In a little bit other form the same tendency acts in art of M. 3. Walked (1887-1985). Extraordinary steadfast carefulness in reproduction most that on is prosaic details of conditions of the provincial backward life changed by paints of a spicy, magnificent palette, is combined at All Walked with fantastic motives of fantastic flights, heavenly signs, etc. it is similar to whims of the romantic fantasy fancifully mixing ennobled and low, casting memoirs on romantic stories of Gogol.
Pre-revolutionary creativity of most original of painters adjoins to a primitive line in Russian art - P.N.Filonov (1883-1941). Modern primitiveness is understood by it only as means to "simulate" in painting a certain complete picture of the world, the type of a world view giving in modern зри - тельном experience representation about mankind myths. For the artist of the XX-th century it was a way to remind that makes a back of a machine civilization that is pushed aside by it on periphery of public attention, namely about patrimonial in the person, about that "part" of the person which it is with the nature, with its dark, is tenacious-inert, mysterious night, forces, "contact" with which forms the essential maintenance labor, in particular country, a life. So, in "Коровницах" (1914) Filonovs all is molded to each other as though in the chaotic disorder. The complicated syntax of a graphic phrase suggests the spectator to seek sense and sequence in combinations of subject forms and figures, following by guessing, that ring in a sheaf of human memory where there could be a key to the code number of this picture. But the direction of these searches is set by the picture withdrawing in area of primitive natural myths.
The usual parity top and bottom here is turned: toy small houses are perceived as visible at a distance from above so, that figures of animals and коровниц "hang" in dark heavens over the world and appear in зооморфные and антропоморфные forms with that paradoxical, is angular-exact approximations from what zodiac figures in a kaleidoscope of constellations in a night sky are outlined by a sight. Especially terrestrial scene is shown as mythical праистория, творимая in heavens, but this heavenly is simultaneously and something is dense-primitive, reminding of primary participation of the person in fauna, about those times and about that condition of consciousness when the Supreme deity of the sky appeared in image of "a heavenly cow", and cattle breeding work was ritual religious rite, "heavenly service". It is a life what she looks from dark depths of patrimonial memory. " Impersonal "- this the formula can define a method and simultaneously a theme of art of Filonov recreating in the "hieroglyphic" form habitual for Russian art a way, process, stages of it is impersonal-natural in spiritual.
Specific of graphic language, symbolical on the origin, halves perception of visible forms and qualities of the subject world between direct and portable values. So "dark" in Filonov's pre-revolutionary pictures is both night, and metaphysical "gloom", prehistoric "darkness"; primitively stocky figures simultaneously both массивны, and бесплотны; light and color are merged in uniform quality, reminding effect of a stained-glass window; figures as much remind primitive idols, how many and medieval "chimeras". Many qualities of graphic system of Filonov, as well as the way of creation "the new relation to the validity by revision of a series forgotten a world view", have the nearest prototype in Vrubel's art.
Propensity of artists of 10th years to experiment, to decomposition of complete art impression for the sum of elementary influences for the sake of familiarizing with primary bases of art expressiveness has led to allocation of this area формотворчества in independent sphere of art. In 1913 Larionov publishes the book "Лучизм" which was one of the first manifestos of abstract art. However original leaders - theorists and abstractionism experts in Russia V.V. Kandinsky's steels (1866-1944) and K.S.Malevich (1878-1935).
From the moment of the origin abstract painting develops in two directions: at Kandinsky it is spontaneous, irrational game of color stains, at Malevich - visibility математически the verified, is rational-geometrical constructions. The abstractionism applied to be in art practice by as though incarnate theory of fundamental principles of painting in general. Painting problems were reduced by it to research of possible combinations of primary elements - lines, colors, forms.
