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Specifics of Modernistic Artistic Worldview

Giorgi Khoshtaria
The basis of our article is the paradox, which, in my opinion, characterizes worldview of Modernistic fine Art. With its specifics Modern time is distinguished from ancient times.
Art of Ancient East and Middle ages expresses itself with the conditional artistic language. That was caused by the nature of presented object – it could be an important person as Pharaoh, God, King or – transcendental and spiritual world in the Middle Ages. Monumental-decorative approach, generalization, feeling of eternal world caused deformation, presentation of the pictorial flatness, use of conditional forms.
On the other hand, in antique art (mainly in Greece) and in Western European art of the 13th -14th centuries a trend of increased realism can be seen. That is quite natural considering, that main object of representation for that times, is an individual and the environment he lives in. This logical evolution ceases to exist in Modern Art where conditionality increases. No matter, whether we start Modernism from the end of the 18th century or from the 60s of the 19th century. The trends are clear:
1.    That socio-cultural circle which gave birth to Western European cities does not disappear, moreover, it becomes stronger;
2.    Variety of genres, which had its roots in the 17th century, is preserved (portrait, still-life, landscape, everyday scene, etc). This variety is not only preserved but also it is one of the key features for Modernistic Art.
In realistic epoch the main structural factors were reflection of proportions and showing the realistic relations. In Modernistic paintings these proportions disappear, but they are still very convincing. Here we have two main factors: One is most underlined – Subjectivism or Expression of painter’s individual position; the second factor is rarely indicated – conditionality which is caused by the increased meaning of artistic language. A two-dimensional surface, clean colour, line, brush – all creates specific language factor, which can form new, sharp harmony when presenting figurative art.
Here one of the most important thing is the intuition of a painter, who catches artistic moments in lines, colours, surfaces, with the help of language.
Finally, if in classical realistic epochs we can see objective realism, in Modernism we face subjective realism which responds to the demands of the universality and inevitability.

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