The Warmth Of The Neva

In the twentieth century,Russia was in a period of great change at the turn of the century,a period of intense political struggle and ideological conflict that led to the emergence of a new ideology,which inevitably spilled over into the field of art.It was not until the relatively liberal political policies of Khrushchev in the 1960 s that artists were able to re-embrace and affirm modernist art,and against this backdrop Moiseyenko’s artistic language transformed to varying degrees at various stages.This paper takes the context of Moiseyenko’s time as a starting point and analyses his artistic style,formal language and emotional expressions in the context of his different political backgrounds and subjective artistic aspirations.This study focuses on four aspects of Moisheko’s art,which are examined in the context of a large number of works.From a contextual point of view,the stylistic influences on Moiseyenko’s figures are defined in terms of both external social factors and the dynamics of subjective will,and are discussed in depth in five areas: socio-cultural factors,the travelling exhibition school,Russian iconography,modernism and the artistic inspiration of El Greco.For the artist,the choice of subject matter is also one of the elements of a successful work of art.The author has grouped his subjects into three categories,namely,images of Red Army soldiers,images of family,friends and himself,and images of women,concluding that Moiseyenko always relies on his own emotions in the visible and palpable figures,and this is what makes his figure works so successful and touching.Moiseyenko always relies on the Russian Orthodox iconography and the artistic style of El Greco in terms of modelling,which is reflected in the elongated figure and the shaping of the group consciousness;the expression of flat language is closely related to modernist art.In terms of colour and form Moiseyenko established his own language of symbols,namely the black and white composition of colour and the black and white woodcut form of form,which have become his most representative stylistic features.At the end of this essay,the author uses Moiseyenko’s life experiences and the laws of formal expression to draw the inner metaphors contained in his figures,which convey his perception of life and his desire for a better world,Love" and "beauty" have always been the anchor points of his work.This study does not limit itself to a separate discussion of the formal language of Moiseyenko’s figure works,but builds Moiseyenko’s artistic spirit into the author’s own creative thinking,with the author’s own perceptions and understandings behind each argument,and for some of the questions raised,perhaps the confusion encountered by contemporary youth at this stage.The independent viewpoint of this thesis lies in the presentation of Moiseyenko’s black and white woodcut style of shaping forms,including the "leaning" and "lying" figures in his works,as well as the warmth and beauty conveyed by the two subtle objects of apples and dandelions,the former being discussed in terms of their objective existence,and the latter in terms of the warmth and beauty conveyed by the images.The former is discussed in terms of its objective existence,while the latter is analysed on the basis of the subjective atmosphere conveyed by the images.