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Aesthetics pictures
One of the very important qualities of photography for the development of modern visual culture was the relative ease of obtaining a more or less benign picture, the simplicity of the initial skills that a beginner needed to master. And therefore, with the invention of photography, and especially with the spread of portable and easy-to-use narrow-film devices, the number of images created in the world began to grow like an avalanche. Photography has become the main visual medium of modern culture, pushing painting and graphics, on the one hand, into relatively narrow areas of “pure” art, and on the other – into specialized areas of technical drawing. Continue reading
INTERACTION OF PHOTOGRAPHY AND PAINTING
At the time of the birth of photography, aesthetics were dominated by the belief that only man-made work can be art. The image of reality obtained using technical methods could not even claim such a status. And although the first photographers, gravitating to the artistry of the image, showed considerable compositional ingenuity to reflect reality, photography did not fit into the system of social values as art.
Theoretical debate constantly arose around photography: can it be compared with painting in terms of artistic value? Is photography a degenerate painting for which technique replaces craftsmanship? And vice versa, is not photography a modern kind of painting that takes over and deepens its function, a modification of painting in a technical civilization that changes the cultural and aesthetic significance of traditional painting? But this is nothing more than a contrast between two phenomena of artistic life, two types of art, clearly gravitating to each other and interacting with each other. Continue reading
The relationship of painting and photography in contemporary art
Photography has long since become commonplace. But if the documentary was immediately appreciated and accepted “with a bang” from the moment it appeared in 1839, then a heated debate arose about the place of art photography in the fine arts, which continues to this day.
In my opinion, its main reason is that the photographic image is achieved entirely by technical means. There is no obvious man-made creative moment in it. However, it should be noted that people who refuse to have artistic photography the right to be among other visual arts do not understand that photography is based on a frame – according to Vladimir Soloukhin, “the secret of aesthetic sharpened and in-depth perception of the world around us.” This is the window through which the soul of the photographer penetrates into the photographic image. Continue reading
