© NOTA BENE (ООО «НБ-Медиа») www.nbpublish.com Albert-Charles Lebourg (1849–1928),agreat artist, 78 1 art criticLeoncyBenedite of his life”, – such was the definition given by a French the love for hisart was, asany love, thejoy andtorture there was noHeart more loving, nor friend more loyal, tions, which were thegreat partofhislife, because his life.He lived Besidespersonalaffec for- hisart. “The works ofAlbertLebourg are greatly affected by Introduction into theproblem http://www.albert-lebourg.org/albert-lebourg-biographie.html

Leonсу Benedite. Biographie duLeonсу peintreLebourg. URL: Albert philosophical foundations of of last the third of the XIX – first third of the XX centuriesXX third the –firstof of XIX third the Three Albert-Charlespaintings by Lebourgand philosophy ofArt, Ernst thinking. Mach,Buddhism, visual landscape, Lebourg, Charles Albert , impressionism, studies, cultural studies, art Keywords: visual sensations, thathascreated andissupportingthis strongest impression. eling not only visual reality, but integral psychophysical reality, including the process of immediate flow of shown that Impressionist landscapes of this painter create and convey strongest visual impressions, mod- psychologism (as cult (popular) conceptions of European intellectual life before the First World War). It was three by Albert -Charles Lebourg was found, on the one hand, both artistic Buddhism and artistic rays ofRouen sun”, the mainartistic ideasofthese paintings were revealed. A deep conceptualthe linkof the in boats ”,two the of “The Auvergne”,banks in “Snow “The made: was Lebourg -Charles Albert Impressionist French the great by paintings three of the analysis artistic critical The dimensions. internal externaland into reality psychic in divided experienceand direct integrity,in universal given and primary expressing for form artistic of discovery the with reality,external and internal person’s a between ence differ the overcoming with connected paradigm, new a showed Impressionism intellectualpractices and artistic European in time first the for that proposed was hypothesis The Impressionism. French of origins philosophical the uncover to analysis conceptual of method the use authors The art. of work history art historians: Danneel Pivovarov, Vladimir Zhukovsky, Natalia Koptseva. The article describing the method of art and philosophers Russian by developed was which historicalanalysis, art and philosophical has ology Banks of the Seine”, Two1889; 3) “The Boats in the Rays of the Sun”, circa 1900. Research Method- “The 2) (1886); ) in Allier the ChateauWinter” Pontover Bridge du in “The title original (the Auvergne” in authors make the philosophical and art historical analysis of the works of Albert-Charles Lebourg:1) “Snow Albert-Charles artist French great of the Lebourg. Paintings by Albert-Charles Lebourg belong to the artistic work direction of French Impressionism. The artistic an is article this in research of Subject Abstract. 1 to theinneroutlook of Koptzeva N.P., Reznikova K. DOI: 10.7256/1339-3057.2014.1.10942 ARTS com/article-interview-de-fran-ois-lespinasse-69332795.html 4 3 2 Marx Roger Benedite, Leonsu as critics art French such by LebourgA. paintings of The landscape. were studied pressionism, theacclaimedmaster ofimpressionist representative andheadoftheRouen schoolofIm- no monographs written by Russian art criticswhich el-frere-albert-lebourg-.html lebourg-par-roger-marx.html

Albert Lebourg. URL:http://lesamisdelecolederouen.over-blog.Albert Albert Lebourg. URL:http://www.albert-lebourg.org/-samuAlbert - Lebourg. URL:http://www.albert-lebourg.org/albert-Albert 2 , Samuel Frere 3 , Francous Lespinasse 4 . There are - Koptzeva N.P., Reznikova K. are entirely devoted to his works. We can name the At the present time people’s interest to Albert Leb- collective monograph “World art. Impressionism”5 in ourg’s works is constantly growing.The exhibition of which there are several pages dedicated to the paint- his works called “Travelling around ” which ings of Arbert Lebourg. The present articles is aimed took place in 2009–2010 was a real success. The suc- not only at giving more details to Russian readers cess was so great that there were already two exhibi- and lovers of Impressionist paintings, but also at un- tions of his works in 2013: “The Seine” and a separate derstanding the change in the paradigm of creative exposition inside the exhibition “The Impressionists of thinking, which takes place with the appearance of Normandy”. artistic movement, artistic style of “Impressionism”. Serious extensive artistic research of the works of Albert Lebourg is still to be conducted. The present Impressionism came from the sphere of art into mu- article we will study a problem of philosophical and sic,Impressionism literature, sculpture. appeared Nowadaysin France Impressionismand very quickly is conceptual content of Impressionism, manifested in a living art style used not only by the painters of Eu- the works of the greatest representative of this move- rope and Russia, but also those of the United States, ment, the landscape painter Albert Lebourg. In this connection it is necessary to describe several of his region and Australia. Basing on the idea of unity of paintings which can be representative of 1) the whole art,Latin religion America, and Canada, philosophy, the countries which areof Asian-Pacific in their es- - the epoch, which have sensual (art), or psychological centuries;of the works 3) Impressionism of Albert Lebourg; in painting; 2) French 4) Impres - (religion),sence different or else manifestations logic-notional of (philosophy)the quintessence forms, of sionism ofin thegeneral. end of The the preliminary XIX–the first analysis half of theof theXX we should admit the following. The paradigm of col- works of the paintings of Albert Lebourg allowed to lective thinking, which appeared in the second half choose three paintings of Albert Lebourg, which, in of the XIX century caused by the appearance of the theopinion of the authors of this article, can be such complex representatives: 1) “Snow in Auvergne” (the present time, too. And, therefore, the analysis of the original title “The Bridge over the Allier in Pont du philosophicalFrench Impressionism (ideological) in painting, principles dominates of visual inspace the Chateau in Winter ) (1886); 2) “The Banks of the of paintings will make it possible for us to see the new Seine”, 1889; 3) “The Two Boats in the Rays of the shades, facets, aspects of this universal paradigm. Rouen Sun”, circa 1900. The paintings of Albert Lebourg started the so called “Rouen” (as opposed to “Paris”) school of Analysis and description of the three paintings by Albert-Charle Lebourg himself was greatly impressed by the discoveries in painting,French Impressionism.made by Claude AlthoughMonet, Edgar Albert Degas, Lebourg Alfred The analysis and description of the paintings by Albert- Sisley, his own creative live was spent in constant Charle Lebourg was conducted with the help of the wanderings and travelling. He did not become the method known as philosophical and art analysis. This » ) www.nbpublish.com BENE (ООО « НБ-Медиа © NOTA permanent resident of Paris; nevertheless, he took method was developed and tested by a number of sci- part in several exhibitions of the group “the Indepen- entists – V. I. Zhukovskiy6, D. V.Pivovarov7, N. P. Kopt- dent”. He painted landscapes of Paris, the river Seine, in the interval from Paris to Auvergne; Rouen, Nor- 6 mandy. He travelled a lot in Europe, lived in Switzer- Zhukovskiy, V. I., 2008. The Visual Content in Representative land and the Netherlands. He regularly exhibited his Paintings of Andrei Pozdeev. Journal of Siberian Federal Universi- ty. Humanities & Social Sciences, 1(1):124–148; Zhukovskiy, V. I., pictures; annual exhibitions of Lebourg’s paintings 2010. Theory of fine art. St. Petersburg: Aleteia, pp: 412; Zhukovs- took place in Paris from 1891 to 1914. In 1903 he was kiy, V. I.; Pivovarov, D. V., 2008. The Nature of Visual Thinking. awarded the Legion of Honor award. The most impor- Journal of Siberian Federal University. Humanities & Social Sci- tant exhibition of his works during Lebourg’s lifetime ences, 1(1): 149–158; Koptseva, N. P.; Zhukovskiy, V. I., 2008. The took place in the gallery of George Petit in 1918. Since Artistic Image as a Process and Result of Game Relations between a Work of Visual Art as an Object and its Spectator. Journal of 1923 Albert Lebourg was seriously ill, this serious Siberian Federal University. Humanities & Social Sciences, 1 (2): disease led to termination of his work and caused his 226–244. death in 1928. 7 Pivovarov, D. V., 2008. Objective and Subjective Religious- ness. Journal of Siberian Federal University. Humanities, 1 (2): 250–252 ; Pivovarov, D.V., 2009.Problem of Synthesis of the Main 5 The world art. Impressionism / Comp. by I. G. Mosin., 2006. Definitions of Culture. Journal of Siberian Federal University. St. Petersburg: OOO “SZKEO Crystal”, pp: 69–74. Humanities & Social Sciences, 2 (1): 17–22.

