Avant-garde movements. School encyclopedia

Avant-garde is a tendency to deny historical tradition, continuity, and an experimental search for new forms and paths in art. The concept is the opposite of academicism.

Avant-garde has its origins as it grew out of the art of the period Moderna.

Despite the fundamental antagonism between avant-garde art and spiritual traditions artistic culture, nihilistic calls of participants in this movement, claims to comprehend “pure essences” and expressions of the “absolute” without the burden of the past and primitive imitation of forms outside world, the ideas of the artistic avant-garde are akin to the spiritual turmoil of art on turn of the 19th century and XX centuries.

Avant-garde art has its own romantic mythology.

The main avant-garde idea of absolutization of the very act of creativity, which does not imply creation, is romantic and even religious. work of art, his “self-sufficiency”, human justification through creativity, in which the “true reality” is revealed.

This, first of all, reveals the continuity of the most extreme forms of avant-garde art from the symbolism of the Modern period.

At the same time, the excessive expansion of this concept based on the etymology should also be recognized as dangerous: “an advanced detachment ready to sacrifice itself in a rapid attack in order to achieve the goal.”

Such a militaristic interpretation of the term inevitably leads to the idea that “the avant-garde arose many centuries ago during the transition from one era to another... and cannot be one of the art movements of the 20th century only.”

If we assume that avant-garde art “draws its spiritual strength from the inexhaustible source of the past, archaic consciousness” and it does not represent a decline, but a “rethinking of the past,” then the most essential thing is blurred, obscured - the irreconcilable, hostile attitude of the avant-garde artists to the history of culture, which is lots of evidence.
If in the art of the 20th century there really is a “parting with man,” then this is an anti-cultural, ahistorical movement.

Futurists at the very beginning of the new century called for “taming this world and overthrowing its laws at our own discretion.” This thesis alone denies the main content of culture: “cultivation of the soul through veneration and worship.”

The shift of meaning from a work of art to the process of its creation is also nothing more than a verbal masquerade, since in the spiritual sense main value in the history of world art it has always been a process - an act of Creation, and not a separate work in its material form.

Therefore, the idea that at the beginning of the 20th century “Russian religious-philosophical renaissance” and “Russian artistic avant-garde” were not identical, but developed simultaneously, “both turned out to be in the context of cultural history a sign of the Russian mentality."
In all the main movements of the Western European and Russian avant-garde of the early 20th century: futurism, abstractism, surrealism, Dada, pop art, op art, there was a consistent diversion of the process of formation from spiritual meaning art.

Russian avant-garde artist Lyubov Popova defined it like this:

“distraction of the artistic form from the form visible in reality».

Lyubov Sergeevna Popova “Portrait of a Philosopher”, 1915

This emancipation of form from the content traditionally invested in it gave rise to the pathos of unbridled, often stupid and aggressive freedom, and, at the same time, the need for analytical, scientific approach to the laws of form formation in art (which was carried out in the German Bauhaus and the Moscow VKHUTEMAS). But the break with artistic tradition inevitably transformed “ laboratory work on the study of the formal elements of art" into an aimless and naive game - combinatorics, technicalism.

Concepts creative direction, method, style lost their meaning; The types of art differed only in “material.”
This is how the idea of “internal identity of the means of art” naturally arose, propagated by V. Kandinsky, "synthesis of art" and even " transforming art into the content of life."

Wassily Vasilyevich Kandinsky Kandinsky In the blue, 1925

That is why the avant-garde movement as a whole reflects the process of displacement of culture by civilization, characteristic only of the 20th century, and of historical spiritual values by the pragmatic ideology of the technical age.

At the very beginning of the twentieth century, vague ideals " silver age"were literally swept away by a powerful pressure technicalism, constructivism, functionalism.

Emotionality was replaced by sober calculation, artistic image– design aesthetics, harmonization of elementary forms, high ideas – utilitarianism.

Using the terminology of O. Spengler, we can say that the complex organism of spiritual culture was rapidly degenerating into an inhuman “mechanism”. This tendency was especially clearly manifested in the maximalism of Russian history.

Oswald Arnold Gottfried Spengler (German: Oswald Arnold Gottfried Spengler; May 29 - May 8)- German idealist philosopher, representative of the philosophy of life, conservative-nationalist publicist.

