Alexander Korosteloff

 

Cylinders

 

All the figurative paintings can to come

to the painting of a cylinder.

�

����� I hope the reader has been reading the epigraph shall understand the talk turn to the figurative paintings only, we do not touch to the abstract art or to the non-object painting. Also we are omitting the content considering as unimportant what is depicted, it is important - HOW, that is we'll talk about the language of the artist directly, what is the essence of the painting.

����� So, the picture of an object. Why is it a cylinder? Because it is the easiest way to bring the picture of any other object (landscape, still life, portrait) to the cylinder; the cylinder gives the simplest pictorial line: light, undertone, shadow.

�� Though our conventionality does not except the possibility of any other conventionality, all the variety of the figurative paintings may be brought to that one.

��� We have brought all to the painting of the cylinder.� It is enough to know how one can to paint the cylinder in order to paint all the rest. The entrance examination on the paintings at the artistic college is a cylinder.

���� It is need no figure, it is need no portrait, and it is need no home landscapes and no training still-life paintings. (The second examination is the non-object one: a line, a spot. That is all!)

��� The cylinder is the language of the figurative artist.

 

The predecessors

 ��� Of course, we embrace not all of them. But we shall set up the method giving the possibility to analyze the painting language of any other artist. This is for the first. For the second the fact, what we are attributing some language to the certain artist, does not mean that this artist discovered this painting language or he was the only user of the language.

���� So:

-         The cylinder has been painted by tint up to the XIX-th century: either darker or lighter one, the glassing painting. Of course, there are certain niceties here: the stretched gothic images of El Greco or unusual light of� Rembrandt;

-         Cézanne: warm-coldness. Free color. Blue shadows. The cylinder is painted by color in contrast to the dirty-brown painting of his predecessors;

-         Matisse: the cylinder is flat. Therefore, the interior is flat, the figure is flat, and the portrait is flat.

-         Malevich: black shadow, the most saturated color in the light part, maximum of tint and color. (Pavlovo-Posadsky shawl: there are bright flowers on the black background in order to the suitor over the river can differ the girls.) It is the first use of open white color also.

-         Fernand Leger: color out of form, color overstepping the limits of the image of the cylinder (of a portrait, a figure, etc. again.)

-         Picasso: the cylinder is associative.� Not on the stool in the room with a drapery. But a corner�� an arch� a circle� parallel formative lines and so on. Reminder of the cylinder. The state of the artist. (The city - "Hernica", the still-life - "Musical instruments".)

-         Yves Klein: the cylinder is imprinted. The figure is imprinted. Extramaterial, Extraterrestrial.

-         Andy Warhol: the image is repeated several times. The beauty of the identity. The beauty of a military review, of a corps de ballet. The force of the bass of Shalyapin for the account of the stress on each syllable. Let us imagine the city - identical buildings, identically dressed people. The living ornament.

���� The beauty of the artist is, as a rule, a new beauty, which is not a beauty for the rest people at all. Say, the blue faces of Picasso excited a surprise in his time. Or the pockmarked faces of Van Gogh after sleek paintings of other artists! The mass mastering of the artist's language is always behind the invention of the language. For example, we can see the subway stations decorated with associativeness. But 30 years later the death of Yves Klein we can hardly find the monument murals with imprints, and it should be supposed, the tracks of fire will be covered with paint as sons as it possible, so that is more beautiful!� �For the present.

����� Let us bring all the aforesaid in a plate.