Expressionist Traditions in the Works of Contemporary Artists of Russia and Former Union Republics

IF 0.1 0 HUMANITIES, MULTIDISCIPLINARY
E. Radaeva
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Abstract

The paper analyzes the influence of the expressionist method on the painting of contemporary artists in Russia, as well as (to a greater or lesser extent) Ukraine, Belarus, Armenia, Kazakhstan. The exhibitions of recent years, thematic publics on art (on social networks) came to be the study`s initial material, then we are talking selectively about the work of individual authors. The research allowed for concluding: in modern fine arts, expressionism is distinguished by its unconditional “vitality” and the ability to assimilate with new trends; the “handwriting” of modern “expressionists” is characterized by the constant absence of chiaroscuro, often — the pretentiousness of the color scale; the theme of the spirit stifling in the gripe of the City, and the spirit of protest, pouring out into feminism or rejection of civilization (bourgeois / market), sometimes — aestheticization of the ugly, motifs of death and decay, sometimes — primitivism, childishness, gravitation towards the poster technique. However, today we are dealing with a “softened” version of expressionism: not always a pessimistic view of the artist's world, not always based on a pronounced rebellious beginning.
俄罗斯和前苏联共和国当代艺术家作品中的表现主义传统
本文分析了表现主义方法对俄罗斯当代艺术家绘画的影响,以及乌克兰、白俄罗斯、亚美尼亚、哈萨克斯坦(或多或少)的影响。近年来的展览,关于艺术的主题公开(在社交网络上)成为研究的最初材料,然后我们有选择地谈论个人作者的作品。研究得出结论:在现代美术中,表现主义以其无条件的“生命力”和吸收新潮流的能力而著称;现代“表现主义者”的“笔迹”的特点是始终没有明暗对比,通常是色彩比例的矫情;在城市的抱怨中压抑的精神主题,以及抗议的精神,涌向女权主义或对文明(资产阶级/市场)的拒绝,有时-丑陋的审美化,死亡和衰败的主题,有时-原始主义,孩子气,对海报技术的吸引力。然而,今天我们面对的是表现主义的“软化”版本:并不总是对艺术家的世界持悲观态度,也不总是基于一个明显的反叛开端。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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