Industrial landscape paintings by famous artists of the 19th century. Economics and business in painting. Part 2: industrial landscape

(from French paysage - country, area) - genre visual arts, in which the main subject of the image is nature.
As an independent genre, landscape appeared already in the 6th century in Chinese art. Chinese traditions landscape painting had a great influence on Japanese art.
In Europe, landscape as a separate genre appeared much later than in China and Japan. During the Middle Ages, when only religious compositions had the right to exist, the landscape was interpreted by painters as an image of the characters' habitat.
Gradually, the landscape went beyond other artistic genres. This was facilitated by the development of easel painting. The masters of the Venetian school at the beginning of the 16th century played an important role in the creation of the landscape genre.
In Russian art, landscape as a genre of painting appears in late XVIII century. Semyon Shchedrin (1745-1804) is considered to be the founder of the Russian landscape.
The flourishing of landscape painting was marked by the development of plein air landscape associated with the invention of the tube paints production method in the 19th century.

The landscape genre is relatively young in relation to a portrait, battle or religious painting. The rapid development of landscape in all its diversity has made it one of the most popular and beloved genres of fine art. There are many subspecies of this genre.

Consider the most known species landscape.

NATURAL - a landscape depicting the natural landscape of forests, fields, rivers, natural phenomena in different times of the year. Painting a landscape always requires the artist to have a personal emotional relationship to the state of nature, which the author is going to display on canvas. Natural landscapes, in turn, have subspecies according to the depicted landscapes - mountain, forest, wall, sea landscapes. The latter is a special direction, which we took out separately.

MARINE - marinas, marine paintings in the form of an independent direction in the landscape appeared in the Netherlands in the 17th century. In calm and stormy weather, the sea is beautiful. Waves and surf, the sea element in the paintings of artists often personifies human manifestations of love, passion, peace.

RURAL - pictures of villages and villages, landscapes peasant life... In rural landscapes, artists glorify unity with nature, harmonious coexistence of man and the world around him, simple and understandable rural life, love for their native land.

URBAN - city landscape, another name is urban landscape. Types of streets and quarters inhabited by residents and transport. In the Italian art of the Renaissance, there was a veduta - an urban view with a detailed image of buildings, cozy streets, pavements and sidewalks.

ARCHITECTURAL - a landscape that demonstrates the beauty of buildings and structures and their fragments. Stone bridges, towers and fortresses, temples and lighthouses become the object of the artist's attention. Landscape painters of this trend like to depict historical buildings and ruins of ancient cities.

PARKOVY (manor) - a landscape of nature inhabited by man, equipped for a pleasant time. Neat paths and comfortable benches, romantic lanterns, graceful statues and fragments of architecture are characteristic of the park landscape.

INDUSTRIAL, industrial landscape - appeared with the development of large production and urban construction. Such landscapes can be found in the work of the Impressionists and most of all during the period of socialist realism, when the achievements in industry were embodied by artists in works of art.

LYRIC landscape or mood landscape. Such landscapes expressively convey to the viewer the mood and impressions of the artist from nature at the time of painting. It can be the serene silence and tranquility of a foggy morning, or the despondency and despair of a cold, rainy autumn.

The victorious October Revolution of 1917 brought about a radical revolution not only in political and social life society; it radically transformed the culture, consciousness, and worldview of people. Despite the harshest living conditions, civil war, devastation and famine, the 1920s and 1930s became one of the most productive years in terms of creative research in painting, architecture, literature, theater, and cinema. True, then, after the expiration of this cultural breakthrough, a return movement began, with the suppression of "degenerate art", which in essence contradicted the ideological line of the party and the Soviet government.

But this will be in the future, which in the 1920s seemed bright and inviting - its perspective, novelty, scale. With the proclamation of programs for the country's economic transformations, electrification, industrialization, the construction of a new, communist society, the whole country turned into one large construction site, where the main actor the working class has become, transforming the surrounding reality at an unprecedented rate.

Against the background of agrarian landscapes and untouched nature, enterprises in the electric power industry, chemistry and petrochemistry, mechanical engineering, metallurgy, and heavy industry began to be massively built.

The scale of the transformations shocked not only the layman, but also artists of various genres and trends. Organizers and followers of Jack of Diamonds, Donkey tail"And other avant-garde associations of Russian painters actively joined in a life steeped in labor romance and enthusiasm, shifting the emphasis from" scarecrows "(as Ilya Mashkov called his Fauvist portraits) to creating proletarian architectural masterpieces(such as the Tatlin Tower), posters, industrial landscapes.

Below is an early work of A. Kuprin “Plant. Etude ”, written almost in the style of Cubism, although the author avoids the typical for this direction of fragmentation of objects.

Masters such as Alexander Kuprin, Konstantin Bogaevsky, Alexander Deineka, Alexander Labas, as well as a number of other artists, put aside still lifes, portraits and nudity in order to create a new direction, which received the name industrial landscape... This capacious concept included not only canvases depicting factories or new buildings, but also other economic subjects - the construction of new cities and significant objects, power plants and dams, railways and locomotives, leaders of production in the entourage of technical equipment, machine tools, tractors, cranes.