In the 1910s according to N. Berdyaev, growing up in Russia"Hooligan Generation"

Bazarov’s heirs, developing the ideas of the 1860s, planned to replace “purposeless art” with the ideology of life-building, “engineering,” which later naturally merged with communist ideas and calls of anarchists.
Russian maximalism, so clearly manifested in the movement of the “Itinerants” and “sixties” XIX century, was only strengthened by the Russian revolution, but led to the fact that throughout the world Soviet, Bolshevik Russia began to be considered the birthplace of the artistic avant-garde.

“The Great Utopia moved the history of Russia and contained a discrepancy with reality.”

Russian religious philosopher I. Ilyin defined avant-gardeism as “the spirit of aesthetic Bolshevism, the theory of irresponsibility and the practice of permissiveness”.

Another Russian thinker, priest S. Bulgakov emphasized:

« Creativity has a religious value... Nihilism is the ultimate denial of creativity».

Avant-gardeism is nihilism, since it breaks with artistic tradition as a source creative imagination artist.

The past, according to the Russian avant-garde artist, “may remain unused, as a material that has lost a significant part of its active force and thereby its cultural significance.”

For example, for Lazar Markovich Lisitsky in architecture “One equals one”, and everything else: “Egyptian-Greek-Roman-Gothic masquerade”, the historical and artistic meaning of the architectural composition is replaced by a simple design. Such logic naturally leads the avant-garde artist to the thought: “the past has nothing to do with the present” and “there is no development in art”.
During a dangerous period social revolutions Such nihilism in a person with little artistic education and a complex of unsatisfied ambition led to devastating consequences.

Lissitzky Lazar (El). Title page album "Victory over the sun." 1923

Soviet avant-garde artists did not advocate the creation of new movements or schools in art, but proclaimed themselves prophets and leaders of “parties,” relegating others to the roles of nameless performers in “collective proletarian labor.” K. Malevich, M. Chagall, D. Shterenberg were appointed "commissars", "authorized" and the revolution gave them the power to forcefully impose their ideas and forms of organization.

It was Bolshevism in art, but without tradition, without culture that unites people: the artist with the viewer, the artist with the artist; these people were left alone with emptiness. The mask of nihilism, irony, and “carnivalism” covered fear, envy, and hatred. In the history of art, only geniuses who were ahead of their time withstood such loneliness, but they were saved by their love for people and faith in God...
The avant-gardists - atheists and anarchists - were not geniuses; Feeling this, they proclaimed themselves geniuses. Therefore, each sought to overthrow the other.

Malevich was at enmity with Kandinsky, Kandinsky with Malevich and Tatlin, Tatlin, Lissitzky, Matyushin with everyone. At the same time, they were united by the will to power.

Kazimir Malevich “Women in the field” 1928-1932.

They dreamed of reorganizing their lives, at the very least: “on the scale of the globe.”

Vladimir Tatlin. Set design sketch for opera "The Flying Dutchman" , 1915.

The avant-garde wanted “party art” and, in the end, they got it in the form of “socialist realism”. And although not all Russian avant-garde artists were associated with politics, many remained true romantics and idealists; in general, the avant-garde testified to the defeat of national culture.

This was also reflected in the terminology. "Illusionism" classical painting Avant-garde artists, denying the concept of representation in general, opposed “visionism” (from the Latin visionis - phenomenon).

Matyushin Mikhail Vasilievich. Pointlessness. 1915-1917.

Technician techniques and terms became defining: collage, actionism, virtuality, clip.
It is significant that the art of the avant-garde is quite long history failed to form a coherent artistic direction, style, or school.

In the works of avant-garde artists lack of integrity, they are always, to one degree or another, eclectic, compilative And speculative.

Representatives of avant-garde art, regardless of nationality and creative individuality, due to their separation from historical tradition, are characterized by a common desire for “liberation from the integrity of form.”

If the old masters carried on their shoulders the heavy burden of caring for harmony visual arts and expressive possibilities, the avant-garde artists with carefree ease discarded this artistic tradition for the sake of "freedom of expression".

Contemporary art has truly become free. With this unbridled freedom and audacity, it conquers, captivates and captures, but at the same time it testifies to the destruction of harmony, the integrity of the worldview, which is in a state of discord with itself and the world around it. Such freedom immediately provided devastating consequences in relation to the creative personality himself.
At the very beginning of the 20th century, Italian futurists, chanting violence and the “instinct of the beast,” voluntarily went to the front of the First World War and almost all died.

The German expressionist E. L. Kirchner, having received mental trauma in the war, went crazy and committed suicide.

