Date of Birth: 1891
Esthetician, linguist, critic, translator. In 1908 he entered the Mosk. Univ to ist. Department of the Faculty of History-fi-lol. Faculty. Attended summer semester in the Bavarian University are (Munich). Back in connection with the outbreak of war in Moscow, he graduated from Moscow. University Press (1916) and in 1918 became a teacher. Department of History and theory of art. In the 20-ies. G., continuing to work in the University are also reads the story of the ancient theater in the 1st state. Theatre Schools in VHUTEMAS. In Mosk. University are taught a course "General Theory and philosophy of art." Bas. as his activity in this period is related to the State. Academy of Arts, Sciences (GAKhN), which creates a "new science of art." Since 1924 - the deputy. presents t. (GG Shpet) Philosophy. GAKhN department. In 1929 GAKhN ceased to exist, many of its members were persecuted, arrested, and G. (on charges of "anti-Soviet agitation and participation in the counter-revolution. Group"), but released after a few months. In 1935 he was arrested on similar charges and sentenced to 3 years of exile; parole (1936). In the 30-ies. he is engaged in the theory of architecture, led by the Faculty of History theory. Faculty of the Academy of Architecture, is the scientific director of the publishing house of the Academy. In 1941, Corresponding Member was elected. Academy of Architecture, soon arrested and exiled to Siberia, where he was able to return due to the intercession of the Shchusev and ZHOLTOVSKOGO. During the struggle against formalism and cosmopolitanism was expelled G. (1949) from the Academy of Architecture, where he headed the department, however, I was able to settle in Moskov. University Press, where he lectured on the art of the Renaissance. In 1952 he retired and devoted himself to translation work. Describing Philosophy. views G., F. Pogodin (see .: "WF", number 1994. 3) writes: "Gabrichevsky saw the task of philosophy and art in the creation of the teachings of the art object as an art form building." New Science of Art "was based . on the phenomenology of the artistic object as a special form of existence According Gabrichevskogo, artistic object has two main inseparable features on the one hand, it is closed, isolated, mikrokos-michen in his personal integrity and quality, and on the other -. centrifugal, open, full of life wealth . and expressive content, makrokosmichen correlative and the inseparability of these two aspects in the artistic subject and correlative define the inseparability of the two groups of disciplines: art theory, based on the philosophy of the image, and the history of art, based on the philosophy of style "(S. 130). Considering that for the artist or person living art, space and time - the data itself existential reality (.. And not a priori forms of intuition, psychological capacity or relationship metaphysis entities), G. considering the Arts. synthesis of how the interpenetration of time and space, seeing the contrast of "absolute hudozhest. synthesis" from any other "living, creative product synthesis" in the highest degree of interpenetration. "... Specific duree [duration], pure intensity, pure time, is real only in the extensive product, in a rum-it is entirely present, and the object as such, purely extensive, clean space of liability, the reality of her to draw from this intensification "(space and time // Ibid, pp. 135). Considerable efforts have been directed to G. Inst. Arts. perception and creative. psychoanalytic t. sp. N.KGavryushin, describing this aspect of the constructions G. writes: "The whole system of its definitions and smyslorazli-cheny In most of the works begins with an analysis of the ambivalent feelings of erotic space-sti itself, or perhaps the space of otherness, of the other, which opposes itself in its self every "I" This experience manifests itself in two ways, in the antinomy, to-heaven, to convince G., is "the very essence of painting - the whole point of her existence and evolution.". The essence of it boils down to that the enjoyment of the visual or muscular "feeling" is in three-dimensional space of the subject ( "otherness") has two poles: on one it is associated with overcoming the resistance of the surface, the desire to deepen, to press, to pass through, to feel the resistance of the space environment on the other - with a sense of arising "from the unconscious attraction and desire to perceive, acquire, capture volume and physicality all" non-self "" (Eros space of liability:. A.G.Gabrichesky and aesthetics Russian 1920 // Ibid. 152 pp). I. G. Yu.Alekseeva Creative range is so wide that his name became a symbol of the organic unity of Philosophy., Science and art. The most important of Philosophy. synthesis problem of opposites G. decides to earlier works of art of Tintoretto and Mantegna. The idea of ??high art as a measure of Arts. Perfection connects with Philosophy. creative. in the region. architecture, painting, literature, music, sculpture. According to G., and shaped cul-Turnu Philosophy. It is inseparable from the beginning of Arts. object, to-ing is the core of the art and the teachings of him - center. task of Philosophy. Art. Judgments about the intrinsic value of the object and its inalienable from human activity, creating a thing as "the imprint of his being," Mr. complements the idea that the person in the art is presented as a source, target and measure the Arts. creative. He believes that the work of the architect - a continuation of the creative. nature, based on her own laws. Implementation of the human personality in the plastic arts system G. sees in solving the problems of the antinomy of art - the idea and matter, content and form, space and mass, space and time. Considering these concepts of interconnection and interdependence, it emphasizes their dialectical unity. G. thought that must be the basis of future Philosophy developed his theory of art. art, promoting the development of "a new quality of the science of being and nature as a creative whole."