DOI: 10.7256/1339-3057.2014.1.10942 79 Arts

seva8, M. V. Tarasova9 A. A.Sitnikova10, N. N. Pimenova11, It has been successfully applied for 20 years for con- A. V.Kistova12, N. N.Seredkina13, N. M. Libakova,14 Y. S. ceptual analysis of works of art, architecture, litera- Zamaraeva15, E. A. Sertakova16 and other researchers17. - ther there will be presented the result of application of ture, music, decorative and applied art, cinema. Fur 8 Koptseva, N. P., 2008 .The Creation Problem in Fundamental this method to the analysis of the paintings by Albert- Ontology of Martin Heidegger and Modern Theory of Fine Arts. Charles Lebourg. Journal of Siberian Federal University Humanities & Social Sci- ences, 1(3): 338–346; Coptseva, N. P., 2008. A.P. Chekhov as a 1. “Snow in Auvergne” (the original title “TheB- Philosopher: «Game» Phenomenon and «Existence in the Face ridge over the Allier in Pont du Chateau in winter” of Death» in his Dramas. Journal of Siberian Federal University. Humanities & Social Sciences, 1 (1): 22–38; Koptseva, N. P., Zhu- ) (1886); 43,6 x 77,7 cm, oil on canvas; private col- kovskiy, V. I., 2008. The Artistic Image as a Process and Result of lection Game Relations between a Work of Visual Art as an Object and Painted on the horizontal canvas there is a win- its Spectator. Journal of Siberian Federal University. Humanities ter night landscape. In the foreground there is a river, & Social Sciences, 1 (2): 226–244. which occupies approximately one third of the ver- 9 Tarasova, M.V., Grigorieva, T. Yu., 2011. The Architecture of tical space. Diagonally, the river is crossed by a mas- Krasnoyarsk as a Space of Social Identification. Correlation of Cos- sive stone bridge, coming out of the lower left corner. mocentric and Sociocentric Ideals. Journal of Siberian Federal Uni- versity. Humanities & Social Sciences, 4 (12):1705–1718. Behind the river there is depicted a rather steep bank, turning into hills. Over the hill there is a dark sky with 10 Semenova, A. A.; Koptzeva, N. P., 2009. Truth as a Form of Modeling of Integrity at Social Being Level. Journal of Siberian dark clouds and the moon, which is vague because of Federal University. Humanities & Social Sciences, 2(1): 31–55; the mist. On the bank, near the water and not far from Semenova, A.A., Soshenko, M. V., 2011. Image of Siberia in Artist the bridge there is a two-storey house with a gable roof, Aleksander Surikov’s Works. Journal of Siberian Federal Univer- whose façade faces the river. Snow and ice are one of sity. Humanities & Social Sciences, 4 (12): 1743–1766. the most important images of this painting: frosty haze 11 Pimenova, N. N., Marysheva, A. V., 2011. Wooden Zodchest- covers the sky, making the moon, which is also sur- vo of Krasnoyarsk City as the Space for Forming Territorial and rounded by snow clouds, indistinct; the river bank and Ethno-Cultural Identity. Journal of Siberian Federal University. Humanities & Social Sciences, 4 (12): 1784–1793. the hills are covered by snow; the water in the river is in some places icebound; there is thick layer of snow 12 Kistova, A. V., 2010. Children’s Art Education in Krasnoyarsk. Journal of Siberian Federal University. Humanities & Social Sci- on the roof of a cart listing to the left, which is moving ences, 3: 581–592;Klykova, A. V., 2009. Iconographic Research over the bridge towards the house on the river bank, of Paul Gauguins Masterpiece «Caricature of Tahiti Governor and there is also snow lying on the bridge itself, slow- Lacascade». Journal of Siberian Federal University. Humanities & ing down the movement of the cart. Social Sciences, 2 (4): 560–579 . In general, it can be said that there is practically no 13 Nevolko, N. N., 2011. The Visualization of Ethnic Theme in movement in the painting: the cart is moving slowly be- the Khakass Artists Paintings and Graphic Works of Art. Journal cause of the snow; the river is icebound at some places;

» ) www.nbpublish.com BENE (ООО « НБ-Медиа © NOTA of Siberian Federal University. Humanities & Social Sciences, 4 (8): 1109–1126. the snow clouds are surrounding the moon, which lim- 14 its its visible movement. But if in relation to the moon Libakova, N. M., 2009. Specific Nature and Applied Method- and the river we can talk about temporary restriction ology of Gender Theory in Cultural Studies. Journal of Siberian Federal University. Humanities & Social Sciences, 2 (4): 580–586. of movement: the moon will appear from behind the clouds; the ice will melt in spring and the river will 15 Bezgodova, Ju. S., 2008. The Transition of an Artistic Im- age from Material to Index Status: a Pictorial Portrait of Artistic become alive again, –it is impossible to make such a Work. Journal of Siberian Federal University. Humanities & So- conclusion with absolute certainty about the cart. The cial Sciences, 1 (3): 423–435. cart is obviously moving toward the house on the river 16 Sertakova, E. A., Gerasimova, A. A., 2011. Formation of the bank, but we cannot see the further road, leading from Russian Siberian Identity in the Wood Engravings of the Kras- the house. That is the cart is slowly moving to the house noyarsk Craftsmen. Journal of Siberian Federal University. Hu- to stay in it. It should be noted that such a conclusion manities & Social Sciences, 4 (12):1719–1726. - 17 Karlova, O. A., 2009. Integrality of Gogols Works and «Screaming Contradictions» in Understanding Him. Journal contradicts the diagonal composition. First of all, the di of Siberian Federal University. Humanities & Social Sciences, 2 Church Musical-Written Chanting of the XVI-XVII Centuries. (4): 533–537; Parfentjev, N. P., 2009. About Activity of Feodor Journal of Siberian Federal University, Humanities & Social Sci- Krest’janin – the Master of Musical-Written Art of XVI – the Be- ences. 2 (2): 184–199; Khomushku, O. M., 2010. Shamanism as a ginning XVII Centuries. Journal of Siberian Federal University. Worldview Basis of Ethnocultural Traditions of the Peoples of the Humanities & Social Sciences. 2 (3): 403–414; Parfentjeva, N. V., Sayan-Altai in Present-Day Society. Journal of Siberian Federal 2009. Principles of Author’s Art Creativity in Ancient-Russian University. Humanities & Social Sciences, 3 (1): 94–100.