V. Lehmbruck committed suicide, O. Dike was close to insanity.

However, avant-gardeism has always had another characteristic, commercial side.

In contrast to the art of modernism, which is also focused on fundamental innovation of form and content, “avant-garde art primarily builds systems of innovative values in the field of pragmatics.

The meaning of the avant-garde position,” as V. Rudnev very accurately defined, “ in active and aggressive influence on the public. Produce shock, scandal, outrageousness- without this, avant-garde art is impossible O".

An avant-garde artist cannot work “for himself” in order to achieve an ideal “pure form”.

“The reaction must be immediate, instantaneous, excluding long and concentrated perception of aesthetic form and content. It is necessary that the reaction has time to arise and take hold before their deep comprehension, so that, to the extent possible, it interferes with this comprehension and makes it as difficult as possible. Misunderstanding, complete or partial, organically enters into the avant-garde artist’s plan and turns the addressee from a subject of perception into an object, into an aesthetic thing».

Vanguard -the creation of absurdity, the discrepancy between the spiritual meaning of the reality of art and life.

This is where the “new pragmatics” arises, in which artistic values are consistently replaced by aesthetic ones, and aesthetic ones by speculative ones.

This is the essence of installations, actionism and pop art: the “sculptor” M. Duchamp demonstrates a toilet on a pedestal instead of a work of art, and E. Warhol shows a “composition” made of tin cans.

Signed pseudonymously R. Mutt Marcel Duchamp's urinal "Fountain"

This is why avant-gardeism should be distinguished emanate from essentially artistic movements modernist art: Acmeism, Symbolism, Cubism, Orphism, Fauvism, Expressionism.

Andy Warhol "Tin Cans"

And although in the middle of the 20th century, in the art of postmodernism, this pragmatics was somewhat softened (perhaps simply because the avant-garde ceased to be avant-garde), it is quite obvious that neglecting the school and the complexity of comprehending the artistic form is the easiest path, attracting mainly those who It gives pleasure to fool simpletons, to deceive an insufficiently cultured public, poorly educated critics and ignorant patrons of the arts.

Indeed, in order to fully understand the inner emptiness and spirituality of avant-gardeism, considerable “visual experience” is needed. The more elementary the art, the more difficult it is for an ignorant viewer to understand it, to separate true values from imaginary ones.

This is the same plot of "The Tale of the Naked King". Understanding contemporary art It is also complicated by the fact that innovative aspirations in it constantly collide with attempts to return to tradition, so it turns out that avant-garde by name is not always avant-garde in essence.
As a reaction to this natural phenomenon, since the 1970s. The names neo-avant-garde, post-avant-garde, and trans-avant-garde are increasingly appearing. In Russian art criticism, the word “avant-garde” was first used by A. Benois in 1910 in an article about the exhibition of the “Union of Russian Artists”, in which he strongly condemned the “avant-garde” P. Kuznetsov, M. Larionov, G. Yakulov.

Kuznetsov Pavel Varfolomeevich. "Rock by the river". Album leaf "Mountain Bukhara".

Michael Larionov. "Bull's Head"

Yakulov, Georgy Bogdanovich “Constructive music hall”

Avant-garde literature was a product of the emerging era of social change and cataclysm. It was based on a categorical rejection of reality, the denial of bourgeois values and the energetic breaking of traditions. For full characteristics Avant-garde literature should focus on such movements as expressionism, futurism and surrealism.

The literature of the 20th century in its stylistic and ideological diversity is incomparable with the literature of the 19th century, where only three or four leading trends could be identified. At the same time modern literature gave no more great talents than the literature of the last century. European fiction XX century remains faithful classical traditions. At the turn of two centuries, a galaxy of writers was noticeable whose work did not yet express the aspirations and innovative searches of the 20th century: the English novelist John Galsworthy (1867-1933), who created social and everyday novels (the Forsyte Saga trilogy), German writers Thomas Mann (1875--1955), who wrote the philosophical novels “The Magic Mountain” (1924) and “Doctor Faustus” (1947), revealing the moral, spiritual and intellectual quests of the European intellectual, and Heinrich Böll (1917-1985), who combined his novels and stories social criticism with elements of the grotesque and deep psychological analysis, French Anatole France (1844--1924), who gave a satirical review of France late XIX century, Romain Rolland (1866--1944), who depicted spiritual quests and throwings in the epic novel “Jean Christophe” brilliant musician, and etc.

