Štúdia 8. 06. 2021, Božena Šupšáková

The period when the child's drawing was considered only some kind of doodling is over. A different look, different view on the child's artistic expression is nowadays, to a certain extent, also formed by the new art styles. We have in mind the art of the avant-garde, which in its essence, rejects the illusionist principle of reality approximation. That is why nowadays it is very interesting to study the symbol and its significance in fine art. Also to explore the child's artistic creation and to compare how the symbol is formed, how its meaning is formed, how the meaning is transformed into the context of its formation. It is also interesting who creates the sense and where the meaning is located. For us, the important role is played by a graphic symbol, which comprises all symbolizing or substitution qualities having their visual form in the shape of a line, surface, or in the system of visual tracks. The graphic symbol, which is located between the word and the picture, is irreplaceable. Their common feature is the graphic similarity, similarity purely accidental; on the other hand, semantic or meaningful value and concrete shapes significantly differ. Many signs, symbols, diagrams, and metaphors are symptomatic for mythology and its stories, as well as for the art of today. Contemporary art, in many respects, is close to the world of the child's drawing. The reason is that it does not attempt the accurate reproduction of phenomena that their authors meet daily. For contemporary artists, there is an importance of reflection, mood, feeling, a materialization of their inner world, which reacts to the world around them.


The child, as well, through their symbols, tries to give a reference on themselves, and on what is around them. As the myth portrays the picture of the world through the symbols, also the child communicates with the surrounding environment. History of fine art and concerning culture document that the child's drawing has always been, and further on remains an inspiration for many masters of fine art. In the era of romanticism, the child's picture was perceived as „ingenious" because the children were able to see the truth and express it. It is known that many artists, knowing this reality, have then tried to imitate the child's objectivity, creativity, and simplicity of forms. At the beginning of the 20th century, the children's drawings, which are considered children's art by some of the theorists, were displayed in the prominent cultural centres of Europe. Many masters of fine art openly admitted that they were fascinated by the child's creation. Even Wassily Kandinsky, Pablo Picasso, Paul Klee, Joan Miró, and others were intensively involved in the child's artistic performance. They collected the art and simultaneously exhibited it with their work. In the article, the author seeks a correlation between children's drawings and art schemes, which were used by masters of fine arts of the 20th century. Other topics that the author develops are artistic language and symbolism, schematism, the perception of traditional beauty, and artistic expression, such as the new perception of traditional beauty.

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