How we perceive painting? An epilog to the next condemnation of “A black square
“ Recently here at us the people once again inertly condemned “A black square“ of Malevich. Once again to this work it was taken out as a sentence national “ôý“.
Once again agreed that the artist - the potboiler, the conjurer and the mocker, an art - business makes a fool of people, art critics observe interests of shop, but not the working people, speak about something unclear.
Of course, bird`s language of art critics - is more unclear, than “A black square“. But how all - with “A black square“, “A green strip“, other red, blue, other pointlessness which amuses to a shower tells nothing to mind but only it loads complexes the working people?
The people try to understand “A black square“, but cannot. “The black square“ is to you not the highest force defining and predetermining, distributing luck and bad luck, punishing for non-compliance with rituals and pardoning for seasonal hunger strikes. Even the astronaut in “Shuttle“ flying over the sky gold is ready to understand and accept existence of the gray-bearded aged man in heaven.
But square... What`s the use to speak to the people: a pier, a square - not absolutely black, places not black, and even not a square, and such something chetverougolny, with lengths of the parties, heights, corners and bisectors... Popular wisdom - from a century, from the earth. You will not push, you will not justify youselves, misters! The people want “A dinner of tractor operators“. Where everything is obvious. Almost photo.
There is a tractor, here the tractor operator, here a dinner. Here the assistant to the tractor operator, here messenger of the dining room, according to the staff list. Here an arable land - how many there development in hectares? Here the setting sun makes up with gentle light a cheek of the tractor operator and a shoulder of his assistant, is yellow - pink patches of light walks on overalls of the maiden. Blows as an evening cool from shadows, the getting denser blue of heaven eats the remains of a solar heat.
Looking at a picture, you feel the leaving heat. That heat, which between a day heat and night freshness. You hear silence - which comes suddenly, the engine is hardly killed.
From what to you it is warm - from the drawn patches of light of the invisible sun? No, we precisely know that the sun is: out of the picture plane, behind the back of the viewer his place. It is not represented, but it is. And patches of light are not real traces of sunshine, but paint dabs. But we trust the certificate of the artist, we will not put on - buratin a nose in this can and to otymat his idle time and a nourishing dinner at the tractor operator.
Though we know how this chunk of bread is sweet, after long - that day of work in a tractor. The huge dusty tractor clanking with all the caterpillars and pistons (what else this steel horse has?) exhaling a pungent smell of fuel, greasing. And to these machine aromas smells of summer, a meadow, the svezhevspakhanny earth are stirred. And the foggy sky bears fog from the horizon... No, around us - the museum hall, and this window to the Soviet village - a picture. It is the image of the tractor operator, his tractor and a dinner, the sunset sun, evening, a tractor...
But us heats this sunset sun! Information on that is given to us not by(with) touch, but sight. We see golden patches of light, we see contrast of the condensed blue and bright warm dabs of paint on a white dressing gown, and this contrast cold and warm already gives us feelings.
We see patches of light on a girl`s face, we see dabs which the artist made these patches of light - yellow, pink, red - we feel the same that the girl would have to feel: the nature plunges into cold darkness, and only these patches of light for a short instant keep heat.
Depart from a picture far away. Happiness if you short-sighted, - remove points (it is not lucky linzenosets). You look at a cloth: details left, there are no objects, there is no tractor, there is no white dressing gown and a can with milk. There are a color and a hint on forms. And painting gives you the same information: contrast cold and warm, shades of live it is yellow - pink and cold night it is dark - blue. You can still feel what was felt, having made out a picture in details.
Or you do not feel any more? And you again to endure feeling of the condensed darkness and an island of light and life in that darkness, still need yellow and red dabs of paint, the image of the tractor operator, a tractor, the maiden with a can?
I dare to assume that for the majority there is enough color and a form to react adequately. Songbirds are capable of it? Not to gobble up a tasteless ladybug, they will react on orange with black specks.
A problem only that the person was given the chance to think. There is he “A black square“ (or “A green strip“) and thinks: “Oh, make a fool of me. Make a fool!“ Tychet an eye in the guide, and there: “A green strip“ - a sample... And again it - on this “Strip“... No, precisely make a fool. Here for the sake of that - two - three for the ticket in Art gallery to tear off one hundred - and make a fool.
Disturb the person of thought. However, it is possible to try to leave on the following level, to think: why I feel that I feel when I see this picture? This here, with tractor operators, or that, with pioneers, milkmaids - pig-tenders? Naturally, the speech not about a pride for the Soviet Homeland (though it happens). The speech - about the feelings caused in you not by the image of a fire, say, and flowers and forms which make this image.
I took a reference, uchebnikovy model of painting for the analysis. Not the best, not the worst, - that which is familiar to all who were disaccustomed at school though the first three classes. Also made it to show on the elementary example as we perceive painting. As we feel it.
Other picture from the textbook - “Rooks flied“. The high spring sky, thin lines of branches, clusters of nests in kroner, the decaying dirty snow - you learn? You learn spring? And if these tserkovka are not written out with such care? If in the image of birches the artist was not exact photographic? You would learn spring, remain on a cloth warmly - blue (artists will not throw into me dirt for such definition? Well, weather forecasters will understand) with the thin broken lines which are condensed in spots?
Rummage in memory - for certain there will be impressions presented by this or that work of painting there. And so, artists Malevich, Rozanova, Rodchenko and other investigated reality, themselves, the perception of this reality - and reported a result in the cloths. Their painting - impression. Result of research of reality of the visible, surrounding artist observed by it, researches of the visual experience, work of the soul.
Try to investigate also yourself - feel how color, a form act on you. Perhaps then with Malevich will easier go?