In the same time European literature experienced the influence of modernism, which is primarily manifested in poetry. So, French poets P. Eluard (1895--1952) and L. Aragon (1897--1982) were leading figures of surrealism. However, the most significant in the Art Nouveau style was not poetry, but prose - the novels of M. Proust (“In Search of Lost Time”), J. Joyce (“Ulysses”), f. Kafka (The Castle). These novels were a response to the events of the First World War, which gave birth to a generation that was called “lost” in literature. They analyze the spiritual, mental, and pathological manifestations of a person.

What they have in common is a methodological technique - the use of the “stream of consciousness” method of analysis discovered by the French philosopher, representative of intuitionism and “philosophy of life” Henri Bergson (1859-1941), which consists in describing the continuous flow of a person’s thoughts, impressions and feelings. He described human consciousness as a continuously changing creative reality, as a flow in which thinking is only a superficial layer, subject to the needs of practice and social life. In its deepest layers, consciousness can be comprehended only through the effort of introspection (introspection) and intuition. The basis of knowledge is pure perception, and matter and consciousness are phenomena reconstructed by the mind from the facts of direct experience. His main job“Creative Evolution” brought Bergson fame not only as a philosopher, but also as a writer (in 1927 he was awarded the Nobel Prize in Literature). Bergson also distinguished himself in the diplomatic and pedagogical fields. They say that the recognition of Bergson’s oratorical talent, who conquered his compatriots with his magnificent French language, forced him to French parliament specifically consider the issue of moving his lectures from the assembly hall of the Collège de France, which could not accommodate everyone, to the building of the Paris Opera and stopping traffic on the adjacent streets during the lecture.

Bergson's philosophy had a significant influence on the intellectual atmosphere of Europe, including literature. For many writers of the first half of the 20th century, the “stream of consciousness” from a philosophical method of cognition turned into a spectacular artistic technique.

Bergson's philosophical ideas formed the basis famous novel French writer Marcel Proust (1871-1922) “In Search of Lost Time” (in 14 volumes). The work, which is a series of novels, serves as an expression of his childhood memories emerging from the subconscious. Recreating the bygone time of people, the subtlest overflows of feelings and moods, the material world, the writer saturates the narrative fabric of the work with bizarre associations and phenomena of involuntary memory. Proust's experience - the depiction of a person's inner life as a "stream of consciousness" - had great importance for many writers of the 20th century.

A prominent Irish writer, a representative of modernist and postmodernist prose, James Joyce (1882-1941), based on Bergsonian techniques, discovered new way letters in which art form takes the place of content, encoding ideological, psychological and other dimensions. In Joyce's artistic work, not only the “stream of consciousness” is used, but also parodies, stylizations, comic devices, mythological and symbolic layers of meaning. The analytical decomposition of language and text is accompanied by the decomposition of the image of man, a new anthropology close to structuralist and characterized by almost complete exclusion social aspects. Inner speech as a form of being literary work entered into active circulation among writers of the 20th century.

The works of the outstanding Austrian writer Franz Kafka (1883-1924) did not arouse much interest among readers during his lifetime. Despite this, he is considered one of the most famous prose writers of the 20th century. In the novels “The Trial” (1915), “The Castle” (1922) and stories in grotesque and parable form, he showed the tragic powerlessness of man in his clash with absurdity modern world. Kafka with amazing power showed the inability of people to mutual contacts, the powerlessness of the individual in front of complex mechanisms of power inaccessible to the human mind, showed the vain efforts that human pawns made in order to protect themselves from the pressure on them of forces alien to them. The analysis of “borderline situations” (situations of fear, despair, melancholy, etc.) brings Kafka closer to the existentialists.

Close to him, but in a unique way, the Austrian poet and prose writer Rainer Maria Rilke (1875-1926) moved towards the search for a new language and new poetic content, who created a cycle of melodic poems in line with the symbolist and impressionist tradition of the first decades of the 20th century. In them the poet reflects on the existential problems of man, his tragic duality, striving for mutual understanding and love.

The concept of "avant-garde"

Definition 1

Avant-garde- (from the French avant-garde - advanced detachment) is a conventional name artistic directions XX century, which reveals a desire for renewal and a break in artistic practice with established traditions of realism, a search for means of expression and forms of works that are new and unusual in content. All the most acute contradictions of the era, confusion in the face of ongoing social cataclysms and, as a consequence, the desire to find new ways of aesthetic influence on life were reflected in the inconsistency of various avant-garde movements.

