5 4 Aesthetics of artists of the High Renaissance

The High Renaissance in the culture of Italy is characterized by the special flourishing of the creative work of brilliant artists - Leonardo da Vinci, Raphael, Michelangelo, Titian. In the German Renaissance culture, such a universal figure was Albrecht Durer. sensually perfect way of its ideal being in art Aesthetic theory of artists - a consequence of understanding the laws of the creative process Sensual-yes This image of perfection, which developed the aesthetics of humanism and neo-Platonism, is most adequately embodied by art in the pictorial image of beauty. This very picturesque is a characteristic feature of Renaissance art. realize their creative abilities in different types of creativity, establishing the universalism of the individual, which is characteristic precisely for the Renaissance I We already had the opportunity to make sure that practically all famous figures of the Renaissance were universal personalities: Give, Petrarch, Alberti, Mirandola and others. Especially distinguished by the development of personalismism of the personality of the High Renaissance Day. , an architect, an anatomist, a mathematician, a physicist, a naturalist, an engineer, a winemaker, an experimental scientist, and a poorer under.

The handwritten legacy of Leonardo da Vinci says the universal talent of the genius master. It contains a large section \ "Science \", as well as sections \ "Art \" and \ "Artistic prose \" [13] Of particular interest to the theory of aesthetics are works on the theory painting: \ "Dispute painter with a poet, musician and sculptor \", \ "On painting and perspective \", \ "About light and shade, color and paint \", \ "About composition \", \ "On sculpture and architecture \ "and others. The artist puts forward the problem of belonging to painting in the free arts, proving the validity of such visions, since its subject is not only nature, but also \ "an infinite number of things that nature never created \" [13, p. 242] Reasons, painting did not find its place among the liberal arts, Leonardo da Vinci explains that The scientific primer of his aesthetic principles was created. He sees the special place of painting among the liberal arts in the ability to "communicate its final results to all generations of the universe, since its final result is the ability to see and therefore does not need forging different languages, and directly satisfies the human race \ "[13, p. 243] Comparing different arts with their own subject and means of zobrazheniya, the scientist does not oppose them to each other, but notes the importance of each for perception and feelings of imagery, perception is not one to one, and the importance of the skin for the purpose of the experience.

In his treatises, an idea sounds (it is repeatedly traced in the writings of humanistic philosophers and neo-platonists) about the creative nature of the human person in their abilities equal to God. "Science is accessible to imitation, such that with their help the student becomes equal to the creator and also creates his fruit." Regarding painting, then, in the opinion of the genius, he does not lend himself to copying, and consequently, he cannot be learned. "He alone remains noble, he alone gives glory to his creator his creator."

Leonardo da Vinci belongs to the theoretical substantiation of the specificity of the artistic-figurative language of painting, the subject of the pictorial image (sensible given of the phenomena of the world) and the means rendering the vitality of the pits. Painting he calls science Comparing philosophy and painting, the artist emphasizes: painting embraces the truth of those bodies with philosophy strives to comprehend by penetrating into these bodies, there is an artwork that comprehends both painting and philosophy, but each has its own means for this. Painter able to comprehend the truth and reflect the essence of things, providing them with the inner vitality, in which the soul gleams the image of that at the same time they create proportional harmony in a single glance, which is formed by objects \ "[13, p. 249]. He considers the miraculous properties of the eye to comprehend the beauty of the universe, thanks to which the eye This \ "window of the soul— tse" vikno dushі. "

The value of painting lies in the fact that, unlike things of the objective world that are destroyed by time, art perpetuates their beauty, and therefore gives the eye pleasure from its perception by Leonardo da Vinci reveals the difference between painting and poetry in depicting beauty in favor of the first, because the latter, calling the beauty of individual objects, \ "cannot make them harmoniously proportional \" In the objective anal of the possibilities of each of the arts, the artist concludes that each has its own possibilities displayed oi beauty and truth about things And if the poet describes heaven or hell, the painter will put in front of a person speech that will silently talk about pleasure or horror [18, p. 257] Rozuyuzuvannya differences between poetry, music, on the one hand, and painting - on the other hand, it is intended to testify that painting has the following rights to be called free art, like vontvom, as yono.

