina. 2004 .
See what "ARTISTIC VISION" is in other dictionaries:
vision- I vision; cf. 1) The ability or ability to see. Vision at a distance. Night-vision devices. 2) what book. The ability to perceive and evaluate the environment. way. Children's vision. Artistic vision. The poet has his own ... ... Dictionary of many expressions
vision- I, only unit, p. 1) The ability or ability to see. Seeing the contours of distant objects. Night-vision devices. Synonyms: contemplation / nie (obsolete), observation / nie, review / nie, contemplative / nie 2) (what, book ... Popular dictionary of the Russian language
1) the knowledge of objective and subjective reality by a person (not an artist) who has an innate ability for a figurative vision of the world and perceives the world in a “beautiful shell”, as subjectively expressively colored (an example of such ... ... Philosophical Encyclopedia
Explanatory dictionary of Ozhegov
VISION, I, cf. (book). 1. see see. 2. The ability to perceive the environment. Artistic c. Baby in. peace. II. VISION, I, cf. Ghost, apparition; what n. imagined. The patient is haunted by visions. Visions of the past. Explanatory ... ... Explanatory dictionary of Ozhegov
VISION, I, cf. (book). 1. see see. 2. The ability to perceive the environment. Artistic c. Baby in. peace. II. VISION, I, cf. Ghost, apparition; what n. imagined. The patient is haunted by visions. Visions of the past. Explanatory ... ... Explanatory dictionary of Ozhegov
I. VISION i; cf. 1. The ability or ability to see. V. at a distance. Night-vision devices. 2. what. Book. The ability to perceive and evaluate the environment. way. Baby in. Artistic c. The poet has his own peace. II. VISION… … encyclopedic Dictionary
ARTISTIC CREATIVITY- Creation of new aesthetic values. In a broad sense, T. x., understood as T. “according to the laws of beauty,” is inherent to one degree or another in all types of productive human activity. In its concentrated quality, it finds expression in ... Aesthetics: Dictionary
Theology literary and artistic- It is not uncommon to say that it does not seem to matter who and what this or that great artist, poet, writer, playwright believed in, what religion or denomination he belonged to. Sometimes these judgments are caused by the lack of reliable biographical ... Aesthetics. encyclopedic Dictionary
artistic knowledge- characteristic of art; differs from scientific knowledge in that science, as a rule, strives for the most impersonal knowledge (although this is not always the case in psychology), while art is focused on the unique personality of the creator, on his ... ... Great Psychological Encyclopedia
Books
- Oleg Vukolov, . The artistic vision of Oleg Vukolov is located in the border zone between life and his own art, calmly crossing these two irreducible states in both directions. Plastic…