80 DOI: 10.7256/1339-3057.2014.1.10942 Koptzeva N.P., Reznikova K. agonal composition is designed (meant) to give motion, picture. In the third ground (from left to right): there dynamics. In the studied canvas, though, the diagonal are urban buildings, taking up more than a third of the dynamics is contradicted by the rickety cart pulled by space; a bridge, tall trees, probably a park, occupying the downcast horses, and the general almost motion- almost as much space as the urban buildings on the less surrounding space. Secondly, the diagonal, running left. In the fourth ground there is an indistinct shape of from the viewer into the depth of the picture, from the the Eiffel tower in the left part of the canvas, and also lower left corner into the upper right corner, is called “ there is a silhouette of one more building, perhaps a the diagonal of victory”, which is also in contradiction cathedral, slightly to the right from the central line of with the trudging horses and the dimensions scale of the picture. The sky is overcast by dense smog through the building, where the “winners” are heading. Listing which the setting sun can hardly be seen. the discrepancies, present on the canvas, we cannot but The space of the picture is divided into two parts mention the contrast between the very massive bridge, by the part of the diagonal parapet of the embankment whose supports are depicted in the form of towers with of the Seine. In each of them there is a transport artery: conical tops, and the relatively small house on the river closer to the viewer there is a road along which there is bank. The bridge and the house look disproportionate. a lawn with green grass, farther from the viewer–there Such a bridge is supposed to lead to a fortress, a castle, is a navigable river. We can dwell on each of the mention parts in more The discovered inconsistencies, disproportions detail. The lower selvedge of the canvas crosses the causebut not us to to a squatuse the house additional with eight material, windows. for example it road and the lawn situated to its right. In fact this is the can be the original title of the picture: “The Bridge over only opportunity for the viewer to “enter” the painting. Allier in Pont du Chateau in winter”. The name of the The direction of movement of the viewer is supported settlement Pont du Chateau can be translated as the by the movement of the horse walking slowly along the Castle Bridge. And the appearance of the bridge cor- road. This part of the picture can be characterized by responds to this name. But there is no castle. There is such notions as idleness (people sitting on the para- only a two-storey house. The expectations contradict pet), slowness (a walking horse). It is in this part that the reality. The carriage, moving along the bridge, rep- the objects, differing in color from the general brown resenting “the diagonal of victory”, does not meet the range (gamut) of colors, are represented. They are the expectations either. It is just the cart listing to the left, lawn with green grass and a tiny red spot–an umbrella pulled by the downcast trudging horses. The past gran- in the hands of a person sitting on the parapet. deur is all gone. The castle is gone. There is only the The amount of the green is clearly not enough; bridge left. The last movements (moving of the moon the percentage of this color spot is very small in com- over the sky, of the carriage over the bridge, of the wa- parison to the total area of the picture. The umbrella is ter in the river) are coming to a standstill. The decline placed not horizontally, but diagonally; considering the of the former grandeur is becoming apparent. main function of an umbrella to be protection, here we the discrepancy between the can see it used not for protection from the elements, » ) www.nbpublish.com BENE (ООО « НБ-Медиа © NOTA expectations and the reality; secondly, the decline - of theActually, former first grandeur; of all, thirdly, fading of the last hind the parapet of the embankment. The road and the movements can be considered some of the main char- lawnbut rather are continued from the influence into the oftrees, the world,whose depicted silhouettes be acteristics of the studied painting. are represented in the background (it should be noted that the silhouettes of the trees turn to be higher than 2. “The Banks of the Seine”, 1889; oil on canvas; the main bulk of the buildings, situated in the same Museum of contemporary art of Strasbourg ground as the trees, but in he left part of the picture). On the horizontal canvas there is a cityscape of What is depicted on the other side of the parapet Paris, executed in brown colours. of the embankment? It is the steamer, moving in the In the foreground, represented diagonally, stretch- same direction as the horse, the smoke from its funnel ing from the lower left corner–there is an embank- is being carried in the direction of the Eiffel tower and ment, there are people resting on the parapet. A horse is merging with the smog in the sky. The smog in the is walking slowly along the embankment in the direc- vicinity of the tower is almost of the same density as tion away from the viewer into the depth of the picture. the tower itself. Besides that, the Eiffel tower can be In the second ground there is the bright smooth surface guessed by its silhouette, tall and thin, like a chimney. It of water with the smoking steamer on it, moving in the seems that the tower is functioning as a chimney, that it direction away from the viewer into the depth of the is the tower that has issued so much smog that the sky

