СОСТАВИТЬ 5ВОПРОСТОВ АЛЬТЕРНАТИВНЫЙ ОБЩИЙ И ТД
I.
"From today painting is dead!" decrarcd the French painter Paul
Delaroche in 1839, the year a process for making photographic images was
discovered. Delaroche voiced the expectations of many: that the
camera's ability to capture in an instant every detail of the real world
would spell the end of painting and drawing, and that photography was
the art of the future. At the same time the opposing camp claimed that
photography was a science, not an art — a mechanical process that could
never compete with the sensitive hand of the painter in feeling or
expression.
II. Since 1839 photography has become part of our
life, it is widely used in science, medicine, anthropology, geography,
journalism, advertising — but its close relationship with art has
continued.
In the early 20th century the famous American photographer
Alfred Stieglitz (1864-1946) put forward the idea of "pure" photography
with aesthetic value beyond its descriptive or utilitarian function.
This modernist view influenced a generation of photographers. While many
Americans found inspira¬tion in nature, in Europe photography
celebrated the rhythm and speed of mod¬ern society, the dynamism of the
machine age.
At the same time a certain group of photographers found
the unexpected in the commonplace. For example, a plant seen close up
looks machine-made, and a street scene from above becomes an almost
abstract pattern: ordinary things are transformed by a point of view.
Many
photographers now regarded as great masters would never have thought of
themselves as artists at all. Their aim was to document the life they
saw around them. Recording the lives of common people, they created
powerful and dignified images that spoke about the problems of the
society they lived in, about human suffering and hope.
In the second
half of the 20th century photography and art became more closely
connected. Pop artists like Andy Warhol (1928-87) often used
photographic images and concepts in their work.
In recent years, many
photographers have turned their attention from the world "out there" to
express themselves by staging their own events, constructing their own
images for the camera, inviting us to the private world of their
imagi¬nation.