Учебно-методическое пособие для студентов специальности «Дизайн»
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When we speak of a work’s form, we mean everything from the materi- als used to make it, to the way it employs the various formal elements, to the ways in which those elements are organized into a composition. Form is the overall structure of a work of art. Somewhat misleadingly, it is generally op- posed to content, which is what the work of art expresses or means. Obvi- ously, the content of nonobjective art is its form. Malevich’s painting “Supre- matist Painting. Black Rectangle, Blue Triangle” (1915) is really about the re- lation between the black rectangle, the blue triangle, and the white ground be- hind them. Though it is a uniform blue, notice that the blue triangle’s color seems to be lighter where it is backed by the black rectangle, and darker when seen against the white ground. This phenomenon occurs because our percep- tion of the relative lightness or darkness of a color depends upon the context in which we see it, even though the color never actually changes. If you stare for a moment at the line where the triangle crosses from white to black, you will begin to see a vibration. The two parts of the triangle will seem, in fact, to be at different visual depths. Malevich’s painting demonstrates how purely for- mal relationships can transform otherwise static forms into a visually dynamic composition. Claude Monet uses the same forms in his “Grainstack”. In fact, composi- tionally, this work is almost as simple as Malevich’s. That is, the grainstack is a triangle set on a rectangle, both set on a rectangular ground. Only the cast shadow adds compositional complexity. Yet Monet’s painting has clear con- tent. For nearly three years, from 1888 to 1891, Monet painted the grainstacks near his home in Giverny, France, over and over again, in all kinds of weather 77 and in all kinds of light. When these paintings were exhibited in May 1891, the critic Gustave Geffroy summed up their meaning: “These stacks, in this deserted field, are transient objects whose surfaces, like mirrors, catch the mood of the environment... Light and shade radiate from them, sun and shadow revolve around them in relentless pursuit; they reflect the dying heat, its last rays; they are shrouded in mist, soaked with rain, frozen with snow, in harmony with the distant horizon, the earth, the sky”. This series of paintings, in other words, attempts to reveal the dynamism of the natural world, the vari- ety of its cyclic change. In a successful work of art, form and content are inseparable. Consider an- other two examples of the relation between form and content. Kenneth Clark compares the two on the second page of his famous book “Civilisation”: “I don’t think there is any doubt that the Apollo embodies a higher state of civili- zation than the mask. They both represent spirits, messengers from another world – that is to say, from a world of our own imagining. To the Negro imagination it is a world of fear and darkness, ready to inflict horrible pun- ishment for the smallest infringement of a taboo. To the Hellenistic imagina- tion it is a world of light and confidence, in which the gods are like ourselves, only more beautiful, and descend to earth in order to teach men reason and the laws of harmony”. жүктеу/скачать 0,79 Mb. Достарыңызбен бөлісу:
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