DOI: 10.7256/1339-3057.2014.1.10942 81 Arts

cannot be seen because of it. On the river bank behind trying to hide from the new technologized world: the Seine there is a virtually monolithic group of urban they are turning away from the river and the opposite buildings. All this part of the painting is executed in the bank, they are turning their backs on it; the umbrella shades of brown. This world can be characterized by is protecting its owner not from the atmospheric phe- the notions of “technologization”: the steamer, mov- nomena but rather from the impeding world. On the ing along the river is an invention of the beginning of whole, the coming present does not evoke enthusi- asm and positive emotions, among other things, this - is also connected with the depicted time of the day: structionthe XIX century; are 1887–1889), the Eiffel tower – and is “ speedeither ”:being the factfinished that the sun is declining, it is the sunset, which correlates theor has walking just been horse finished and the (because steamer theare yearsplaced of on its prac con- more with the outgoing present, and the more appro- tically the same level allows us to make comparison of priate setting for the coming present would be sunrise their speed, which is in favor of the latter. Comparing the two parts which were examined place, are more likely to be regarded by the author in separately, we can characterize them as two different the(dawn). negative Consequently, light, the habitual the changes, way of life that is going are taking away, presents: closer to the viewer there is an outgoing declining, despite the attempts of some people to pro- present (“past present”), behind the other side of the tect themselves from the coming technologization, the parapet of the embankment–there is a coming pres- smog of the future. ent (“future present”). The fact that it is the outgoing What place does the author proposes the viewer to present that is represented in the foreground of the take? The wide road and the lawn, cut off by the lower picture id represented by the horse, moving away from selvedge of the painting, are a comfortable way to en- the viewer, which can be interpreted as a symbol of the ter the picture. A lonely horse walking along the town’s outgoing time –animal drawn transport which is being road is a kind of invitation to take place beside her, to replaced by steam and petrol one. The outgoing pres- guide her, lead her to the tall trees, the last stronghold ent is unhurried, haste less, leisurely (people sitting of the outgoing habitual life. But there is another mode on the parapet). It is this present that is characterized of behavior, mode of attitude to the ongoing change by, although to a small degree, but still heterogeneity, of the times. It is represented by the third and fourth which is expressed for example in the color scheme: grounds: it is a bridge over the river, behind which there there are two colour spots which are different from the is a silhouette of some architectural construction. This general brown: the green lawn and the red umbrella. part of the painting is prominent not only because of its The coming present is homogeneous–the urban central place on the canvas, but also because of the fact buildings are painted as a monolith, the Eiffel tower that the sun is shining neither on the outgoing present has no structure, it is represented as a solid monolith nor on the coming one, but on the central part, linking silhouette; there is no separation of color. If we ac- them. It should be considered in more detail. Near the cept technologization as the main characteristic of this bridge, in front of it, there is a small steamer, over which » ) www.nbpublish.com BENE (ООО « НБ-Медиа © NOTA world, we cannot but notice that it has covered almost there is a white spot of smoke. Behind the bridge there the entire world: it is the same coloring, with only is a silhouette of a building, probably a cathedral, judg- two different spots; it is the smog covered sky hang- ing by the two tall towers, which are traditionally the ing over the entire town. The fact that it is the coming entrance towers. The bridge, is, therefore, not only the element, which is mechanically linking the technologies all indicated by the depiction of the steamer (steam bank with the bank, which is the last stronghold of the vehiclespresent thatare beingis depicted more andbehind more the widely parapet spread), is first but of habitual way of life; but it is also the demonstration of the main thing is the silhouette of the Eiffel tower. It the fact, that an organic combination of the new and was constructed for the World exhibition in honour of the foregone, the future and the past is possible. the centennial anniversary of seizure of Bastille. At this exhibition different countries presented their latest 3. “The Two Boats in the Rays of the Rouen achievements, the Eiffel tower was one of them, being Sun”, circa 1900 at the same time the beacon, indicating the accumula- There is a sunny summer landscape depicted on tion of progress, the island of the future. the horizontal canvas. In the lower left corner there is If we accept that the world represented in the depicted a sloping bank of the river with trees. In the foreground is the outgoing future, and the world be- right lower corner there is a river, depicted diagonally from the central part of the painting to its lower right of people sitting on the parapet can be interpreted as corner. Behind the river there is a hilly bank, there are hind the parapet–is the coming future, then the figures 82 DOI: 10.7256/1339-3057.2014.1.10942 Koptzeva N.P., Reznikova K. trees and one-storey hoses on it. In the background, be- cathedral, the temple with an ark, a rescue ship. In this hind the hill, there are tall towers of the cathedral. case both objects will become the objects of the same is a big black steam boat, moving along the river to- become different, it has mutated. Now it carries cargo, wardsThe the first viewer. thing The that river draws is depictedthe viewer’s diagonally, attention in itlevel, has and,become consequently, small, it can it providecan be said salvation that the not ark for hasev- accordance with “the diagonal of defeat”. Bringing to- erybody, but only for the selected few; by the way, is it gether the separate parts of the artistic image of the really salvation it is offering? Rather, it is provision of painting (the steaming boat, “the diagonal of defeat”, material prosperity in this life, but not work for achiev- the sunny day) and turning to the analysis of the paint- ing the Kingdom of God in the future. The ideals, values ing “Snow in Auvergne” and “The banks of the River have changed. Seine”, we can make a conclusion that the habitual way of life has given way to technologization, which was author of the analysed painting does not suggest any perceived before as the future, as only coming present. way out,At the but firstonly approximationstates the fact of it the can arrival seem of that the thefu- In the paintings, which we analyzed before, there was ture, which is dissolving the old ideals and values. But depicted either sunset or nighttime. In this painting it is a bright new day, which has replaced the situation the canvas: the title of the painting is “The two boats of uncertainty presented on the paintings “Snow in Au- inthe the question rays of arises,the Rouen causing sun”, us so to where once is more the turnsecond to vergne” and “The Banks of the Seine”. The uncertainty boat? It is depicted in front of the big steaming boat, on these paintings is expressed for example in the fact in its way. The dimensions of the boat with the funnel that it is sunset that is depicted on “The banks of the are many times bigger than those of the smaller boat. It Seine”, which is a time of transition, when it is still not seems odd to give the same name to these two such dif- clear what kind of a new day will follow; in “The snow in Auvergne” the night landscape is represented, but, dangerous proximity to it. The image of the big boat is - zoomorphic:ficult vehicles. one The can small distinguish boat is in two the eyes-portholes,big boat’s way, in a dicate clearly whether it is the end or the beginning of sharp nose. That is the big boat does not only threaten thefirstly, night; the secondly,position ofthe the moonlight moon in isthe so sky bright does that not it in at the small one with the collision and the collapse of the times seems that it is not a night landscape , but rather latter, but also the big boat is like a living creature, able a day landscape.Instability, evasion, looseness could be teat, swallow the small boat, leaving only splinters. The the indicators of the fact that the future in the shape, in small boat’s fate is lamentable, it can be interpreted which it is presented in the painting, is just one of the as a symbol of the outgoing past, as a refuge of the old possible ways of development, that it is still possible to values and ideals (which is also pointed at by the fact try and change it. that the smaller boat is depicted in the area where the In “The Two Boats in the Rays of the Rouen sun” the expected, anticipated future has already come in all its viewer looked for the second boat a second longer, itcathedral could no is longer reflected be found.in the water).But despite It feels this, like it isif the » ) www.nbpublish.com BENE (ООО « НБ-Медиа © NOTA “the diagonal of defeat”; there is no longer “the diagonal moment of the dangerous proximity that is depicted, ofdefiniteness; entrance”, “theonly diagonal“the diagonal of victory” of exit”, has along given whichplace to a rather that the wrecking of the smaller boat from the symbol of the technologies future, that has already come collision with the bigger one. That is, however tiny it is, –a big black steam boat, is come implacably approaching there still a chance for salvation. the viewer. The tall funnel of the boat resembles the tow- ers of the cathedral. The same cathedral, that less than a noticing the fact, that there are no people in the smaller - boat,Further it is not carefuloccupied, studying it is abandoned of the smaller to its boat fate leadsand the to tice, the vertical towers of the cathedral are replaced by current, to the will of the bigger boat. At the same time thedecade vertical earlier of the was steaming glorified funnel: by Claude in fact, Monet. the cathedral In prac is just silhouetted, it is ephemeral, the entrance towers moving along the bank away from the water. The viewer are merging with the sky, desolidifying, while the boat’s the closest object to the viewer is a dark figure of a man, funnel is depicted very clearly, graphically, and, in ad- not just an impassionate witness of the collapse of the dition to that, the smoke, coming out of the funnel of can easily identify with this figure. So that he becomes the boat is drifting towards the cathedral; the smoke is to see it. But the author offers the viewer an alternative merging with the clouds, dissolving the outlines of the wayold values, –he can but try he and is trying take tothe flee place from of the the inevitable, helmsman not of cathedral towers. The boat is replacing the cathedral. As the small boat and avoid the collision, which will result it is perhaps becoming clear, using the comparison of the in a disaster for it. To encourage the viewer, who has