If Malevich and Kandinsky's abstractionism develops originally exclusively within easel painting in V.E.Tatlina's creativity (1885-1953) object of abstract experiment there is one more element of painting - the invoice. The qualities belonging in painting to one material - paint, Татлин transforms into combinations of invoices of various materials - tins, a tree, glass, преобразуя a picture plane in similarity of a sculptural relief. In so-called counter reliefs Татлина "heroes" there are not valid subjects and abstract categories of the invoice - rough, fragile, viscous, soft, sparkling, - entering among themselves in difficult relations without means of any concrete graphic plot.
In architecture we face ability of art to express, not representing, passing imitation "the life facts". In properties of a graphic surface as архитектонического fields are concluded the expressive possibilities not given, but set to the image just as gravitation laws are set to movement of bodies or a rhythm, the size, an order of rhymes are set to a verse. Research of these possibilities also was that experiment which has been done by abstract art. On this way to праосновам the art influence, hidden in the device of human memory, XX-th century art should is inevitable to meet the art worlds where required laws of expressiveness there was no time are carried already out in completeness of a principle. New offered a hand well forgotten old - and through such contact there have passed hardly probable not all masters of so-called avant-guard in XX-th century art.
Among them the outstanding place belongs to - to S.Petrov-Vodkin (1878 - 1939). The long way of creative formation of this master rich with difficult searches crowns creation in 1912 of a picture "Bathing of a red horse". This product is considerable not only the internal maintenance, but also that in it many thorny questions of art of the beginning of XX century It have concentrated sounds as an appeal and a question and first of all that sharpness and expressiveness of the form recreating, a reality changing images to which art of XX century so painfully aspired, is reached here through development of lessons of Old Russian painting. Directly declaring successive communication , this product forces to recollect simultaneously and "Abduction of Europe" Серова at which Petrov-Vodkin studied in the Moscow school. The image of the horseman on a game, turning thought to folklore representations, in painful the stood movement gives rise to a question. Celebratory triumph of color and sleepy bewitching rhythm of lines, a powerful horse and the young man-teenager who has fallen asleep in not clear thought, powerlessly having lowered reins, being given to the power of force goodness knows where attracting it, memoirs on the past and not clear presentiment of the future - such combination of opposite elements symbolically on the internal structure. Owing to it also was perceived by contemporaries as a symbol of the worried moment.
Even more consistently Petrov-Vodkin to images of Old Russian art in such works, as "Mother", "Girls on Volga" (1915), "addresses Morning. Bathers" (1917). Here echoes иконописных images - in fixed ™ movements, in self-immersing of characters, in contemplation by which heroines of these pictures are got are audible. In Petrov-Vodkin's creativity value of eternal images and that towers: a dream and awakening, age steps of a life - adolescence, a youth, motherhood, life circulation between a birth and death - such is a circle of these that. In treatment of a similar sort any new epoch expresses those the ideal representations about a place of the person in the space whole. In the art world they play a role универсалий the philosophical order, towering over variability of the fluid validity. Accordingly in Petrov-Vodkin's graphic system all qualities of the world subject to supervision aspire to the пре to efficient, absolute conditions: Color gravitates to pure, released from atmosphere fluctuations, light has character astral "eternal light", the horizon line reproduces curvature of a planetary surface of the earth according to a principle of so-called spherical prospect which all event in space translates in a rank of the phenomena of space scale. In variety of modern forms of art generalization Petrov-Vodkin allocates what have the concrete art address, - an Old Russian icon and a fresco, and also Italian кватроченто, i.e. those phenomena in scales of national and European art tradition which directly approach to a threshold of the latest differentiation and analytical smashing but where the art world and a image of the world in art was still thought and appeared as the certain integrity informing to ways of art expression the press of the monumental greatness. As whole in feeling of a universal link of times and the phenomena - here that thirsts for world contemplation to express and revive in the modern art Petrov-Vodkin. Программно appealing to associative ability of art memory, he as if urges to guess, what shape and an image have the modern world and art feeling peculiar to it in соизмерении with the nature and history in space of the world cultural experience.
Petrov-Vodkin, as well as variety of other masters of its generation, years one of visible masters of the Soviet painting, having brought with itself during a new epoch live art traditions, high ideas and perfect skill.