Архетипы творчества Бориса Смотрова как инструмент для национальной самоидентификации личности в условиях культурного хаоса рубежа XX–XXI вв.

Abstract

The paper discusses the works of Moscow artist Boris Smotrov. It provides a general analysis of the tools of his artistic style as well as the data on his main vectors of creative activity (painting, poster graphics). The author dwells on the master’s works in the field of painting, focusing on national themes. The study distinguishes dominant blocks of the painter's works (landscape, thematic painting), detects specifics of the artistic language, methods of working with color, his mastering of the line and pays attention to the interaction of painting and graphics in B. Smotrov’s creative baggage and his decorative manner. The paper addressees the main archetypes in the works of Smotrov (firebird, cow, apple, spring, Maslenitsa, etc.). The propensity for allegorical language is explained by his competent use of artistic means of creating a poster. The author analyzes individual features of B. Smotrov’s work with color, the creation of his own author's “patchwork” style as a result of creative transformation and rethinking of the influence of various styles and manners of individual artists, from A. Matisse to K. Petrov-Vodkin. The art of the master acts as an effective tool for debunking myths about the cheap popular character of Russian national motifs, and for combating superficial perceptions of them. The paper highlights worldview universals in culture as well as main problems of the art of the turning periods, one of which includes the creative path of B. Smotrov. The author pays special attention to the works of B. Smotrov as a tool for national self-identification of a creative person in conditions of cultural chaos at the turn of the century since they are on display at personal and collective exhibitions not only in Russia, but also in Austria, China, Korea, the United States and stored not only in Russian museums (Moscow, Perm, Tula), but also in private collections in China, USA, Switzerland. The study comes to the conclusion that “patchwork style” by Boris Smotrov is a quintessence of the Russian in his works.