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Title of the article: |
ON SPATIAL COMPOSITION OF LANDSCAPE PAINTINGS IN THE ERA OF SYMBOLISM AND ART NOUVEAU (ILLUSTRATED WITH WORKS OF THE 1890s BY М.V. YAKUNCHIKOVA-WEBER, К.А. SOMOV, А.N. BENOIS) |
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Author(s): |
Mishacheva, I.V. |
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Information about the author/authors |
Irina V. Mishacheva — PhD in Culturology, Associate Professor, Institute of Slavic Culture, A.N. Kosygin Russian State University (Technology. Design. Art), Khibinsky Pass. 6, 129337 Moscow, Russia. |
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Section |
History of Arts |
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Year |
2024 |
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Volume |
Vol. 73 |
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Pages |
pp. 328–351 |
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Received |
February 22, 2024 |
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Approved after reviewing |
March 25, 2024 |
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Date of publication |
September 25, 2024 |
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DOI: |
https://doi.org/10.37816/2073-9567-2024-73-328-351 |
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Index UDK |
7.078 |
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Index BBK |
85.313 (2) |
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Abstract |
The paper presents an attempt to analyse and classify the spatial composition of landscape paintings created in the 1890s by painters who actively collaborated with the World of Art (Mir iskusstva) association and were close to Art Nouveau and Symbolism. Their novelty partially results from impressionist innovations, with the latter revised in terms of both plastic effect and meaning. One of such revised formulae is vividly embodied in the works by М.V. Yakunchikova-Weber, as well as Е.D. Polenov and V.D. Polenov: fragment of a landscape depicting (almost) no ground or sky, tending towards a carpet-like surface and filled with vegetation forms of varying degrees of conventionality. Landscapes focusing on the lower layer of vegetation, flowers, and grass growing from the ground, or in combination with a smooth lake surface motif (the sky as if overturned into water) become a special variant of composition. This comes in tune with the Art Nouveau’s interest in vegetation and water, and Symbolism’s fascination with the motif of reflections. The latter may also be implemented in landscape in a window compositions: combination of reflection (microcosm of the painter’s inner world) and landscape (nature’s macrocosm) on the illusively two-layer surface. М.V. Yakunchikova-Weber and К.А. Somov transform the Landscape without sky, view from a balcony perspectives anticipated by C. Monet’s experiments into a special type of chamber park landscape: a beautiful shelter isolated from the world and the sky endlessness disturbing the soul. At the same time, panoramic landscapes (by K.А. Somov and А.N. Benois) tend towards an extremely high or low horizon line that is far from the everyday perception, oftentimes being presented from behind the back of a park statue and as if seen by its eyes. |
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Keywords |
Space in Landscape Painting, Composition, Art Nouveau, Symbolism, М.V. Yakunchikova-Weber, Е.D. Polenova, V.D. Polenov, K.А. Somov, А.N. Benois. |
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Reference |
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