Muzyka w malarstwie awangardy rosyjskiej

Abstract

Music in Russian Avant-Garde Painting

Russian avant-garde artists were particularly interested in the syncretism of music, painting and poetry, which inspired theoretical concepts, innovative ideas and artistic productions. In the works of artistic innovators the intermedia connections between arts developed on many levels and took various forms. The relations between painting, music and poetry were manifested i.a. in such aspects as: similarities in the way of thinking and in the artistic attitude between different artists, similarities in approaching space, time and movement, qualitative and formal analogies between works of art (the sonic nature and temporal dimension of music and poetry and the means of expression). In painting the intermediality manifested itself in musical iconography (visual representation of string and keyboard instruments) and imaginatively triggered auditory references (visual sensations complemented by aural sensations). Visual artists and composers tried to find similar elements of space and time organization in painting and music: rhythm, line, colour, texture, its thickness, surface features etc. In Russian avant-garde art the abstract nature of music became an inspiration for objectless painting and futuristic poetry. Many artists saw music as a model of an art that directly expresses the inner voice of the author. The selected exemplificative material (works by N. Udaltsova, L. Popova, V. Pestel and K. Malevich) has been used to analyse such aspects as the relations between the elements of the represented world, the connection between the title of the painting and a given visual representation and other determinants of intermediality. The analysis has been done with regard to different levels of an iconic text. In the visual discourse of avant-garde artists music functions in the context of French Cubism and Russian Cubo-Futurism.