Representatives of this movement in Russia are:

V. Malevich,
V. Kandinsky,
M. Larionov,
M. Matyushin,
V. Tatlin,
P. Kuznetsov,
G. Yakulov,
A. Exter,
B. Ender,
and etc.

Avant-garde, using anarchic-rebellious forms, was aimed at an aesthetic revolution that was supposed to destroy the spiritual rigidity of the existing society. Avant-garde artists used “street poetics” and rhythms in their work. modern city, nature, which has not only a creative principle, but also a destructive force, emphasized the principle of “anti-art,” thereby rejecting the traditional styles that existed previously. Along with this, borrowings from the art of African peoples began to be actively included in painting, popular popular print, other non-classical spheres of creativity, in other words, the avant-garde attached particular importance to the dialogue of cultures.

Characteristics of avant-gardeism

The avant-garde is an extremely motley and contradictory phenomenon, in which, in a strange way, completely opposite directions coexisted in an irreconcilable struggle. However, most general features for all branches of avant-gardeism are:

experimental nature;
directed against traditional art its values;
active protest against everything that, according to representatives of the avant-garde, was conservative and philistine;
refusal of a “direct” depiction of reality;
creation of fundamentally new forms, techniques and means of artistic expression;
the desire to blur the boundaries between traditional forms of art and their interpenetration.

The main directions of the avant-garde in painting are abstract art, cubism, expressionism, Suprematism, futurism, Dadaism, constructivism, metaphysical painting, surrealism, naive art and some others. There are also such outstanding artists in the history of culture who cannot be attributed unambiguously to one of these movements, among them Picasso, Chagall, Filonov, Klee, Matisse, Modigliani, Le Corbusier and some others. There are a huge number of avant-garde phenomena and only a conditional classification of them is possible, and only according to certain parameters.

In Russia, one of the most actively developing trends of avant-gardeism was abstract art (abstractionism), the main theorists and practitioners of which were V. Kandinsky and P. Mondrian.

Note 1

Representatives of abstractionism abandoned the depiction of the usual forms of perceived reality, paying special attention to the expressive associative properties of color, abstract color forms and their combinations.

In 1910 Kandinsky created the first abstract works. He believed that the artist, refusing to depict the external forms of objects, can concentrate exclusively on solving the pictorial problems of harmonizing color and form.

The development of abstract art went in two directions:

harmonization of amorphous color combinations,
creation of geometric abstractions.

Representatives of the first direction, including the early Kandinsky, F. Kupka, completed the search for the expressionists, who sought to free the color palette from the forms of visible reality. They argued that color itself, having expressive value, can convey the lyricism and drama of human experiences and spiritual quests.

Another direction followed the path of the image artistic space through various combinations of all kinds of geometric shapes, straight and broken lines. Its main representatives in Russia were Malevich of the period of geometric Suprematism and the late Kandinsky with his geometric abstract compositions.

Avant-garde (constructivism) in the architecture of Leningrad is a direction in Russian (Soviet) architecture of the second half of the 1920s and early 1930s (some objects were introduced before the end of the 1930s). Russian Revolution, building a new... ... Wikipedia

avant-garde- a, m. avant garde f. 1. military Part of the troops located in front of the main forces. It is necessary to ensure that first the strong corps... first inspect all the roads and passes... which the corps is called the vanguard. UV 1716 188. Enemy vanguard. LCF... ... Historical Dictionary Gallicisms of the Russian language

This term has other meanings, see Vanguard. Poster for Dziga Vertov’s film “Man with a Movie Camera” Av ... Wikipedia

DVD cover “Avant-garde: Experimental Cinema of the 1920s-30s” Avant-garde (French Avant garde, from French avant before and French gard security, guard) is a direction in the development of cinema that arose in opposition to commercial cinema. Film avant-garde... ... Wikipedia

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Books

The art of books in Russia 1910-1930s. Masters of leftist movements. Materials for the catalogue, S. V. Khachaturov. We present to the attention of readers the first attempt at a systematic catalog of publications designed by artists of the so-called “avant-garde” (or “left”) movements of the 1910-1930s. Collected materials...
The art of books in Russia 1910-1930, S. V. Khachaturov. We present to the attention of readers the first attempt at a systematic catalog of publications designed by artists of the so-called “avant-garde” (or “left”) movements of the 1910-1930s. Collected...

