Crtež kao sredstvo vizuelnog istraživanja u zapadnoevropskoj umetnosti od 1871. do 1900.

Abstract

Središnja tema rada je crtež kao sredstvo vizuelnog istraživanja u umetnosti Zapadne Evrope u poslednje tri decenije devetnaestog veka. Rad je podeljen na sedam nezavisnih ogleda kojima se nastoji da dokaže polazna pretpostavka da je crtež postao referentna tačka moderne umetnosti i vizuelne kulture u datom periodu i da je tu poziciju zadržao do danas. Preduslov za promenu značenja bila je nezavisna pozicija crteža u odnosu na impresionizam kao središnji umetnički pravac vremena. Više nego slikarstvo ili skulptura, crtež je bio uslovljen zahtevima, pa i duhom vremena, zbog čega je postao osnov vizuelne matrice modernog doba. Crtež se posmatra intradisciplinarno, odnosno kao unutrašnje polje rada u kome je intenziviran problemski pristup formativnim elementima medija, liniji i tački koji je rezultovao nastankom novih struktura i značenja. Na osnovu toga, dolazi do redefinisanja njegove interdisciplinarne pozicije, kako prema slikarstvu i skulpturi, tako i u odnosu na nove vizuelne umetnosti, pre svega film, o čemu govori ogled o Degaovim crtežima i u kome je naglašen kauzalitet između likovnog prizora koji je generički povezan sa fragmentarnim doživljajem modernog grada – metropole i kadra koji će postati jedan od obrazaca u vizuelnoj komunikaciji dvadesetog veka. Interdisciplinarnost podrazumeva i relaciju prema novim naučnim disciplinama, pre svega antropologiji. Sa ovog stanovišta se pristupa Gogenovim linearnim strukturama koje pokazuju kako je shvatanje ljudskog bića određeno linearizmom kao znakovnim sistemom. Crtež je bio multifunkcionalan u društvu koje je postajalo moderno. Upravo, društveni fenomeni modernog doba, potrošnja i novi oblici masovne komunikacije i popularne kulture koristili su činjenicu da se linearni iskaz brzo i jednostavno uočava i pamti. Plakatom smeštenim u javni prostor, crtež je od ličnog zapisa, ili muzejskogalerijskog primerka, postao dostupan svima. Na taj način je potisnut polaritet između visoke i masovne kulture, što se očituje u radovima Tuluz-Lotreka. Istovremeno, crtež je postao reprezent tamnijih strana moderniteta, sredstvo kojim se artikulišu reakcije iz unutrašnjih džepova društva, alternativnih grupa, kroz čije delovanje se aktivira potencijal crteža kao neposrednog i slobodnog iskaza koji preuzima ulogu u posredovanju i širenju ideja. To je moćno sredstvo kritike društva, bilo da se ispoljava kao Van Gogovo pojedinačno delovanje ili kao organizovana, grupna politička akcija Pisaroa i anarhista sa Monmartra. Poliperspektivan pristup temi uslovljen je potrebom da se ona sveobuhvatno sagleda, te da se objasne modaliteti funkcionisanja crteža kao predmeta istraživanja i izvrši rekonstrukcija njegovog značenja. Zbog toga je u radu najviše korišćen strukturalistički metod. Pored toga, određene teme su zahtevale i uključivanje socioloških teorija. Oba ova pristupa ili metoda saobražavaju se prema komunikativnom potencijalu crteža, odnosno njegovoj sposobnosti da prenese misao ili poruku i tako uspostavi kontakt među ljudima. Crtež ima značenje, intonaciju i sugestivnost ličnog i neposrednog obraćanja u čemu leži njegov stalni potencijal.

The central topic of the paper is the drawing as the means of visual exploration in Western European art in the last three decades of the 19th century. The paper is divided into seven independent essays, the purpose of which is to prove the starting assumption that the drawing became the point of reference of modern art and visual culture in the mentioned period, and that it has kept that position to this day. The precondition for the change in meaning was the independent position of the drawing in relation to impressionism as the central art movement of that period. More than painting or sculpture, the drawing was conditioned by the demands, and even by the spirit of the period, because of which it became the basis of the visual matrix of the modern age. The drawing is observed in the intra-disciplinary context, i.e. as an internal field of work in which the problem approach to the formative elements of the mediums, lines and points, was intensified and which resulted in the creation of new structures and meanings. On this basis, its inter-disciplinary position, both towards painting and sculpture and towards new visual arts, primarily film, was redefined, which is proven by the experiment on Degas' drawings, which emphasised the causality between the visual image which is generically connected with the fragmentary experience of a modern city - metropolis, and the film frame, which would become one of the forms of visual communication of the 20th century. Interdisciplinary also means the relation towards new scholarly disciplines, primarily anthropology. Gauguin's linear structures, which show how the comprehension of human beings is determined by linearism as the sign system, are approached from this standpoint. The drawing was multi-functional in the society that was becoming modern. Actually - the social phenomena of the modern age, consumption and new forms of mass communication and popular culture utilised the fact that a lineal expression is memorised quickly and simply. A poster displayed in a public space transformed the drawing from a personal recording, or a museum or gallery specimen, into something that was accessible to everyone. This suppressed the polarity between high culture and mass culture, which is reflected in the works by Toulouse-Lautrec. At the same time, the drawing became representative of the darker sides of modernity, the means for articulating reactions from inside pockets of society, alternative groups, whose actions awakened the potential of the drawing as a direct and free expression which assumed a role in mediating and disseminating ideas. It is a powerful means of the critique of society, whether it emerges from Van Gogh's individual action or from the organised, group political action of Pissarro and the anarchists from Montmartre. The polyperspective approach to the subject relies upon the need for it to be observed comprehensively, and to explain the modalities of the function of the drawing as the object of exploration and perform the reconstruction of its meaning. For this reason, the structuralist method was used in most cases in this paper. Besides, certain topics called for the inclusion of sociological theories. Both these methods conform with the communicative potential of the drawing, i.e. its ability to communicate a thought or a message and thereby establish contact among people. The drawing has a meaning, a toneand suggests a personal and direct message, and this is where its perpetual potential lies.