Заедно срещу модернизма и срещу модерността. Ханс Зедълмайр „Революцията на модерното изкуство“ (1955), Димитър Аврамов, „Естетика на модерното изкуство“ (1969): усвояване и близост
Together against Modernism and Modernity. Hans Sedlmayr, Modern Art Revolution (1955), Dimitar Avramov, Aesthetics of Moder Art (1969): comprehension and rapprochement

Summary/Abstract: The author establishes rapprochement between the concepts of H. Sedlmayr and D. Avramov about modern art and defines the influence Sedlmayr’s ideas had on Avramov. It also discusses the limitations of Avramov’s understanding that modern art is a development of the ‘theory: art for art’s sake’ and comes to the conclusion that this, as well as other previous publications by the same author from the 1960s and the early 1970s, are part of his attempts to bring to modernity an officially conservative aesthetical concept. In Bulgaria, as well as in the Soviet Union, the topic of realism is important solely as a theme and as a part and parcel of the general critique of modernism. Avramov’s concept about modern art is conservative and subtly establishes part of the art works from the last decade of the 19th century as art models. Aesthetics of Modern Art meets certain expectations, but it does not create them. Avramov views the affluent art of the 19th century as a barricade collision between artist rebels and the dominant academic tastes of the bourgeoisie. Avramov’s concept contains a personal element of identification with the artists, who, in his personal view, are the most valuable and he describes them as rebels. The author of the current study introduces opinions about Aesthetics of Modern Art by Bulgarian authors between 1970 and 2021.

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