Artistic interpretation and stylizationin design of the XXI century
Vekovtseva Ekaterina Vladislavovna 10-G form AESC MSU
Scientific director: Olga Stepanovna Polumieva, Senior LecturerAESCMSU
E-mail: ekavek06@mail.ru
Annotation. The article is devoted to the study of the concepts of interpretation and stylization in art. The article examines stylization techniques in modern design, presents a research project on the principles of stylization of Churlenis' works in modern design activities.
Keywords: interpretation, stylization, art, design, artistic image in design.
Relevance. The problem of stylization is very acute in contemporary art and design of the XXI centure. Many modern designers, focusing on the experience of past years and the work of famous artists, create their new works of authorship. However, this raises the question of artistic borrowing and methods of transforming artistic techniques. The main issue here is the question of how to stylize artistic samples of the past. How to work with works of art without copying them? To what extent can the authorship of contemporary artists be considered original? This article is devoted to this complex and relevant topic.
The novelty of the work lies in the analysis and application of the theoretical principles of stylization in practice and the creation of an author's project based on the stylization of the artwork of Churlionis.
The concept of word “interpretation” in a broad sense defines as the disclosure of the meaning of a work of art.In art, interpretation is the creative development of artistic works associated with its selective understanding: in adaptations and transcriptions, in artistic perception, director's script, acting role, musical performance[1].Interpretation in art is an essential element of the process of creation and perception of works of art.Interpretation is also a part of the process of perception of art by the audience and consists ofvariouscomprehensions of the themes of art, depending on the individuality of the viewers, their social belonging and the level of their development and cultural education.With the advent of mechanical recording and replication of concreterendition, and the latter lose their uniqueness, becoming stable. Nevertheless, the interpretation of an original work does not use up its potential opportunities because not only a particular performer but even different generations cannot help but interpret this or that masterpeace again, relying on the experience of their time[2]. Interpretation, as a creative reception, is used in stylization.
Stylization is a deliberate imitation of general compositional features and the figurative system of a work in a new, unusual artistic context for it; it is the process of giving features of other different stylesto an original peace of art.In the visual arts, with the help of stylization of form, objects acquire nominal simplified forms.In the visual arts, stylization is a decorative generalization of the depicted figures and objects using conventionalreception, simplification of drawing and shape, volumetric and color ratios[3]. In decorative art, stylization is a natural method of rhythmic organization of the integral; the most distinctiveone is stylization for ornament, in which, thanks to it, the object of the image becomes the motive of the pattern.Stylization introduces features of increased decorativeness into easel art.
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Stylization makes the object of art clear to understandfor wide audience, so, nowadays, it is widely used incontemporary design.
Stylization is achieved by simplifying and generalizing the external form according to its boundaries, changing the outline, converting the volume into a plane-decorative form with an extremely expressive and clear silhouette.
Stylization is divided into two types: external surface stylization and decorative one.The first type is built on imitation of ready-made samples, imitation of the manner of an author, genre, trend, style.For instance, the creation of modern motives with Gzhel painting, but already in a contemporary perception (Picture 1).
Picture 1. Motives of painting “Gzhel” in the works of modern designers
The second type implies the compulsory connection of the elements of the created work with the spatial environment.In this version, the combination of internal and external merges into a single compositional solution. For example, the Art Nouveau style is reflected in all elements of the Ryabushinsky’s mansion in Moscow (Picture 2)[4].
Picture 2. Art Nouveau style in the interior and exterior decoration of the building
Design is a creative art-project activity aimed for creating projects and objects of the world around us using the laws of art, color and composition.Design and art have common features, basis, definitions and concepts, which are closely intertwined. The concept of style is one of the key concepts common to art and design. Style is a general aggregate of features that characterize the art of a certain time, direction or individual manner of the artist.Style is “a historically established stable community of the imaginative system, resources and methods of artistic expression, due to the unity of the ideological content”[5].The historical art style or style of the eraas the basis of the homogeneity of the subject environment reflected the stylistic unity of architecture, interior design, decor, fine and applied art, and costume. At the heart of any style, contemporary or historic, lies an artistic image, transformed and rethought. In the broadest, philosophical sense, an image is a subjective copy of objective reality.An artistic image is a phenomenon of art, i.e. an image specially created by the artist during his/her creative activity.In general, the artistic image is understood as an organic integrity that expresses a certain reality in a mode of greater or lesser isomorphism (similar to form) and is realized in its entirety only in the process of perception of a specific work of art by a specific recipient[6]. The artistic image in design has other different characteristics. Style in design has relevance, integrity, entirely permeating creative activity.Stylization in design is a new type of creative process that reimagines historical art styles. One of the methods of modern work with stylization is the simplification of forms, the absence of perspective, the identification of the rhythmic organization of the current color.The image is made to a large extent by a reiteration of color an infinite number of times.To create plane stylized images, it is usually better to use such a graphic tool as a spot.The spots should be local inside, bright and simple, the color should lie flat on the plane.
