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At sources of conceptual symbolism in the fine arts

The phenomenon of conceptual symbolism in painting has been formulated by Vitaly Komar as the course of new symbolism during his known exhibition "New Symbolism" in December, 2009 in New York, in gallery Friedman. Then Vitaly Komar has formulated also steady criteria of a new current. "Images of New Symbolism … are conceptual and it is similar more, to ancient syncretic symbols which united an origin of writing and art thousands years ago. Therefore it is possible to call these works also "conceptual symbolism"

   

Landscape with Lenin's Tomb

Painting of conceptual symbolism is a rather new current though it’s roots  can be found also in the primitive  pre-writing art. Moreover – painting of conceptual symbolism reflects indissoluble communication between a symbol as a display of ideas in the form of an image and the word as reflection of idea in a verbal or graphic outlook. It is necessary to tell that both of these forms of transfer of idea are rather imperfect as identical words even in the same language can make various senses depending on a context. As well as the same images not only are perceived differently by different people, but also can make different sense for the same person – depending on his state. Here it is possible to re-quote Vitaly Komar "bloody conflict is often the result of different understanding of the same terms or, conversely, the same understanding of different terms"  

While on our web site www.newlinearte.com - one of the few areas of conceptual art, You can fully appreciate the skill of the artists of conceptual symbolism through color scheme of works of Yulia Dolgoleeva from Moscow, the irony of  paintings of Evgeny Gegouzin from Isarel, or the original forms of ceramic objects of Pavel Zamikhovsky from Cologne in Germany.  

Today's fine arts of conceptual symbolism are perceived by public according to a condition of her minds. This art not always fits into the daily world of a glamour and eclecticism. The need of the verbal comment, natural to conceptual art objects, can and does put the public in a dead end. The verbal comment demands deep judgment of what was seen, but not an opportunity to quickly put down likes. The way of art is always a reiteration, only pictures by this way can differ very, in compliance with the point of view and talent of the artist.  So it is possible to finish this article by words of Vitaly Komar, who called the images of the conceptual symbolism as "vision of the unborn, unspeakable words".