The new materiality (German Neue Sachlichkeit) is an art movement in German art of the 1920s – early 1930s, which represented the tradition of neoclassicism in the general context of the development of modernist art. The authorship of the term “New materiality” belongs to the director of the art gallery in Mannheim, G. Hartlaub, who called the direction of the “search for new materiality” an exhibition of works by young artists that took place at him in 1925. This trend, not formalized organizationally and sufficiently broad (due to the belonging of artists from different lands of Germany), existed until fascism came to power in 1933.
The participants in the New Materiality movement, striving to counter the alarming ecstasy of expressionism, proclaimed a “return to a positive and concrete reality.” Continue reading
Metarealism (came from the Greek meta – between, after, through, and gealis – material, real) is the realism of many realities connected by the continuity of metabolic transformations and state changes. There is a reality open to the ant’s vision, and a reality open to the wandering of an electron, and a reality folded into a mathematical formula. The metareal image, metamorphosis, metabolism is a way of interconnecting all these realities, affirming their growing unity.
Metarealism is a style in Russian literature and art that took shape in the 70s, but gained fame in the 80s. Representatives of metarealism. In poetry – I. Zhdanov, O. Sedakova, V. Aristov, A. Parshchikov, I. Kutik, A. Eremenko, V. Salimon and others. In painting: E. Dybsky, Z. Sherman, E. Gor, B .Morkovnikov, A. Tsedlik and others. Continue reading
Abstractionism (from Latin abstraction– distraction, removal) is one of the directions in the art of the 20th century, the essence of which was the complete rejection of the depiction of real objects and phenomena in painting, drawing and sculpture. Abstractionism arose on the basis of such currents as cubism, futurism and expressionism. Some areas of abstractionism (Suprematism, neoplasticism) differed in ordered designs from lines, geometric shapes and volumes of various colors. And such a direction as tashism was rather a reflection of the spontaneity and unconsciousness of creativity in the dynamics of volumes and spots. Abstractionism sought to “harmonize”, the creation of certain color combinations and geometric shapes, so that the beholder formed certain associations. The date of abstractionism can be considered 1910, it was then that its founder V.V. Kandinsky presented the first abstract work in the history of art in Munich and wrote a treatise on the Spiritual in Art, where he substantiated his own creative methodology with scientific discoveries. Continue reading