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Stylization is based on the general compositional plan of the picture. Initially, the size and shape of the composite spot and the central elements of the composition are determined and general structure of the element’s arrangement is developed.Further, a detailed development of the elements of the composition is underway.A stylized composition, deliberately made according to some sample and repeating the color range to the smallest detail, should be associated with the coloristic culture. Maintaining the general structure of the composition, freedom in the solution of particular central and additional elementsis allowed.Modern designers actively use stylization, creating their own unique works of art based on the interpretation of works which belong to famous artists. For instance, the stylization of Matisse’s works allowed contemporary authors to create not only new patterns, but also objects of decorative and applied art such as vases, dishes, panels, etc. (Picture 3).
Picture 3. Stylization of Matisse's works in the works of contemporary artists
Modern children also greatly interpret the works of famous artists, creating their drawings based on the motives of the Matisse’s works (Picture 4). This author's interpretation of the work is based on the generalization of spots, the identification of the main colors and shapes, the analysis of compositional relationships in a particular work of the artist.
Figure 4. The work of Henri Matisse (1912) and the work of modern children, based on the interpretation of the Matisse’s work
Čiurlionis is an artist and musician, one of the most distinctive artists of the first half of the twentieth century. He was the founder of Lithuanian symphonic music and a great artist who combined the world of dreams and reality.Mikalojus Konstantinas Čiurlionis was born on September 22, 1875, in the small Lithuanian town of Varena. Studying in Warsaw, the young musician realized that a good education does not make a person decent and fair yet. At this time Čiurlionis saw injustice, stupidity and selfishness.And he reflected all these emotions in his musical and painting works (Picture 5).
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Picture 5. Paintings by Čiurlionis
The work of Čiurlionis “Creation IX” was chosen as the basis for stylization.Čiurlionis wasup to create the “Creation of the World” paintings as a large series. He was going to devote his whole life to it and paint at least a hundred paintings, but he managed only thirteen. The composition of Čiurlionis's painting from the “Creation of the World”series is based on the laws of musical harmony.Stems of fantastic plants stretch up, almost without intertwining and flashing from time to time with bright red-orange flowers.Their tropical rampage conveys the intensity depth and pulsating energy of the processes,which take place.After the analysisof the work, it is possible to identify such compositional and plastic features as clear dynamism, contrasting centers, complex color scale, soft halftones (Picture 6).
Picture 6. Painting "Creation of the World IX"
Based on theseconclusions, I created the author's vision of this work and made a sketch of a costume for clothes (Picture 7).
Picture 7. Costumes sketch
The image of the costumes is based on the contrast of the light image of the background (light blue with a silvery shine) and bright natural and fresh colors.
The skirt of the dresses is made of light chiffon and organza with a silvery sheen.The top of the dress is a lush bodice made of bright satin.The fitted silhouette emphasizes the dynamism and up aspiration of fantastic plants.Loose dark stems create a subtle contrast, emphasizing the vertical structure of the entire suit.The decoration of the headdress helps to complete the image of a living flower.
In addition to the author's clothing models, batik (Picture 8) and tapestry (Picture 9) were developed.
Picture 8. Variants of batik pillows
Picture 9. A variant of the author's tapestry
The image of stylized flowers decorated with help of bright spots creates positive emotions.Ciurlionis's works always carry not realistic images but emotions. That is why abstract images of flowers with intertwining stems create dynamics and never make anyone bored.
Thus, we can conclude that modern stylization and rethinking of the works of famous artists provide many ideas for contemporary perception and design projects.
Bibliography
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[1]Изобразительное искусство Алтайского края. История, современность, педагогический аспект Н. Е. Киселева - Режим доступа: https://culture.wikireading.ru/88932 (дата обращения 23.10.21)
[2]Интерпретация в искусстве – Режим доступа: https://aesthetics.academic.ru/ /166/ (дата обращения 23.10.21
[3]Gert Van Tonder Perceptual Aspects of Visual Stylization - Art & Perception, №4, 2016.-Режим доступа: https://brill.com/view/journals/artp/artp-overview.xml (датаобращения 7.11.2021)
[4]Туляганова Ш.Э. Стилизация в изобразительном искусстве – Проблемы педагогики, №5/56, 2021, С.65-66.
[5]Краткий словарь терминов изобразительного искусства. М.: Советский художник, 1965, С.158
[6]Шулепова Э. А. Историческая культурология / Новый институт культурологии; отв. ред.. – М.: Академический проект: Альма Матер, 2015.– 795с., С.727.