The artist hass the task - to create a sense of movement in the viewer's perception. To solve this difficult task at the disposal of the artist there is a sufficient supply of artistic means, accumulated by the fine arts in the whole history of its existence. And all the same, the problem of movement in the relationship with space and time can not yet be considered solved in the fine arts.
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| Alexander Deineka's paiting |
movement of forms that build space
forms of space that help or hinder movement.
In matters of movement, space and time, the artist comes out of such basic positions: motion and space are forms of existence of matter, matter exists in time and space. And human life - part of the material world - also obeys these laws: all our life, activity flows in time and space. Space constantly surrounds us, affects us, its diversity forms the human psyche.
Architecture plays an important role in the perception of space by the human being, so one of the problems is the movement of architectural forms that create space - in reality to trace the construction of space on architectural forms **. Since architecture is a kind of art, the aim of it, like the whole art in general, is to aesthetically affect a person, which obliges architects to think first of all about a person.
In architecture, it is customary to have volumes, but in this case we are not interested in volumes, but in space and its influence on a person, because a person needs to live, work and rest in spaces created by architecture. If you look at architecture, as the art of forms that build space, you have to stop at the basic miscalculations of modern architecture in creating space.
The creation of architectural forms without taking into account the construction of their space makes the majority of modern projects around the world monotonous, tedious, negatively affecting the psyche of people.
These miscalculations are visible in three main directions:
1. Long, narrow and semi-dark corridors of some administrative buildings narrows space and depressing influence on people's psyche. The walls are dull with tightly closed cabinet doors on both sides of such corridors. Uncomfortable, close to the person in this space, I want to escape from here quickly to the open air. Low ceilings squeeze space, causing a feeling of depression. A person in such a room feels uncomfortable, humbled. No better, and the other extreme - too high ceilings with small dimensions. Here you feel lowered to the bottom of the well. Just uncomfortable, we feel in the space of streets with skyscrapers on both sides.
It is interesting to note that skyscrapers that rise up do not lift a person, but crush him with their size, creating the impression of his descent into the abyss. That space, where there are many right angles, is also unpleasant through the association of wandering behind the annoying pointer. Internal walls, partitions that are not properly planned (especially in apartment buildings) are perceived as obstacles, restrictions, prohibitions. Stairs are sometimes built without taking into account the convenient lifting and, more importantly, the descent, in which there is a space that does not pull down.
2. In modern multi-storey architecture, unfortunately, there is no poetic harmony of proportions and playing rhythmic distances of space, which pleases the view. The buildings are similar to each other and behind the shape resemble grids of car radiators. The height of the "radiators" and the width of their end part are harmonized so that the entire structure seems shaky, does not have a strong base. Approximately the same applies to the psyche of people and the space around such a structure. A large number of horizontal, vertical lines and forms form many right angles, makes the building dogmatic, stale, whose style is melancholy. Often goes like this: everything looks okay in a sketch, project, and with implementation everything changes for the worse. The reason lies in the fact that priority is given to form for the sake of the form itself, and the person to his feelings, the mood remains on the sidelines.
3. The movement of a person without obstacles in space is always associated with a sense of freedom, and the space itself increases from this. And the space, where the forms that create it, interfere with each other, are perceived by us as a vice gripping the movement. Space, however, seems even smaller than there is in reality, the feeling of space disappears if a person is in a tight environment. In the last example, there is a paradox: a person who is surrounded by other people feels lonely, the limited space separates people. Harmonious space can be considered as a space in which a person is free, cozy and does not want to go anywhere.
It's nice to realize that the above-mentioned miscalculations of modern architecture have been understood, they are being talked about, they think, therefore, in the near future the architecture of our cities will become more diverse, harmonious and, most importantly, more humane.
How not to recall the ancient architecture, the harmony and beauty of which is told a lot, but its main advantage is that it did not put pressure on people, did not humiliate them. All forms of ancient architecture built space with regard to its emotional impact on man, the main goal - the greatness of man. In our time, the question of the humanity of architecture takes on special significance, and it is not accidental because of all types of art it is architecture that can either prolong the life of a person or shorten it. In the light of such a statement of the question, a number of thoughts and wishes will be put to the place regarding the improvement of our urban development.
