Universal Flowering

The Analytic Art, whose formation and development of the school and works by Pavel Filonov (1881-1941) are based, is an art movement of the Russian avant-garde.

In 1912 a first essay of the principles of so-called Analytical Art Essay " canon and law" ( Канон и закон ) was proclaimed by Filonov.

"We do not defend and not attack. We go our way; but if you want us to connect to K [ ubo ] fut [ urismus ] prove, then we reply: > You want to look for a connection of our theory with our predecessors, but not via the K [ ubo ] fut [ urismus ] and Pic [ asso ], but on the cold and ruthless denial all their mechanics. "

The analytical art was thus deliberately placed in a contrast to the then prevailing Futurism ( founded by Filippo Tommaso Marinetti ) and Cubism ( initiated by Pablo Picasso ) and their merger in Russia Cubo-Futurism. The analytical art had initially a pronounced orientation to nature and the natural, such as the image " Fischerschonner " (1913, 106x100 cm, oil on paper on canvas ), in the Filonov a perpetual metamorphosis reveals true to new principles, that a

"Pure form in art any thing that is painted with laid open connection to the winamp itself within it evolution, ie with the allsekündlichen transformation into something new, as well as the functions and the becoming of this process. "

Since the beginning of 1914 Filonov laid a foundation establishing an artists' association, which should follow the principles of analytical art. Among his first companions included David N. Kakabadse, Anna M. Kirillowa, Elsa A. Lasson - Spirowa and Yevgeny K. Pskowitinow. In March 1914 this union the manifesto " Intimate workshop of the painter and draftsman > Homemade Pictures < " as the first printed declaration of the analytical art .. In published in St. Petersburg the title page was a reproduction of Filonov's " The Feast of the Kings " (originally 175x215 cm, oil on canvas) printed.

"Our goal is to elaborate paintings and drawings that are made with all beauty persistent work, because we know that the most valuable thing on a painting or a drawing is the powerful work of the people in one thing, in which he and even his immortal soul revealed. "

Following a series of written work and lectures came to the declaration of > Welter flowering < ( Декларация " Мирового расцвета "), which, since the publication in the journal " žizn ' Iskusstva " ( Жизнь искусства ) Issue No. 20 of May 22, 1923 the most important documents of the analytical art counts.

"I 'm the artist of the Welter flowering, therefore a proletarian. I call my principle as a naturalistic account of its purely scientific method to think about an object, predict it adequately and exhaustively to guess all of its predicates to the unconscious and conscious detection and intuitive to show the object in a perceptually appropriate design solution. It activates all the predicates of the object and its sphere: the being, the pulsation and its sphere, biodynamics and intellect, emanations, implications, assemblages, processes in color and form - in short, life in general; and it takes the sphere not as a mere space but as biodynamic sphere in which the object is in a constant emanation and mutual penetrations. Being the object and the sphere are understood in the eternal becoming, in the conversion of color, form and processes ( absolute analytical vision ). Here is the formula of this method: absolute analysis, foreseeing the object and its sphere in the sense of Biomonismus and Perception solution. Therefore, the concept of continuity of a front: the two predicates of realism ( raw form and raw color), compressed and precise worked out shape and color, presence of shifts, pure active form, etc. "

There is more to the development of methods by which administers the Nature, as to the forms that are produced there. It's about the latently violent processes in the world to come, its swirling microcosm of life, what holds it together at heart on the track as it were in a scientific manner.

