This article is dedicated to examination of art synthesis as a phenomenon that extended to various spheres of culture and art of the XIX–XX centuries. This period marks the emergence of a different visual language and new forms of perception of artistic expression. Analysis is conducted on the forms of implementation of the idea Gesamtkunstwerk, and their development throughout the XX century: mythologization as a peculiar method of thinking, strive to go beyond the purely artistic imagery, subjectification of the perception of time and space, creation of the organized aesthetic environment, aesthetic dimension of humanism, synthetism of mentality and universalism of the artist. Special attention is given to the historical-cultural context, from the views of the Jena Romantics and musical theory of R. Wagner to the works of the masters of Art Nouveau, avant-garde and innovators of the theatrical scenery. The author also reviews the advent of the new forms of artistic expression. The analysis of the key trends allows determining the broad sense of the idea of art synthesis for the culture: philosophy, poetry, architecture, visual arts, design, and performance. The novelty of this study consists in description of the idea of art synthesis as one of the key meaning-forming factors in the European culture of the XIX–XX centuries. The article examines the problem of performativity of modern art as the logical continuation of the evolution of forms of artistic expression. Modern theatrical and performative practices (“live” exhibitory spaces, “museum of senses”, “theater of plentitude”, exploratory theater, promenade theater, and other) can be viewed as the reconceived version of the idea of art synthesis that originated in the culture of German Romanticism.
Brief Analysis of the Visual Language of Digital Animation
