Russian Symbolism and Mikhail Vrubel - Research Paper Example

Russian Symbolism and Mikhail Vrubel Russian Symbolist movement was a major factor in the cultural upheaval, an era that was referred to as the Silver Age. Much of the effort was expressed towards improving the literary technique and a new way of thinking in Russia. The period between 1899 and 1903, the symbolist movement was more unified as compared to how it was before, where most authors had no option but rather to rely on their own resources in order to bring out books and had a somewhat limited access to the journals, however, by 1903, there were established publishing houses were their pieces of work were predominantly accepted. A major progress was also witnessed in the field of the World of Art, the artists sought liberty from the influence of the accepted realistic painters, avoided social and political remarks in their art works, and often paid attention on the “how” of art to some extent than the “what,”1. Mikhail Vrubel becomes more influential in his push for the freedom of painters to use symbolism in their expression of their feelings. In 1856, Mikhail Vrubel a son to military lawyer was born in Omsk Siberia. As a child he loved art and his father was also supportive. His father helped him to realize his dream when he supported him to enter the Academy of Art in St. Petersburg after realizing that he could not be a lawyer like him. Like many other artists, he excelled not only in painting but also in applied arts such as ceramics, stained glass and majolics. From his earliest pieces of art, he demonstrated an exceptional natural ability in modeling and figure drawing, however, he also engaged and valued the traditional academic pragmatism of the school, he quickly developed a taste for in cooperating improvisation and symbolism, which would lead him to develop his personal style of painting with its exclusive brushwork, imitating the visual effect of mosaic art2. Mikhail Vrubel is perhaps the most innovative and resourceful figure in Russian Art of the late 19th century, he was considered one of the best contemporary artists in Europe and the finest advocate of symbolism in Russia3. He becomes influential sculptor, and draftsman who was a pioneer of modernism with an original vision. In his works, he was a pioneer of modernism in the styles, innovative and the techniques he put together to ensure that he was able to convey his feelings, complex inner life as well as an expression of spiritual world through his work art. Vrubel actually did not commence his artistic work until 1880s, after a successful effort in his pieces of art works, he become recognized in the early 1990s. He turned out to be symbolist and an expressionist at a time when the majority artists were still attributed to the pragmatic custom of the Wanderers. Being more practical and rejected these traditions and become more individualistic in his pieces of work, however he was misunderstood by his contemporaries though he was still considered the forefather of symbolism. Mikhail Vrubel usually chose to do his works from the real life situations this was later followed by most contemporary artists. Most of his scenes and characters were drawn from literature and tradition. These works, with their bright folkloric decoration, combined the aesthetic fundamentals of symbolist painting with the style of Art Nouveau which was by this time taking the centre stage in Russian art. More often, this would allow him to freely bring to mind the subtler states of human suffering. He decided to give his figures large eyes for them to be spiritually connected, he also used the Byzantine palette of blue, rose, purple and pale green which later on become the Symbolist painters of the Blue Rose4. He sought literature for inspiration where he was able to portray situations more so the dark sides of the figures he drew. He was greatly influenced by Lermontov’s poem a story that is rooted in tragedy. Mikhail exhibits originality in his work that appears “wild ugliness” in the face value of the conservative critics who are deeply oriented in the traditional ways of presenting their work. The demon falls in love with a human named Tamara and later on loses her. Though the demon looks powerful and stronger probably than anyone around him, maybe through the tough time he has gone through after losing the love of his life, he has lost life in civilization. Though the art is a stronger way through which human beings can use to express their expectations and feelings, the traditions and the old way of thinking which have been overtaken by events are taking the centre stage and as a result trying to kill the love and passion that they have for their work5. The figure is drawn of a demon seated on top of a mountain in a miserable state, according to Mikhail, he describes the Demon as “a spirit uniting in itself masculine and feminine qualities…a spirit, not so much evil as suffering and sorrowing, but in all that powerful spirit…a majestic spirit”. The face seems focused, this portrays that it is only the physical body that is exhausted but the spirit of getting what is rightfully owned will never die, but will strive up a point of death to have it. He depicts a face of refusal to accept the common way of thinking and the expression of feelings that makes the demon look lonely; this drawing