Much attention in the treatises is paid to the issues of professionalism in art, in particular, there are requirements for the painter to conform to his purpose, and therefore not only to be able to draw, relying on Judging the eyes, but also to have knowledge about the objects that are depicted. art, and how science. Explaining why painting is a science, Leonardo da Vinci determines the means of creating a pictorial image, without which the existence of this art as a whole is impossible. He calls it is their \ "ten categories of eyes \" This is the science of perspective, proportion, light and shadow, color and paint, images of figures and faces, composition, etc. The author’s analysis of the language of painting is valuable not only as practical instructions for the painter, not only as a result of his own searches and creative achievements of the artist in the art of living description. The theoretical value of the treatise is that it substantiates the aesthetic features of the art of painting and its equality from other free mystical masters.

An outstanding theoretician of aesthetics was the German artist Albrecht Dürer (1471-1528). His work was influenced by the art of the Italian Renaissance. However, he created his own style and his own problem, revealed the peculiarity of German humanism and the reform movement in Germany. His significant works on painting theory are a treatise \ "A Guide to Measuring \" and \ "Four Books on the Proportion of It \", fragments of unfinished work \ "A Book on Painting \" Treatises by A. Dürer are more applied in comparison with the treatises by Léonard about da Vinci, full of philosophical depth Dürer gives artists Pract ichni installation on modeling the human figure and proportional relationship of its parts, color and chiaroscuro techniques and the creation of surround picturesque izobrazhenennya ob'єmnostі The images of the picturesque.

The humanistic view of man and his creative abilities And Durer justifies in the aspect related to Italian humanism He sees a person capable of knowing the truth and reproducing it in a sensual image of the AUDIO way, believing that the necessary conditions for this are comprehend the true essence of all things \ "[15, p 322] He considers the need to know to be inherent in human nature. One condition for finding truth is, in his opinion, is learning and exercises to improve knowledge and knowledge th pays great attention to the artist of both the source of knowledge about the world, calling the vision (probably not without the influence of the ideas of L eonardo da Vinci) \ "sense of man \", ie, considers it as a synthesis of human sensual and intellectual abilities as close to Leonardo da Vinci's idea of ​​the originality of the pictorial image, gives a holistic image of the subject, as opposed to the auditory impressions of him. The synthesis of what was heard and what he saw creates a full knowledge of the phenomenon and the depth of the impression about him. , Dürer stresses, every figure penetrates into our soul. Let us pay attention: it’s about the ability of painting as a visual art to organize a person’s spiritual mood, forms imitating his indifferent attitude to the subject from the reception. However, this goal is not served by any image, but only that which corresponds to the concept of beauty. "Beautiful proportions are created by correct proportions, and this is not only in painting, but in all things that you can created \ "[15, from 322 termination may be fixed” [15, p. 322].

In the treatise \ "Guide to measuring \" And Dürer, as well as Leonardo da Vinci, believes that learning the art of painting only on the basis of everyday practice, without studying the theory, is not capable of forming a regular painter, since he is not able to act moderately i.e. follow the logic of the subject of the image, and instead listens only to his own whim [15, p. 326] The logic of the image is due to the logic of the object of the image. It is about the soul, or the essence of the subject of the image, gleams in the pictured, which Leonardo Da Vinci also paid attention to. , that is, the laws of the language of pictorial art and the practical and theoretical attitudes regarding the science of a truly artistic depiction constitute the content of the treatise the portraits \ "Actual in the context and the present sounds such a thought. And Dürer: \" Having the right foundation, you can’t do anything truthful and good, even if you had the best free work skills in the world. This is a trap, and you will be ruined \ " [15, pp. 343, yak to ruin you "[15, p. 343].

Let us pay attention to the transposition of the thoughts of Leonardo da Vinci and A. Dürer. We have already noted. Artists discovered the laws of artistic formation of the image in painting, defined them as a condition of aesthetic and artistic expressiveness of t and depth of the artistic work and as a condition for the existence of art of painting in general. Renaissance aesthetics theory of artists A significant contribution of Renaissance aesthetics to art theory and aesthetics was the overcoming of medieval canonical art and the creation of artistic freedoms