At the Pushkin Museum to them. Alexander Pushkin exhibit works of German expressionists - members of the group «bridge»

Display of different XX century avant-garde painting in the Pushkin Museum continues. Behind the Russian and Italian futurists, ahead of the Swiss sculptor and painter Alberto Giacometti, kontseptualist Ilya Kabakov. The current program item - a group of «bridge», by and large, and gave the art of expressionism itself.

anatomy of simple things, heightened self-expression and rebellion, turning on the canvas in one big grotesque. The entire exhibition in Moscow, represented by the German Museum of the group, this small room, which has, however, an impressive archive of twelve thousand copyright canvases. Pushkin Museum director Irina Antonova believes that the current exhibition does not exist by itself, but in a clear context: «We are exploring the avant-garde in phases beginning of last century, as represented at this exhibition works of German artists of the" bridge "the same Berlin Museum Brucke, perhaps you can called the principal construction material for all the fine art of XX century. The significance of the exhibition of this kind is difficult to overestimate ». «134 paintings and a collection of graphic works, especially woodcut» - that is, according to Irina Antonova, the set presented in the exhibition of selected works of «mostovikov».

Year 1905 th. Four students from Dresden Architects - Ernst Ludwig Kirchner, Fritz Bleyl, Erich Hekkel and Karl Schmidt-Rotluff - agree that prevails around the academic and yugendshtil - blinkers that prevent full penetration into the true essence of RaeKi worlds. And therefore decide to create in the end not the club, not the artistic commune, in fact - Grouping of «bridge», de facto, a division of Secession, the Artists' Union in Munich, Vienna and Berlin, who opposed the doctrines of modernism - for a realistic simplicity and invoice.

Even on the basis of its title «bridge» was to provide a link to all new artistic movements, the international line between styles, between the shore and so, «the bridge to the future», like say one of the founders. According to Kirchner, one of the elements of painting - contour, shape, color, light, space, time - need to break, let them blood, to see their true power, flying from the darkness to the light patterns of academic canvas. The artists worked together, sharing the canvas and paint - everything needed, including those ideas. We played with a gloomy tone. Tried «caught unawares things». Do not be afraid of traditional European allusions to Africa and Latin America as the «third world», which is projected their own.

Joint creativity evolved initially difficult. Quartet was malointeresna, and generally unknown to the public plainly, abroad they do not go, like outside of his native city, not seeing in this particular sense. In 1906 the group joined the fighting comrades - Emil Nolde, fovist CES van Dongen, and Max Pehshteyn, but the original style of each individual artist yet slumber. A breakthrough occurred in 1910, when all «mostoviki» one after another, gradually moved to Berlin. They believed that the color has its own meaning, regardless of the narratives of linen. The color is symbolic, and provokes the viewer emotionally. They sought to translate the household lives in an unstable environment, they are looking for aggressive new forms and new pressures on the contours and found.

for the time they became a Shakespearean «favorites of the Moon», «Knights of Darkness» - servants of the primitive nature. Fine writing «mostovikov» extraordinarily simple, but as it happens in the real masters of the palette and brush, on the altar of lapidary actually made a great lot of different perspectives and emotions that will eventually balance each other, organically forming an integrated whole. Their work - not a textbook on the run or tenyam, the history of their activities for nearly a decade, from 1905 till the 1913th, no information on the meditation for the novice painter. They painted intuitively, constantly experimented on the verge of styles, thus justifying the direction in which they treat later. After all, expressionist, as we know, does not translate faith into knowledge, they make it visible.

Source: rg.ru