DOI: 10.7256/1339-3057.2014.1.10942 83 Arts

of the artistic image. In the modern Russian theory and against the exceeding forces of the enemy, the author also history of Impressionism the philosophical foundations givesmade thethe proofdifficult that choice this wayin favour is effective. of the activeIt is the struggle third of Impressionism were studied by such researchers as boat which is not even mentioned in the title. There are Yu. A. Griber20, T.N. Martyshkina21,Kuznetsova E.A.22, two people in this boat. This boat is located behind the O. Yu. Astakhov23, L.V. Kuznetsova24,M. G. Dyakova25, E. big steaming boat, for it the danger has already past, the S.Cherepanova , L.V. Nizjeva26 and other scientists. boat is in the light, brighter area of calm water, behind it At the present time certain stages of intellec- on the bank there are only slender trees, no danger can tual practices of “speaking about the philosophy of be seen on either side of it.The fact that the third boat Impressionism” can be distinguished. Till the end of is not mention in the title and also the similarity of the the 1990s the Russian researches of the philosophical boats– the closest and the farthest from the viewer (both conceptions, expressed in the art of Impressionism, in type and in location in space), may indicate that the regarded it appearance as a reaction to positivism. two of them are in essence one and the same boat, de- While some researches claimed that the Impression- picted in two different time points: before the collision ists’ paintings are a vivid manifestation of positivism, with danger and after the wonderful salvation. But the because the painters seriously studied the peculiari- farther boat is not immediately visible, so that the man, running along the bank away from the water will not see visual reception, the others claimed that the phenom- it, he will not see the way out, proposed by the author. enonties of of visual Impressionism perception isand related scientific to the conceptions philosophy of - see that it is considered to the right one in this painting. losophy of life” and that Impressionism is “anti-pos- Only Havinghaving chosenanalyzed the the difficult, three works dangerous of Albert-Charles way, one can itivism”of F. Nietzsche and “anti-rationalism”. and other representatives Since the oflate “the of phithe Lebourg we can say that they constitute a kind of se- 1990s, the intellectual practices of Russian research- ries, whose main idea is the collision of the habitual ers have become more complicated, the analysis of the world with its established ideals and values with the philosophical foundation of Impressionism is accom- new technologies world. In each of these paintings the panied by the serious study of the related practices of author presents the development of his views on this foreign scientists. Taking these practices into consid- idea, from stating the decline of the old grandeur, dis- eration, the initial settings of research of “the philoso- crepancy between the expectations and the reality and phy of Impressionism” become more complicated and fading of the last movement; by comparing two ages, two ways of life, as if balancing them on the two sides of precise. For example, in their article E. S.Cherepanova the bridge, on the one side of which there is technologi- 20 Griber, Yu. A., 2004 Epistemological foundations of artistic zation and urbanization, on the other–there is a slow- creativity (On the material of mythology of Impressionism). M.S. moving old life; to the realization of the imminence/in- thesis, (09.00.01). Smolensk. evitability of the change of the ages. And still he leaves 21 Martyshkina, T.N., 2010. Impressionism: from artistic vi- » ) www.nbpublish.com BENE (ООО « НБ-Медиа © NOTA a man a chance for overcoming the danger, the chance sion to world outlook. Bulletin of Tomsk State University. № 304: to survive the destruction of the times and preserve the 73–77; true ideals and values, as demonstrated in the painting 22 Kuznetsova, E.A., 2000 .Aesthetics of Impressionism. Bulletin “The Two Boats in the Rays of the Rouen Sun”. of Moscow University. Ser. 7: Philosophy. № 2: 83–90. 23 Astakhov, O.Yu., 2001 . Impressionism in the context of cul- Philosophical concepts of Impressionism tural and historical methodology of P. Sorokin. Sociocultural dynamics: theoretical, methodological and historical aspects: The famous Russian art critic M. Alpatov starts the tra- Proceedings of III interregional. Scientific-practical. Seminar ( Kemerovo, 2–3 December . 1999) / Dep of Culture of Russian dition of studying the philosophical foundations of Im- Federation, Russian. Inst for Cultural Studies, Kemer . State. pressionism18. V.I. Zhukovskiy19 reveals the philosophi- Acad. Of Culture and Arts. Editorial Board: G. N. Minenko (Ed. . ) cal aspects of Impressionism in the context of the theory And others. Kemerovo, pp: 34–41. 24 Kuznetsova, L.V., 2012. “Philosophy” of Impressionist paint- ings. Bulletin of Tyumen State University. Philosophy, 10. 18 Alpatov, M., 1972 .Poetics of Impressionism. French painting 25 Dyakova, M.G. 1998. Impressionism: philosophical concept of the sec. half. XIX century and its contemporary art culture. In and being in culture. M.S. thesis, (24.00.01) .Saransk. the Proceedings of the 1971 Scholars conference. Moscow: Soviet 26 Cherepanova, L.S., Nizjeva, L. V. Phenomenon of phi- Artist. pp: 88–104. losophy of Impressionism in Austria at the turn of the XIX-XX 19 Zhukovskiy, V.I., 1971 Theory of fine art. St. Petersburg. Ale- centuries. Electronic resource. URL:http://elar.urfu.ru/bit- theia, pp: 412. stream/10995/19404/1/iuro-2013–112–04.pdf

84 DOI: 10.7256/1339-3057.2014.1.10942 Koptzeva N.P., Reznikova K. and L.V. Nizjeva understand the philosophy of Impres- The three paintings by Albert-Charles Lebourg sionism as the conception of the Austrian philosopher and the philosophy of Impressionism: artistic Ernst Mach, making well-grounded conclusions that Buddhism and artistic psychology the art of Impressionism is an art form of the philo- sophical movement of “psychologism”, characteristic A. Artistic Buddhism. of European thought of the end of the XIX beginning A lot of research has been made concerning re- of the XX centuries. In her turn, L.V. Kuznetsova brings ception of Buddhism and Zen Buddhism in European forward weighty arguments for understanding the impact of the philosophy and religion of Buddhism Conceptual and artistic connection of Buddhist phi- (including Zen Buddhism) on the paintings of the Im- losophyculture of and the Buddhist XIX –the firstpsychology third of withthe XX Impression centuries.- pressionists. ism and Post-Impressionism is expressed both in art A fairy complex, multidimensional analysis of the critics and aesthetics, as well as in works of art where philosophical epistemological practices, manifested in images, subjects, styles of Chinese, Korean and es- the art of the Impressionists is made by Yu. A. Griber, who studies the rehabilitation of the mythological How true is it for the three pictures by Albert-Charles worldview, characteristic of European intellectuals of Lebourg,pecially Japanesewhich were traditional described painting earlier: are 1) “Snow “quoted”. in the end of the XIX – beginning of the XX centuries. (in Auvergne” (the original title is “The Bridge over the this context we can mention the activity of a group of Allier at Pont du Chateau in Winter “) (1886); 2) “The intellectuals called “Eranos”, including M. Eliade, K. –G. Banks of the Seine”, 1889 ;3) “ The Two Boats in the Young, R. Otto and many others).Yu. A. Griber traces the Rays of the Rouen Sun”, circa 1900? appearance of this special intellectual “mythologism” In the primary analysis of the picture “Snow in in the activity of the Impressionists, who, in her opin- Auvergne” (“The Bridge over the Allier at Pont du Cha- ion, by means of artistic language, artistic means create teau in Winter “) the following artistic ideas were dis- the “individual mythology of an artist” and establish tinguished:1) the discrepancy between the expecta- the artistic canon in the new form, moving it into the tions and thereality; 2) the decline of the former space of psychological dimension. grandeur; 3) fading of the last movements. Even a In some research there might be found a com- person familiar only with the basics of Buddhism will pletely opposite understanding of Impressionism, con- nected with the phenomenology of Edmund Husserl, Probably in the second half of XIX century – early the development of which was associated with the XXfind century, these ideas when to only be exactly the basic “Buddhist”. philosophical and reli- criticism of “psychologism” and with pointing out some gious texts of Buddhism, revealing only the most gen- “permanent” basis of existence and thinking, which can eral and primary ideas, were translated into European be found in the psychological, phenomenological and transcendental reduction. European intellectuals actively studied these funda- All these points of view seem to be extremely in- mentallanguages and (French, primary German, doctrines English), as something it can be exotic, said that dif- » ) www.nbpublish.com BENE (ООО « НБ-Медиа © NOTA teresting. The hypothesis which is proposed in this ferent, new, causing wondering at the other than west- ern-Christian wisdom of “the East”. “The discrepancy general, including Impressionist painting is a sensual between the expectations and the reality” in the paint- phenomenonscientific article of the is thatnew theworldview art of Impressionism paradigm, which in ing “Snow in Auvergne” is the artistic expression of the truths of Buddhism about sufferings as the foundation of existence of the Cosmos, Nature, all living creatures. conceptsis dominant of thein our new time. paradigm, Perhaps perhaps the French the paintingImpres- - ”proposed” the form for the first appearance of the- claims four truths that dissatisfaction rules psycho- sion for this concepts, infectious and recognizable. It cosmos.In the first It issermon, not easy Buddha to discover Gautama it. TheSiddhartha person whopro sionist painter were the first to find sensual expres to the concepts themselves, but also to artistic, intel- a wise man. The truth is that neither joy nor sorrow, lectualseems that and Impressionismother psychological “granted practices the flesh” for workingnot only neithermanaged past to donor it, present to fixate or his future, dissatisfaction neither wealth is already nor with these concepts, for their creation (recreation) poverty, neither beauty nor ugliness, neither stupid- and for ensuring its presence among people. This ity nor cleverness, –that is “nothing that exists” gives peace, satisfaction and harmony to a living creature. It works of Albert-Charles Lebourg to the philosophy of is the discrepancy between the expectations and Impressionism.hypothesis can be verified by means of relating the reality which is the cause of sufferings of all living