A general name for currents in European art, which arose at the beginning of the 20th century, expressed in a polemical and combative form.

Vanguard characterized by an experimental approach to artistic creativity, going beyond classical aesthetics, using original, innovative means of expression, emphasized by the symbolism of artistic images.
The avant-garde is characterized by a desire for a radical renewal of artistic practice, a break with its established principles and traditions and the search for new, unusual content, means of expression and forms of work, the relationship of artists with life.

Avant-garde movements:

- Expressionism
Expressionism was a noticeable phenomenon in the complex struggle of emerging and successive formalist movements. This movement, which arose in 1905-1909, did not have a clearly defined program, proclaimed subjective sensations and subconscious impulses as the basis of artistic creativity.

Munch Edvard(1863-1944), Norwegian painter, theater artist, schedule.

Scream Madonna
The theme that became central to the work of Edvard Munch is the relationship between a man and a woman. A woman in his works appears in various guises: as an idealized image of a girl, as a personification of erotic feminine or as a clairvoyant, sorceress, domineering mother-death. Most of Edvard Munch's paintings from the 1890s to the 1910s are part of the unfinished “Frieze of Life” cycle. Sharp expressiveness is inherent graphic works Munch, a brilliant master of woodcut, etching and lithography.

Karl Schmidt-Rottluff

Spring in the village Self-portrait with a monocle

Emil Nolde- one of the leading German expressionist artists, considered one of the greatest watercolorists of the 20th century. Nolde became famous for his expressive color schemes.

Worship of the golden calf Prophet

- Cubism.
avant-garde movement in fine arts, primarily in painting, which originated at the beginning of the 20th century and is characterized by the use of emphatically geometrized conventional forms, the desire to “split” real objects into stereometric primitives.

Pablo Ruiz Picasso (1881-1973), spanish artist and sculptor, inventor of new forms of painting, innovator of styles and techniques, and one of the most prolific artists in history. Picasso created more than 20 thousand works.

Girl on the ball Crying woman
Guernica

-Futurism.
general name for the avant-garde artistic movements of the 1910s and early 1920s. XX century, primarily in Italy and Russia.
Futurism became in the 10s of the twentieth century a symbol of new art - the art of the future, the art of speed and constant movement, declaring itself as a revolutionary phenomenon in which theory, manifesto, and gesture were the main components. In this capacity, futurism remains relevant to this day, since for the first time it showed the world an artist-provocateur who replaced art with life and vice versa.

G. Severini “Sanitary train rushing through the city”, 1915

Giacomo Balla. Traps of war. 1915 Giacomo Balla. Numbers in love. 1924-1925

Boccioni Bicycle Development of a bottle in space

- Surrealism.
Surrealists believed that creative energy comes from the sphere of the subconscious, which manifests itself during sleep, hypnosis, painful delirium, sudden insights, automatic actions (random wandering of a pencil on paper, etc.)
The general features of the art of surrealism are fantasy of the absurd, alogism, paradoxical combinations of forms, visual instability, variability of images. The main goal The surrealists were, through the unconscious, to rise above the limitations of both the material and the ideal world, to continue their rebellion against the emasculated spiritual values of bourgeois civilization. Artists of this movement wanted to create on their canvases a reality that did not reflect the reality suggested by the subconscious, but in practice this sometimes resulted in the creation of pathologically repulsive images, eclecticism and kitsch.
Surrealism in painting developed in two directions. Some artists introduced an unconscious principle into the process of creating paintings in which freely flowing images predominated, free forms, turning into abstraction.

Ernst Max, German painter, graphic artist, master of collage and frottage, one of the most prominent representatives of surrealism.
Antipope Bride's Robe

Joan Miró artist, sculptor and graphic artist. Close to abstract art. The artist's works look like rambling children's drawings and contain figures that are vaguely similar to real objects.

Acrlekin Carnival
Another direction, led by Salvador Dali, was based on the illusory accuracy of reproducing a surreal image that arises in the subconscious. His paintings are distinguished by a careful manner of painting, accurate rendering of light and shade, perspective, which is typical for academic painting. The viewer, succumbing to the persuasiveness of illusory painting, is drawn into a labyrinth of deceptions and insoluble mysteries: solid objects spread, dense objects become transparent, incompatible objects twist and turn out, massive volumes acquire weightlessness, and all this creates an image impossible in reality.
Persistence of Memory Premonition civil war

Suprematism.

Fauvism. Orphism.

Constructivism.