Скачать файл в PDF формате
UDC 75 + 791.3 + 159.92
LBC 85.143 (2) + 85.37 + 88.4
GRIGORIY R. KONSON
Russian State Social University,
THE PAINTINGS OF ILYA GLAZUNOV THROUGH THE PRISM OF THE METHODOLOGIES OF SERGEI EISENSTEIN AND LEV VYGOTSKY
Abstract. In the present article the attempt is made for the first time to apply the methodologies of Sergei Eisenstein and Lev Vygostsky to analysis of the paintings of Ilya Glazunov and his contemporaries. The attention of the researcher is focused on the phenomenon of the character suite discovered by Einsenstein in drawings as “pure motion of the run of montage thought.” The present phenomenon was focused on disclosing one and the same emotion in its various gradations. Its versatile discovery is also aided by analysis of the other principles of movie montage the manifestation of which is revealed by the author of the article in painting as well: the parallel, associative and intellectual. For the aim of revealing the essence of the examined works of pictorial art the article makes use of a method, correlating with Eisenstein’s, formulated by Soviet scientist Lev Vygotsky, who researched in literature the psychology of inner conflict of images on the basis of the contrariety of the plot and the storyline. The convergence of the mentioned intellectual paths of learning about the paintings of Glazunov and his contemporaries creates the possibility of systematic perfection of “multiple-point entering” into the artistic image, which makes it possible to elucidate the meaning of the authorial conceptions in pictorial art, including those paintings by Glazunov which by their worldview content and image-related compositional solution arouse impassioned critical reactions.
Keywords: Sergei Eisenstein, Lev Vygotsky, Ilya Glazunov, character suite, parallel, associative and intellectual montage, method, portrait, plot and storyline, the psychology of art, artistic images, the tragic in cinema and painting