DOI: 10.7256/1339-3057.2014.1.10942 85 Arts

creatures, understanding of this cause is the beginning social being takes place, in the centre of which there of the way to inner harmony and peace. are Buddhist countries themselves. Thus, the traditional Buddhist doctrine of histori- psychology, to see the inevitability of suffering, eternal cal time and social being, corresponding to eternal re- dissatisfaction,From the point to see of howview illusoryof Buddhist any philosophy“greatness’ andis – turning is concretized in artistic visual thinking of Al- - bert-Charles Lebourg in his painting “the banks of the cal state of peace and harmony. Albert-Charles Lebourg - showsis to make Buddhist an important philosophy step of to suffering, finding the of illusiveness, psychologi pressionism, which was “revolutionary” for European transient nature of existence in the painting “Snow in cultureSeine” with of the help XIX of century. the artistic language of French Im the Auvergne”. This is suggested not only by the artistic Not only does the subject of the painting “The philosophy of the painting, but by its subject itself. Pri- not contradict this interpretation, but it also strength- taking place in Europe at his time, reveals the univer- ensBanks its ofaccuracy. the Seine”, The connectedsign and symbol with the of flowinga river is river, one salmary image acquaintance of the moon, with the traditional night sky Japaneseas the symbol culture, of of the canonical signs-symbols of Buddhist artistic and unity of temporal and eternal. The image of the moon philosophic- psychological visual thinking. is canonical to Chinese and Japanese Buddhist art. It The third picture “The Two Boats in the Rays of is the image which has canonical associations, decod- Rouen Sun” (1990) was “read” in the course of descrip- ing of which is an important psychological intellectual tion and analysis as a visual manifestation of the idea practice in the traditional culture of China and Japan. of true and untrue path of human life. The concept of We can assume that Albert-Charles Lebourg, support- “true human existence” was discovered in European ing the new artistic and intellectual practices, which were being formed in Europe at this time, is doing it by introducing “exotic” topics, signs, symbols, images into Buddhistphilosophy ideas, of modernity which were in thebeing first processed third of theat this XX the established artistic language, decoding of which timecentury. by EuropeanIt is difficult intellectuals. to directly linkBut itwe to can the talk“primary” about will demand certain cognitive efforts from the viewer - – recipient, viewer- thinker. In this context the “exot- pean artistic practices. The ideas of “pre-set” course of ics” of the philosophy and psychology of Buddhism is a humanthe holistic life, conceptual“predetermination” influence by of aBuddhism river, a path on inEuro the revolutionary practice for artistic thinking of European forest, a village road will be elaborated in the phenom- intellectuals. enological ontology of M. Heidegger a bit later, in 1927 The second picture by Albert-Charles Lebourg in his cult work “Being and time”. The complex ing “The Banks of the Seine” was earlier interpreted as an been existential dialectics of one’s own determination artistic manifestation of the idea of possibility of or- “to be” and “having been thrown” into the world will ganic connection of the new with the old, the future and the past. Can we see the reception of Buddhism in and the Second World Wars. But before it appeared in » ) www.nbpublish.com BENE (ООО « НБ-Медиа © NOTA this idea, as well as in the picture “Snow in Auvergne”? be developed in philosophical works between the First We certainly can. The traditional Buddhist culture (be it China or Japan) treats the concept of time differently Impressionistrefined European Albert-Charles philosophy, thisLebourg existential in his dialectics painting from the classical rational European philosophy. On the “Thewas revealed two boats by in artistic the rays visual of the thinking Rouen sun” of the (1990). French one hand, the historical past is idealized in this culture. “The Golden Age” in the traditional culture of Buddhist B. Artistic psychologism countries is not in the future, but in the past. It already Psychologism is a trend in European philosophy happened. That is why striving for the better forms of social being–is striving not for the future, but for the active development of psychological science, since the past. On the other hand, the traditional Buddhist cul- 1960s.of the first Psychologism third of the asXX century,a philosophical connected movement with the tures are based on the idea of “permanent returning” of matrix forms of social being. Distinguishing various the phenomenological philosophy of Edmond Husserl cosmic and natural cycles, eastern thinkers build the andaroused phenomenological fierce criticism ontologyand was partially of Martin “removed” Heidegger. in model of historic time and historical space correspond- Psychologism was subjected to scrutiny in neo-Marx- ing to it as a model of cycles, returns – in 12 years, 60 ism and related philosophical movements. Neverthe- years, 720 years etc. Not only can the past connect to less, this approach not only did not “disappear” , but the future. In eternal repetitions of one and the same - historic characters, historic events, activities, decisions sophical, artistic , political, and social practices that it turned into powerful intellectual, scientific, philo 86 DOI: 10.7256/1339-3057.2014.1.10942 Koptzeva N.P., Reznikova K. are characteristic of modernism and postmodernism. Psychologism spawnednew anthropological , social, and conceptions of Ernst Mach attract growing attention political , cultural, legal , linguistic and other research, ofcognitive both physicists processes and and psychologists. artificial intelligence, Let us see theif we ideas can interpret the paintings of Albert-Charles Lebourg in the social existence with the help of social engineering , spirit of artistic psychologism. softthe findingspower , educationaland discoveries practices of which , etc. are embodied in Albert-Charles Lebourg and Ernst Mach were con- Vivid representation of the philosophy of psycholo- temporaries. Psychophysics of Mach was extremely gism is the philosophical works of Ernst Mach, an Aus- popular in Europe at the beginning of the XX century. trian physicist who, according to his own words, philos- There is no doubt that Albert -Charles Lebourg was fa- ophized as “a passer-by” or as “a Sunday hunter”27. In the miliar with the ideas of this thinker. You can pay atten- history of modernist philosophy Ernst Mach is known tion to the fact that Lebourg lived some time in Swit- as the author of the books “Analysis of sensations: re- zerland, where E. Mach’s associate –Richard Avenarius lation of the physical to the psychic”28, “Cognition and worked, who was the second creator of psychophysics- delusion”29, and also by his lectures on philosophy of empiriocriticism. physics, epistemology. Together with the Swiss philoso- The ideologists of Impressionism were brothers Eu- pher Richard Avenarius30 he developed philosophical gene and Jules de Goncourt. They write in their famous theory of empiriocriticism. R. Avenarius and E.Mach be- “Diaries”: “Perhaps nothing exists without any relation lieve the foundation of being to be not matter as such or to other things, completely on its own. Nature, water, a transcendental subject, but experience (empire), the trees, landscape–all these is seen by a man, and all these studying of which in their opinion – is the main objective appears to him to be different depending on his mood, of philosophy as science about nature. Empiriocriticism his frame of mind. There are sunny days that seem to is a continuation of positivism, associated with rejec- be gloomy, and there is the outcast sky, which you re- tion of metaphysics as a source delusion for scientists. member as the clearest in the world. Beauty of a woman to check these methods for presence of metaphysical where you drink it, whether it is served at the begin- aspectsAnalysis and of methods to eventually of scientific “clean knowledge out” these is metaphys necessary- ningdepends or at on the love, end quality of dinner, of wine after depends strawberries on when or after and cheese”31. In the very name of “Impressionism” there is an indication to the fact that reality, created by an Im- world,ics assertions. which is The integral sphere and of exists scientific before knowledge their division is a pressionist artist, is bound to contain the I-dimension of intocontinuous “physical” flow world of sensations. and “psychic” Sensations world. R. are Avenarius a third the artist himself. With the help of the artistic language and E.Mach believe that in criticism of experience there - can be found the integrity before its division into “the posed to the viewer-recipient in close connection with external” and “the internal”. The main objective of phi- theof Impressionism “things” that became this I-dimension “home” for this is fixated dimension. and pro losophy is study of constructs of things as complexes of The elements of Ernst Mach in the artistic think- - ing of Albert -Charles Lebourg take the form of the ar- » ) www.nbpublish.com BENE (ООО « НБ-Медиа © NOTA tistic style of Impressionism with a special choice of sensations and study of the process of scientific cogni subjects(which are able to create the strongest impres- “things”,tion as a “images”,flow of sensations. “ideas” etc. The is ofdoctrine great importance of Ernst Mach for sion on both the painter and his viewer), with a special understandingabout the elements the thatphilosophical make up what basis we of later Impression fixate as- way of applying paint on the canvas(use of pure color ism. The second name of the theory of Ernst Mach is and separate brush strokes, when optical connection of psychophysics. Nowadays, in connection with studies of pure colors into a complex composition occurs in psy- chic reality of the viewer), with a special (meaningful) 27 Cherepanova, L.S., Nizjeva, L. V. Phenomenon of phi- proportion of light and shade, etc. losophy of Impressionism in Austria at the turn of the XIX-XX Impressionists discovered the meaning of color centuries. Electronic resource. URL:http://elar.urfu.ru/bit- itself, outside objects, depicted with the help of combi- stream/10995/19404/1/iuro-2013–112–04.pdf nation of different colors. The work of Albert -Charles 28 Mach, E., 2005 .Analysis of sensations: relation of the physical Lebourg, his paintings–are a continuous creative ex- to the mental. M.: University Library of Alexander Pogorelskiy, pp: 304. 29 Mach, E., 1909. Knowledge and delusion. M. 31 Goncourt, Ed. and J., 1964. Diary. Notes on literary life. Se- 30 Avenarius, R., 1898. Introduction a critique of pure experi- lected pages. In 2 volumes. Vol.1. M.. Khudozhestvennaya litera- ence of Fr. Carstanjen (trans.by Lesevich ) . St. Petersburg. ture.