" As I know, analyze, see intuitively feel that any object inherent not only two predicates, shape and color, special a whole world of visible and invisible phenomena, whose emanations, reactions, implications, Genesis, Being, known or gemeime predicates come, I as the dogma of modern realism of the two predicates >> << and all his right and left sects as unscientific and dead back - entirely. In its place I put the scientific, analytical, intuitive naturalism, the initiative of the One who examines all the predicates of the object, the phenomena of the world, the visible and the naked eye visible phenomena and processes in man himself, the stamina of the research- artist and the principle of the biologically -made image << >>. "

Pavel Filonov suggested to paint large paintings with a small brush, such as, for example, "Formula of Spring" ( 250x285 cm, oil on canvas). He taught his students:

"Male persistently and accurately every atom. Make persistently and accurately by working to colors in each atom, so that they can dig into it because, like heat in a body. "

The wording may sound exaggerated, but Filonov has thus made serious - and in this way achieved incredible effects of depth, delicacy, complexity, Chaotik and infinity. The oscillates and pulsates, loses and finds himself, the fragmented and growing together. Non-objective and representational constantly go into each other, are two sides of a single world. The Representational is the sequel, the composition of the non-representational organic structures. And it also leads back to the abstractness of the macrocosm.

In the summer of 1925, Filonov was able to work in one of the rooms of the Russian Academy of Arts, together with his new students. They formed an artistic group, the "Collective of Masters of Analytical Art " ( Мастера аналитического искусства, MAI), which was officially recognized with some 40 members until around 1927 as a society of artists. This workshop was also called the analytic art ( Мастерская аналитического искусства ).

These artists look at things more with a knowing and not only seeing eye to these at the same time represent in " series of transformation processes ". Such analytical art aspires to the plants stick Organic and Mystical - Cosmic and its founder to a Russian counterpart of Paul Klee.

In his autobiography, from April 1929 Filonov was his influence, even if only partially or conditionally, to determine the trends in painting and graphic art of Suprematism to German Expressionism. 1930, was Filonov 's theoretical work " The ideology of the analytical art" published.

" Here is a concise list of my resources as masters and their definitions: Compressed and sharply expressed form and color. Containing shift shape, biodynamics of the shift. Pure active form, the subject and its predicates, their selection or the absolute complex absolutely adequate ( same definition for color and sound ). The formula: a complex or a selection of pure, active forms, abstract and kunstruktive selection in all these things. Organic aesthetics, aesthetic dissonance. The same applies to construction law and a painting, starting with the biological to the Constructivists as such. Transferring the pulse beat in rhythm and its maximum voltage, inclusion of sound as a transfer via rhythm. I imagine neither rules nor do I set up a school ( I reject this approach from ), but I offer as a basis a simple, purely scientific method, each of which is, whether he can right or left use. The solutions > handmade paintings, '' rejection of modern art criticism ',' transfer the center of gravity of contemporary art in Russia ',' pure active form <, > Welter bloom < issued by me for the first time in the year 1914/1915 in Petrograd. "

The group of artists MAI, like some others, was simply dissolved in 1932 by the Soviet cultural policy. Some of a total of about 70 students have his workshop also continued to be used (up to the starvation of the founder in besieged Leningrad), while his successor to continue to implement the principles articulated so intense.

Selection of artists

• Yuri Borisovich Chrzanowski (1905-1987, ) a painter and graphic artist, worked in theater
• Tatiana Glebova (1900-1985), painter, graphic artist, set designer
• Boris Gurvich (1905-1985), painter, graphic artist, set designer. Design of the Soviet pavilion at the World Exhibition Paris 1937
• Nikolai Jewgrafow (1904-1942), painter and graphic artist
• Pavel Kondratiev (1902-1985), painter and graphic artist, working in different publishers
• Julie Mehretu (born 1970 ), painter of the analytical imagery
• Alevtina Mordwinowa (1900-1980), graphic artist and book illustrator
• Sofia Saklikowskaja (1899-1975), painter and graphic artist
• Pawel Salzmann (1912-1985), painter, graphic artist and writer
• Vsewolod Sulimo - Samuillo (1903-1965), painter, graphic artist, set designer
• Alisa Poret (1902-1984), painter, graphic artist and book illustrator
• Mikhail Zybassow (1904-1967), painter and book illustrator (among Kalevala )