Obviously, style should be seen as the similarity of all forms to one, despite their diversity. Previously, it was already said about the annoyance and monotony of the forms and lines of modern architecture. No one will object that the horizontal and vertical are the basis of any structure. But increasing the verticals and contours does not create Harmony of shapes and rhythms, therefore in the struggle against boredom and importunity additional saturated forms and lines are needed, which include: diagonal forms and lines, rounded, arrow-like, spiral.
The questions of enrichment of the basic forms with additional ones, their choice is determined by the artistic sense, the purpose of this object, the consideration of its emotional impact on the person. Each additional form used for enrichment, carries a charge of certain emotions. For example, rounded forms tend to soft plasticity; Diagonal forms are perceived as the power of male energy, expression; Arrow-shaped forms pointing upwards, express aspiration to peaks, take-off (gothic); Spiral-shaped forms, more than others express movement, hardness, strength.
Especial attention deserves arrow-shaped forms. The buildings of the Gothic style, with all their aspiration up, do not seem shaky, floating, thanks to their solid foundation combined in one with the rest of the structure.
The spiers of buildings "cut into" space, but space in turn dissolves in these forms, increasing the feeling of immobility and hardness of buildings - this is how the idea of flight and thoroughness is expressed, which is so lacking in modern "radiators".
A completely different meaning is for pointed obelisks that do not have a solid foundation with an upward orientation. They are perceived as flying, instantaneous, whereas their idea is to perpetuate the memory of an event or person.
It is customary to speak of architecture as frozen music. But this is not so, for in architecture there is a desire for movement. A vivid example of this is Gothic, spiral-like columns, etc. Each form has its own direction, inherent only to it, to the movement. Horizontal forms, for example, express a quiet movement, which in turn leads to expansion of space, vertical forms - light, instant, take up little space, when loaded from above, they become a symbol of immobility and hardness. Swift, brilliant forms, directed downward, seem to be swift in their movement, and forms with a very dark accent, on the contrary, stop the movement. We see the same in a black and white drawing, where a strong contour fetters motion and space.
Each new form, enacted to enrich the idea, requires repetition (but not rivalry), where the main form must remain the main form, otherwise the same "style" of boredom will emerge, only with a touch of loneliness.
In art there is no place for dogmatism, which connects the artist, so the word "loneliness" requires explanation. So, in the concept of "one" the idea of the main center of composition, the idea of greatness, and not what is understood by the word "loneliness" can be embedded. About the number of forms, figures included in the composition, not one artist thought. Questions of the number are traditional and extend from the depths of the history of mankind: the concept of "one" is revealed above, "two" is love, friendship, or hatred, enmity. "Three" is the basic harmony of integrity, the triumvirate. "Four" - a solid foundation, but with the threat of disintegration into two parts, etc.It is noticed that the unpaired number of objects in the composition creates the basis for the harmonic integrity of the work. There are two methods of constructing integrity and hardness: the first is a well-thought-out center that attracts and keeps the entire composition, the second is based on the movement of forms, when the related form of smaller size attracts a larger shape and holds the entire plot. An example is the swept form of Gothic, where a wide, large part of the "arrow" stretches beyond the narrow one.
The rhythmic alternation of forms, the game of the proportions of space between forms, the integrity and solidity of the composition, and the consideration of the human psyche in an acceptable or inadmissible space all change the appearance in the architecture of our cities, moreover, it has a positive influence on the person himself. It has long been known that in a beautiful, harmonious interior, a person feels calm, restrained, taut. This beauty obliges him to be attentive to others, polite, precautionary, which is excluded in conditions of tightness, inconvenient inputs and outputs, etc. In other words, architecture educates a person, and for this it has a sufficient arsenal of artistic techniques and a rich experience accumulated by the architecture of all ages and peoples. Consider the second part of the problem in the visual arts: "Forms of space that help or interfere with the movement."