DOI: 10.7256/1339-3057.2014.1.10942 87 Arts

periment, in which the painter designs, creates a strong sionism showed a new paradigm, connected with over- psychophysical impression, which expresses the es- coming the difference between a person’s internal and external reality, with the discovery of artistic form for created this strong impression. expressing primary and universal integrity, given in di- senceArtistic of an event,psychophysics fluent, unstable, of the transitory,above discussed which rect experience and divided in psychic reality into ex- three paintings of Albert -Charles Lebourg corre- ternal and internal dimensions. sponds to all the artistic and intellectual discoveries The critical artistic analysis of the three paintings of Impressionism. Artistic psychophysical construc- - tion of impression is made by this artist is so pow- ourg was made: “Snow in Auvergne”, “The banks of the erful that over time its importance is constantly in- Seine”,by the great“The Frenchtwo boats Impressionist in the rays Albert of Rouen -Charles sun”, Leb the creasing, which is indicated by the two exhibitions, main artistic ideas of these paintings were revealed. held in 2013. In the context of new regionalism, the A deep conceptual link of the three paintings by capability of the works of Albert -Charles Lebourg to Albert -Charles Lebourg was found, on the one hand, construct and convey strongest emotions by artistic both artistic Buddhism and artistic psychologism (as means, “has been taken possession of” by Normandy. cult (popular) conceptions of European intellectual This can be seen in the title of one of the exhibitions of 2013 –“Norman Impressionists”. Impressionist landscapes of this painter create and conveylife before strongest the First visual World impressions, War). It was modeling shown thatnot Findings (results) only visual reality, but integral psychophysical reality, - sations, that has created and is supporting this stron- European artistic and intellectual practices Impres- gestincluding impression. the process of immediate flow of visual sen The hypothesis was proposed that for the first time in References:

1. Leonsu Benedite. Biographie du peintre Albert Lebourg. URL: http://www.albert-lebourg.org/albert-leb- ourg-biographie.html 2. http://www.albert-lebourg.org/albert-lebourg-par-roger-marx.html 3. http://www.albert-lebourg.org/-samuel-frere-albert-lebourg-.html 4. http://lesamisdelecolederouen.over-blog.com/article-interview-de-fran-ois-lespinasse-69332795.html 5. The world art. Impressionism / Comp. by I. G. Mosin., 2006. St. Petersburg: OOO “SZKEO Crystal”, pp: 69–74. 6. Zhukovskiy, V. I., 2008. The Visual Content in Representative Paintings of Andrei Pozdeev. Journal of Siberian » ) www.nbpublish.com BENE (ООО « НБ-Медиа © NOTA Federal University. Humanities & Social Sciences, 1(1):124–148. 7. Zhukovskiy, V. I., 2010. Theory of fine art. St. Petersburg: Aleteia, pp: 412. 9.8. Koptseva,Zhukovskiy, N. V.P.; I.; Zhukovskiy, Pivovarov, D.V. I.,V., 2008. 2008. The The Artistic Nature Imageof Visual as aThinking. Process andJournal Result of Siberianof Game FederalRelations University. between Humanities & Social Sciences, 1(1): 149–158. Sciences, 1 (2): 226–244. a Work of Visual Art as an Object and its Spectator. Journal of Siberian Federal University. Humanities & Social- ties, 1 ( 2 ): 250–252 . 10. Pivovarov, D. V., 2008 .Objective and Subjective Religiousness. Journal of Siberian Federal University. Humani

11. Pivovarov, D.V., 2009. Problem of Synthesis of the Main Definitions of Culture. Journal of Siberian Federal- University. Humanities & Social Sciences, 2 ( 1): 17–22 . 12. Koptseva, N. P., 2008 .The Creation Problem in Fundamental Ontology of Martin Heidegger and Modern The ory of Fine Arts. Journal of Siberian Federal University. Humanities & Social Sciences, 1( 3 ): 338–346 . 13. 22–38Coptseva, . N. P., 2008. A.P. Chekhov as a Philosopher: «Game» Phenomenon and «Existence in the Face 14. Koptseva,of Death» N. in P., his Zhukovskiy, Dramas. JournalV. I., 2008. of TheSiberian Artistic Federal Image asUniversity. a Process Humanitiesand Result of & Game Social Relations Sciences, between 1 (1):

Sciences, 1 ( 2 ): 226–244 . a Work of Visual Art as an Object and its Spectator. Journal of Siberian Federal University. Humanities & Social 88 DOI: 10.7256/1339-3057.2014.1.10942 Koptzeva N.P., Reznikova K.