reflects Vrubel as he explores his own personal feelings of loneliness. The seated Demon Most often people are forced to go for what they don’t need in life because of the traditions, but with the changing ways of life and the advancement in technology, people should follow their hearts because the morning has come and we are no longer in darkness. This can be related to the other painting the “Morning” that was all about a fairytale. This symbolism could be related to the love of artists who fell in the love with using their pieces of work arts in various ways as opposed to the old traditions. A man has again fallen in love with a beautiful woman, but it is a coincidence that he cannot marry her because he is poor and needs money. He sets off on a journey to find riches, on his way he falls into a body of water and meets a water princess who also falls in love with him, but he turns her down because he is in love with another woman. This is a story of love and forfeit. In Mikhail Vrubel painting on the same, there is use of palette of the Russian Symbolist Painters-grays, blues, violets and the greens, as well as the motive rhythmic movement throughout the whole painting6. “Morning” In 1901, Mikhail Vrubel had another painting “The Swan Czarenvna”, a painting in which he was able to bring out the themes of a free, disobedient, artistic spirit that was personified in the representation of a Demon7. The drawing is in a horizontal state that is able to bring out the feeling of brutal collapse and defeat; the mighty has been thrown down and is hopeless as clearly depicted by the wave-like wings that appear to be in a rhythm8. The body appears rough probably to mean he has undergone torture, but in spite of all that, the face seems bright with the presence of light, this could be a symbol of seeing the better future even though the present time was dark filled with tribulations. It tries to encourage every individual that is faced with troubles to keep on fighting for the better future is right ahead when all the temptations are overcome. The environment looks calm; this portrays the peace which the struggle will bring upon after the battle is successfully won. “The Swan Czarenvna”, The painting of the Demon Downcast on the other hand depicts a person who is physically, spiritually and mentally tortured and exhausted completely. He has been defeated in life and thrown among the serrated mountains, the body seems twisted and broken which could be as a result of a physical fight. The peacock-feathered wings looks dismantled, and at the same time the arms are folded over the head showing the grief of how terrible, horror as well as sadness the demon has experienced9. It also clearly shows that long before the Demon must have lived a better life that was full of enthusiasm and happiness, or would equally live better if the rights and freedoms are guaranteed without limits to the old traditions. Demon Downcast The likelihood of this situation might have been brought about with a lack of understanding, self-discipline and unbecoming behavior that has changed the normal pattern of living. It can be used to demonstrate the time when people wanted to express their inner most feelings through art works, but they were never given chance, instead the dogmatic practices dominated the scenes; a struggle that left artists physically and mentally tortured10. But at the same time the calmness that is witnessed around portrays what the artists focus, there is a belief that still more will be achieved in future when the freedom will be attained and artists given chance to be able to express their own feelings in the best way possible. It brings out the social injustices faced by individuals who have come out to speak to the voiceless within the society; they end up mistreated up to even a point of losing their lives in the struggle for liberation. The artist has successfully used symbolism in his various works that can be interpreted differently to bring different meanings. He is the one who saw the right way and made it possible for other modern artists in Russia to follow. He was also able to influence the Russian Symbolists because he acted as a midway figure between traditional and modern art and even inspired the young upcoming artists. Bibliography Bartlett, Roger P. 2005. A history of Russia. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan. Bowlt, John E. 1976. Russian art, 1875-1975: a collection of essays. New York: MSS Information Corp. Bowlt, John E. 2008. Moscow & St. Petersburg 1900-1920: art, life & culture of the Russian silver age. New York: Vendome Press. Brodskai︠a︡, N. V. 2012. Symbolism. [New York]: Parkstone International. http://site.ebrary.com/id/10532499. Grigorian, Natasha. 2009. European symbolism: in search of myth (1860-1910). Oxford [England]: Peter Lang. Peterson, Ronald E. 1993. A history of Russian symbolism. Amsterdam: Benjamin. Presto, Jenifer. 2008. Beyond the flesh Alexander Blok, Zinaida Gippius, and the Symbolist sublimation of sex. Madison, Wis: University of Wisconsin Press. http://site.ebrary.com/id/10370387. Shapiro, Gavriel. 2009. The sublime artists studio: Nabokov and painting. Evanston, Ill: Northwestern University Press. Symons, Arthur, and Matthew Creasy. 2014. The Symbolist Movement in Literature. http://www.freading.com/ebooks/details/r:download/ODI0NzQwNDk=. Read More