The space between forms is the space that forms the movement. For example, the impression of a fast flight of a bird is intensified if the space behind the bird is indicated by the arrow-shaped form "striking" between the body of the bird and the inner contour of its wing, and the external lines of the bird are streamlined, smooth. Thus, space does not interfere with movement, but strengthens it.With the image of a running horse, the work of the space becomes more complicated, since the horse has a weight, to reduce the strength of which it is necessary to create a special space: "keeping" the horse in the air during running will help the space "beating" from below. Ahead of the running horse, it is necessary to reduce the amount of space and increase the streamlining of its forms for a free increase in the freedom of movement in space. For a horse, space must be "hitting". Ignore the work of space, it is impossible to ignore this factor, since the forms of space are associated with certain emotions that can influence the change of the plot and the meaning of the work. If in the landscape, for example, to reduce the scale of figures, structures located on the ground, then the sky will expand, and a decrease in the sky will increase the movement of the objects depicted on the ground to the viewer.
Disrespect for the forms of space leads to errors, excludes the viewer's confidence in the movement shown. For example, one of the pictures of A. Deineka shows athletes jumping over the barrier. Anatomically depicted correctly, but there is no movement. Figures athletes are static, as in a stopped movie. It happened because of a number of reasons: firstly, one foot of a sportswoman is raised above the barrier almost in a horizontal position, and the second is still on the side of the barrier. It seems that the athlete was hooked by the foot behind the barrier and this stopped the movement, and secondly, the figures of the athletes are almost vertical and the space in front of them becomes a factor preventing their movement, third, in the jump of the athletes only one moment of movement is shown, Neither the past nor the future moment of motion can be guessed. All this led to the statics of the image.
Artists know that V. Surikov in the process of work on the painting "Boyarina Morozova" had to increase the size of the canvas from below, only then the sleigh "went". And the thing is that for maximum motion picture you need space for overclocking. Surikov did not have him first, and the sleigh seemed to "hold" the stretcher. The same thing we saw in the picture of Deineka earlier, when one foot of a sportswoman is "delayed" by a barrier.
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| Surikov's "Boyarina Morozova" |
Sometimes one can observe an unwanted duality in the perception of the image: it refers to the form of space created by other forms that closes it. Such a space is sometimes associated with an animal, a figure of a person. The viewer sees in turn, then the image of the main forms, (the space at the same time goes deep), then the space comes to the fore, and the undesired association is clearly read. Reading of such associations is a sign of anti-art: such Associations are quite rare, in part because of a lack of attention to the forms of space, to the detriment of expressiveness.
The emotional palette of space forms is diverse and, together with the basic forms (that is, objects that organize space), is an important element of composition.
Thus, the reinforcement of the plastic streamlining of forms helps to express the idea of movement, rise and rise more vividly, the harsh, clumsy forms of space bring anxiety, a threat of annihilation. With the help of the forms of space you can express the most diverse feelings and moods: joy, cheerfulness, freshness, motives of the ellegium and many other things. Also the space acts on the power of the forms. You can draw a very powerful figure, but if you do not take into account the shape of space that seeps into those or other cracks, it may seem that the figure is ready to break down, to be destroyed.
Forms of space can give a lot. They can make the figure stand, can ease the heavy configuration, can increase the confidence in the image of the movement. A special role is played by space in deep depressions, turns and crevices of forms, because it can affect either the amplification of the expressiveness of the meaning, or the decay of the form. It is known that this problem is difficult to overcome. It is necessary to closely monitor the action and movement of these spaces in order to apply them correctly for the benefit of the work. Very often it is necessary to neutralize the movement of empty spaces to fix the form. Particular attention should be paid to the space factor in architecture, taking into account the emotional influence on the person of deep and flat forms of space.
There are ways to influence the negative forces of space. If possible, it is possible to protect or limit the force of their onslaught, to divert the force of this space into a reverse by another movement. Releasing from the destructive forces of space, it is also necessary to gently address the space that affects the fortress of forms and helps build the movement. Thus, the interaction of form and space is the essence of the dual inseparability.
At the same time, the construction of the form and space around them is the result of a highly artistic embodiment of meaning, although it is necessary to think about space not only in the plane, but also in three-dimensional form and in motion.
To calculate simultaneously the forms and complexities of space-the task is not easy, but without these complexities there would not be the most visual art.
>Examples of motion in contemporary artworks is available by the link
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