Портретний образ, як згусток емоційного та раціонального в пізнанні людини

Abstract

У статті розглянуто складові та головні засоби художньої виразності при створенні портрета, проаналізовано комплекс художніх засобів, якими користувалися художники наприкінці ХІХ – на початку ХХ століття. Розкрито мову образотворчого мистецтва як спосіб моделювання портретного жанру, для передачі емоційного і раціонального стану кожної особистості. Виявлено, що від будь-якого художника створення портрета потребує не копіювання, а написання оригіналу з передачею внутрішнього та духовного життя зображуваного.

В статье рассмотрено составляющие и главные средства художественной выразительности при создании портрета, проанализировано комплекс художественных способов, которыми пользовались художники в конце ХІХ –начале ХХ века. Раскрыто язык изобразительного искусства, как способ моделирования портретного жанра, для передачи эмоционального и рационального состояния каждой портретируемой личности. Выявлено, что от любого художника портрет требует не копирования, а создания оригинала с передачей его внутренней и духовной жизни изображаемого.

Art Nouveau style, which arose at the turn of the nineteenth and twentieth centuries brought about great changes in all manifestations of art. As a result of these changes, the portrait received its specific features, through which the person was depicted on the canvas, not as a photographic copy of reality, but as an artistic image with the transfer of the emotional component. The analysis of recent researches and publications on the topic shows the growing interest of modern studies to the issues of the psychology of the portrait, as a social and artistic phenomenon. Scientific works devoted to portrait painting of the era of the Modernist began to appear in the first half of the twentieth century, and in the second half their systematization took place. Creating a portrait – is, first of all, the creation of a holistic image, which is a prerequisite for the artistic value of the image. The image is the presence in the image of the artist’s ideal, some common notion of beauty or deformity, nobility, or inferiority. One of the most important qualities of a portrait image is its individual uniqueness. The artistic image is a cluster of emotional and rational knowledge, which is intended to influence the feelings and minds of people. Artistic image is a unity of objective and subjective, logical and sensual, rational and emotional, abstract and concrete, general and individual, necessary and random, part and whole, essence and phenomenon, content and form. It is in the artistic way that the ability of art is to give a person a deep aesthetic pleasure, which awakens in her a sense of beauty. The portrait genre gives wider possibilities for the image of a person in all complex of its spiritual and physical image, its individuality and typology, its personal and social “I”. This is related to the direct influence of the portrait on other, related genres (in painting, for example, on the storyline). After all, the portrait composition is found not only in all the main types of fine arts and literature, but also in theater and in the cinema. The portrait, as well as his composition, was very often the focus of art theoreticians. The most complete and deep theoretical development in science until the twentieth century was carried out by G. Hegel in “Lectures on aesthetics”, which saw the world in the late 1830’s. In Hegel’s observations of the portrait there are many extremely valuable thoughts about the specifics of his composition, about the creative method of a portrait painter. In the demand of Hegel to the artist to reveal and portray a person in its comprehensive nature was a wonderful idea of the need for a generalization in the portrait, there was a condemnation of the slave copy of nature, which leads to the creation of naturalistic works. The main defining feature of the portrait is the lack of action. The action is more common in the storyline than portrait. But action is a purely external sign that in no way can be substantial. In addition, the action is not essentially contraindicated in portrait, as its absence is not contraindicated in the plot composition. Very often a portrait is perceived as a living “twin” of a real person, endowed with supernatural power. The artist, creating a “collective” typical image, sometimes reproduces in it the features of an existing person. No matter how the original was a portrait, it can not be called a good portrait, if it still will not be in an artistic way. These two properties are often considered not only in art, but also in life, from each other, often even in sharp contrast. Consequently, the portrait genre enables the artist to portray a person in a complex set of spiritual and physical plexus. The portrait composition has special features, through which the image of the portrait is transmitted, in it there are no significant parts, everything is subject to the general law of aesthetic perception. For any artist, the portrait requires not copying, but the creation of the original with the transfer of his inner and spiritual life.