Бесстрашие витальности: претворение Возвышенного в живописи 2000-х годов

Abstract

The article is devoted to vitality in the art of the twentieth century, interpreted as the Sublime. Vitality manifests itself in art in a very diverse way. The dramatic attitude of the world, suffering, and pain are often synonymous with “vitality” today. But the art of oblivion is also permeated with vitality, “intoxicating”, helping to overcome the horror of existence; as well as art, attaching to the metaphysical source of being. It can be defined as sacred optimism and the ancient art and the art of the avant-garde are especially vividly evidence of it. In this case vitality is in direct contact with the Sublime. Seeking out the “other world”, overcoming the limitations of the mortal and suffering world is carried out through the transformation of the Sublime. Today the subject of the Sublime in art is at the peak of research interest. This is evidenced by the project The Art of the Sublime, launched in 2008 by the Tate Modern gallery (London, UK), dedicated to the study of this phenomenon from the Baroque era to the present day. It touches upon all types of visual art from painting to installation. Research shows how evolution goes from the natural Sublime, realized in the depiction of rare and impressive natural phenomena, to the technological Sublime, which declared itself in the second half of the twentieth century, to the distinction between the Sublime and the beautiful. In modern Moscow painting, we meet the implementation of the principle of the Sublime in the work of the artist Vladimir Matveev. Relying on the sacred art of Russian icons, and the avant-garde, the color discoveries of post-impressionism and the energetic abstraction of neo-expressionism, he creates his version of the Sublime in contemporary painting. In his large-format canvases, the artist expresses the essence of the vital as the Sublime, metaphysical and mental principles with the help of rich color and sharp juxtaposi- tion of abstract and natural forms.