Landscape glass as a form of dialogue with space

Abstract

The article considers landscape glass as one of the types of modern landscape art. The example of the open-air exhibitions of 2000-2016 clarifies the artistic specificity of the genre. Author reveals the role in establishing the aesthetic connection of nature and the object of art, in the inclusion of nature into the context of cultural space. A new genre of landscape glass was formed in the context of the development of studio author's glass, which in turn is closely related to the worldwide movement, called the Glass Studio movement. The artistic meaning of this process lies in the purely experimental character of the search for the author's style, in the striving to find modern means of expression. In the work process, the principles of form creation change radically, the boundaries of the genre expand, the plastic nature of the image is realized in a new way. Exhibitions of the Elaginostrovsky Palace Museum in St. Petersburg are the material on which the subject is studied. The appeal of artists to a large form, and this was dictated by the scale of space, broadened the boundaries and principles of form-building, changed the substantial manifestations of glass as a material, its ability to convey dramatic collisions of the world, complexity and multidimensional content. Particular attention was paid to the technical experiment, primarily in the work with flat window glass.