УДВОЕНИЕ РЕАЛЬНОСТИ В ТВОРЧЕСТВЕ З. Е. СЕРЕБРЯКОВОЙ

Abstract

The article shows that in Serebryakova’s work there is a phenomenon when the world depicted in the painting loses its unambiguity and closedness. Three types of examples of this kind are analyzed. 1) Self-portraits in which a two- or threefold image of the author is present, which makes it impossible to clearly differentiate between the author and the character. 2) Depiction of an interior space (a house or a room) in which a pair of directly opposite directions is emphasized. The character looks at the viewer, but behind his back there is a boundary (realized by a door or a window), beyond which is the outside world, and where the viewer’s gaze is directed. 3) Behind the reality depicted in the painting there is a second plan, connected with the presence of a classical sample (subtext). And this pattern is itself connected with the presence of a second reality or a doubling of the existing one. The result is a doubling of the doubling. The situation may become more complicated if a mirror, an object that itself doubles reality, is present in the painting in one form or another. In general, the phenomenon under discussion can be seen as characteristic of twentieth-century painting (and similarly, literature), when classical notions of a fixed and unambiguous object prove to be insufficient. However, this phenomenon, inherent in the 1st (until the mid-20s) period of Serebryakova’s works, was not further developed after her emigration.