FROM LOUIS TO THE "CARNIVAL OF THE DEAD MONGTS": WESTERN ART IN SEARCH OF MEANING, OR HOW PAINTERS THROWN BETWEEN THE CROSS AND BONES

Abstract

In today's Russian mass consciousness, there is an attitude that contemporary art, primarily Western, embarked on the path of departure from canonical images and structures in relatively recent times – about a hundred years ago. Tracing the path of Western European painting since the Renaissance – and even earlier – since the theological discussion of the nature of the Tabor light in the mid-14th century, one can conclude about the continuity of the ideological line, the ontological essence between modern postmodern artists (such as the Belgian of Flemish origin Jan Fabre) and their predecessors of the New Age (the Dutch Peter Paul Rubens, Frans Snyders and many others). This article examines the key moments of the formation of the metaphysical paradigm that defines all types of visual aesthetic objects, as well as phenomena (in theater and cinema) in the West, records the stage of the artist's transformation at the time of the reduction of the liturgical space, which influenced all subsequent Western European aesthetics, and analyzes the perception of decadent contemporary art by Russian specialists and ordinary viewers who had the opportunity to visit exhibitions of popular Western culture in domestic museums and exhibition halls in 2014-2019.

For citation:
Kashchenko, A. V., & Kiselyov, P. A. (2024). From Louis to the "Carnival of the dead mongts": western art in search of meaning, or how painters thrown between the cross and bones. Experience industries. Socio-Cultural Research Technologies (EISCRT), 4 (9), 53-87. (In Russ.). https://doi.org/10.34680/EISCRT-2024-4(9)-53-87