15. SocialTarasova, Sciences, M.V., Grigorieva, 4 (12) :1705–1718 T. Yu., 2011 . .The Architecture of Krasnoyarsk as a Space of Social Identification. Correlation of Cosmocentric and Sociocentric Ideals . Journal of Siberian Federal University. Humanities &

17.16. Semenova, A.A.,A. A.; Soshenko, Koptzeva, M.N. P.,V., 2009.2011. TruthImage as of aSiberia Form ofin ModellingArtist Aleksander of Integrity Surikov’s at Social Works. Being Journal Level. ofJournal Sibe- of Siberian Federal University. Humanities & Social Sciences, 2(1): 31–55 .

rian Federal University. Humanities & Social Sciences, 4 (12): 1743–1766. 18. 4Pimenova, (12): 1784–1793. N. N., Marysheva, A. V., 2011. Wooden Zodchestvo of Krasnoyarsk City as the Space for Forming Territorial and Ethno-Cultural Identity. Journal of Siberian Federal University. Humanities & Social Sciences,- ties, 3: 581–592. 20.19. Klykova,Kistova, A.A. V.,V., 2010.2009. Children’sIconographic Art ResearchEducation of in Paul Krasnoyarsk. Gauguins MasterpieceJournal of Siberian «Caricature Federal of TahitiUniversity. Governor Humani Lac-

21. Nevolko, N. N., 2011. The Visualization of Ethnic Theme in the Khakass Artists Paintings and Graphic Works ascade». Journal of Siberian Federal University. Humanities & Social Sciences, 2 ( 4 ): 560–579 .

of Art. Journal of Siberian Federal University. Humanities & Social Sciences, 4 (8): 1109–1126. 23.22. Bezgodova,Libakova, N. Ju. M., S., 2009. 2008. Specific The Transition Nature and of anApplied Artistic Methodology Image from of Material Gender toTheory Index in Status: Cultural a Pictorial Studies. Portrait Journal of Siberian Federal University. Humanities, 2 (4): 580–586. - of Artistic Work. Journal of Siberian Federal University. Humanities & Social Sciences, 1 ( 3): 423–435. 24. (12):1719–1726.Sertakova, E. A., Gerasimova, A. A., 2011. Formation of the Russian Siberian Identity in the Wood Engrav 25. Karlova,ings of the O. A.,Krasnoyarsk 2009. Integrality Craftsmen. of Gogols Journal Works of Siberianand «Screaming Federal Contradictions»University. Humanities in Understanding & Social Sciences, Him. Jour 4-

nal of Siberian Federal University. Humanities & Social Sciences, 2 (4): 533–537 . 26. 414.Parfentjev, N. P., 2009. About Activity of Feodor Krest’janin – the Master of Musical-Written Art of XVI – the 27. Parfentjeva,Beginning XVII N. V.,Centuries. 2009. Principles Journal of of Siberian Author’s Federal Art Creativity University. in HumanitiesAncient-Russian & Social Church Sciences. Musical-Written 2 (3): 403–

(2): 184–199. 28. Khomushku,Chanting of the O. M.,XVI-XVII 2010. ShamanismCenturies. Journal as a Worldview of Siberian Basis Federal of Ethnocultural University, Humanities Traditions of& theSocial Peoples Sciences. of the 2

94–100. Sayan-Altai in Present-Day Society. Journal of Siberian Federal University. Humanities & Social Sciences, 3 (1): » ) www.nbpublish.com BENE (ООО « НБ-Медиа © NOTA art culture. In the Proceedings of the 1971 Scholars conference. Moscow: Soviet Artist. pp: 88–104. 29. Alpatov, M., 1972 .Poetics of Impressionism. French painting of the sec. half. XIX century and its contemporary 31. Griber, Yu. A., 2004 Epistemological foundations of artistic creativity (On the material of mythology of Im- 30. pressionism).Zhukovskiy, V.I., M.S. 1971 thesis, Theory (09.00.01). of fine art. Smolensk. St. Petersburg. Aletheia, pp: 412. 32. Martyshkina, T.N., 2010. Impressionism: from artistic vision to world outlook. Bulletin of Tomsk State Univer-

83–90.sity. № 304: 73–77; 34.33. Astakhov,Kuznetsova, O.Yu., E.A., 2001 2000 . .AestheticsImpressionism of Impressionism. in the context Bulletin of cultural of Moscow and historical University. methodology Ser. 7: Philosophy. of P. Sorokin. № 2: Sociocultural dynamics: theoretical, methodological and historical aspects: Proceedings of III interregional. - sian. Inst for Cultural Studies, Kemer . State. Acad. Of Culture and Arts. Editorial Board: G. N. Minenko (Ed. . ) AndScientific-practical. others. Kemerovo, Seminar pp: 34–41. ( Kemerovo, 2–3 December . 1999) / Dep of Culture of Russian Federation, Rus 35. Kuznetsova, L.V., 2012. “Philosophy” of Impressionist paintings. Bulletin of Tyumen State University. Philoso- phy, 10. 36. Dyakova, M.G. 1998. Impressionism: philosophical concept and being in culture. M.S. thesis, (24.00.01) .Sa- ransk.

DOI: 10.7256/1339-3057.2014.1.10942 89 Arts

37. Cherepanova, L.S., Nizjeva, L. V. Phenomenon of philosophy of Impressionism in Austria at the turn of the XIX- XX centuries. Electronic resource. URL:http://elar.urfu.ru/bitstream/10995/19404/1/iuro-2013–112–04. pdf 38. Mach, E., 2005 .Analysis of sensations: relation of the physical to the mental. M.: University Library of Alexan- der Pogorelskiy, pp: 304. 39. Mach, E., 1909. Knowledge and delusion. M. - tersburg. 41.40. Goncourt,Avenarius, Ed. R., and1898. J., 1964.Introduction Diary. Notes a critique on literary of pure life. experience Selected pages. of Fr. CarstanjenIn 2 volumes. (trans.by Vol.1. M.. Lesevich Khudozhestven ) . St. Pe- naya literature. 42. Tinyakova E.A. Professional Ethics for Business Relations // SENTENTIA. European Journal of Humanities and Social Sciences. – 2013. – 1. – C. 93–99. DOI: 10.7256/1339–3057.2013.1.9454. 43. Gurevich, P. S. The phenomenon of spirit in philosophical understanding of man // SENTENTIA. European Journal of Humanities and Social Sciences. – 2013. – 1. – C. 4–842. DOI: 10.7256/1339–3057.2013.1.8932. 44. Tinyakova E.A. Professional Ethics for Business Relations // SENTENTIA. European Journal of Humanities and Social Sciences. – 2013. – 1. – C. 93–99. DOI: 10.7256/1339–3057.2013.1.9454. 45. Gurevich, P. S. The phenomenon of spirit in philosophical understanding of man // SENTENTIA. European Journal of Humanities and Social Sciences. – 2013. – 1. – C. 4–842. DOI: 10.7256/1339–3057.2013.1.8932. » ) www.nbpublish.com BENE (ООО « НБ-Медиа © NOTA

90 DOI: 10.7256/1339-3057.2014.1.10942