ARMCHAIRS, CHAIRS AS A SIGNATURE MARK OF THE STYLE OF AN ARCHITECT AND DESIGNER. THEIR INTERPRETATION IN PAINTING

Abstract

The researcher discussed the design and aesthetic features of armchairs and chairs on the example of Scandinavian masters (including Alvar Aalto, Eera Saarinen, Kaare Klint, Hans Wegner, etc.) in the architecture of an individual dwelling and their interpretation in painting (works by Vincent van Gogh, Karin Mamma Andersson, Natalia Druzhinkina, and others). The author concluded that a chair, an armchair become unique attributes, furnishings for living rooms, kitchens, bedrooms, dining rooms, and other premises (examples of Finnish and Danish design are indicative). The degree of their extraordinary, extravagance depended on the handwriting of the designer. The chair has become an art object, a concept in the interior (as in Scandinavian design); captured the environment. The design of chairs and armchairs was initially determined by the architectonics of architectural forms, becoming a reflection of the internal and external space of the rhythm of the flowing spaces of architecture of the 20^th century. and continued in the world styles of hi-tech, radical design, deconstructivism, etc. The seal of the time lied in the depiction of chairs in painting, capable of something more than just displaying the external beauty of the subject in the interior. But even through the external unpresentability of sometimes ordinary things in the interior, even the ugliness of habitable chairs and armchairs in painting, one can reveal the true beauty, plasticity and liveliness of art.