Artists who painted industrial landscapes were not opportunists trying to ride a new fashionable wave and at the same time please the authorities. Their paintings were not “colorized photographs”. The canvases of the masters of this direction convey to the viewer the powerful pulse of that time, the enthusiasm of the workers, the grandiose scale of economic transformations. At the same time, we can observe the transfer of industrial rhythm and creative spirit through different styles – socialist realism, avant-garde, impressionism and even futurism (the latter trend for cities of the future is very popular even now). Probably, the term “all -ism” by M. Larionov and N. Goncharova would be appropriate here,

implying the use of all techniques and styles.

Below are the paintings of K. Bogaevsky, written by him in different styles in 1932 and 1935.

The painting "Bibi-Heybat", in which the artist depicted oil developments near Baku, amazes us with its static nature and complete absence of movement. The viewer sees only towering oil rigs, residential and industrial buildings near them. Nothing indicates a date; an external observer, as it were, finds himself in a space devoid of time. Only production facilities that are waiting for workers. Who and when will give the signal to start work remains a mystery. Complete static and understatement makes the picture look like an "industrial icon". In its execution, the masterpiece of K. Bogaevsky resembles the canvases of De Chirico, who worked in a metaphysical style.

The artist chooses completely different approaches when painting pictures about the construction of the Dnieper hydroelectric power station. On one of them, Dneprostroy is depicted in an almost impressionistic manner, where the play of light occupies one of the central places. Spotlight beams and flashes from welding work enliven the composition with dynamics and a creative beginning, while showing that the work does not stop even in the evening and at night.

In the painting "Panorama of the construction of the Dnieper hydroelectric power station" Bogaevsky adheres to a realistic style, carefully writing out the details of the extensive construction.

The works of Alexander Kuprin are designed in a more uniform and recognizable style, which depicts not only production sites, but also clearly distinguishable workers engaged in creative work.

A unique style and charisma are possessed by the canvases of A. Labas, who chooses a special palette of colors for an industrial landscape, typical for pastels. In the performance of the artist, the enterprises and the surrounding landscape come into a state of harmony that pleases the eye of an outside observer.

Paintings by artists representing the industrial landscape were used in the pre-war and post-war period

demand from the corporate sector. This type of painting was also close to the working masses, who perceived it as understandable, accessible, and advanced. For the canvases of the industrialists, additional explanations and lectures were not required, almost necessary for Malevich's Suprematism or Kandinsky's abstractions. Everything was done not only in a highly artistic style, but also had an educational and propaganda function that set the viewer in a creative mood.

The projection from the industrial landscape was the monumental painting, mosaics and embossing that adorned the buildings of Soviet cities, the territory of enterprises and parks. Industrial landscapes have been and continue to be an indispensable attribute of business executive offices, lobbies and corporate museums. This Soviet tradition has been preserved in a somewhat transformed form, and now it has become part of the organizational culture of not only industrial, but also service, transport and other companies.

It should be noted that over time, the attitude towards the industrial landscape has changed. This became especially noticeable after the man-made disasters in Bhopal, Chernobyl, extensive oil spills, and the appearance of industrial smog over cities.

Industrial pipes have become a symbol of pollution environment, increasing the content of greenhouse gases, waste water, exploitation of people and the environment. In the late 1990s and 2000s, industrial landscape was increasingly used in the genre of grotesque and caricature.

At the same time, the industrial landscape continues to evolve, taking into account new trends in industrial and landscape design, moving to a new stage in its evolution.

Industrial landscape - a whole layer of socialist realism in painting

The period of socialist construction in our country was associated with numerous changes in people's lives. This could not but affect the fine arts, which at that time acquired a special character. The changes affected all genres of painting, and, of course, the landscape was not spared either. In the thirties of the last century, the direction of the so-called "industrial landscape" was formed, in which a romantic view of the active restoration of the national economy, the construction of many impressive industrial facilities was vividly reflected. Many thematic paintings by artists were dedicated to the greatness of construction projects and the achievements of the Soviet people in labor and industrial development. However, many Soviet artists could not help but touch upon the creative side of the life of ordinary people, the psychology of their personality.
The appeal to topical themes of the era of socialist realism can be clearly traced in the paintings of Soviet artists Gremitsky V.G., Gordon G.M., Galakhov L.I., Solovyov S.F., Ishmametov E.D. and many others. The works of these talented masters of painting in all their diversity are presented in the impressive collection of Alexander Gremitsky. Selling industrial landscapes of socialist realism will be a unique opportunity for you to profitably purchase aesthetic works of fine art from an era that has already passed away from us to replenish your own collection of paintings or as a picture as a gift to people who are significant to you.

Features of the industrial landscape of socialist realism

Socialist realism emerged as a trend in the era of active construction of Soviet society. At the same time, the look at the surrounding reality provided for a special ideological bias. Soviet painting, like other types of art, was supposed to become a guide of Soviet people to faith in a bright future and to show the advantages of the then political system.
The industrial landscape of the artists of that time was intended to reflect the development
technical progress - the construction of large economic and industrial facilities, an increase in the volume of supplies Agriculture, to assert the idea of ​​the joy of human labor. Such large thematic paintings created a visually prosperous image of a great power and were supposed to tune the whole people to an optimistic perception of the then reality. Many painters who turned to this topic were able to create with the help of various artistic means truly talented works, reflecting the scope of construction projects, the incredible greatness of the people's labor, a charge of cheerfulness and faith in a bright tomorrow.
At the same time, the artists were able to visually convey a personal attitude to the theme that they chose for their industrial landscapes, filling the paintings with elements of romanticism and optimism. A vivid example of industrial landscapes can be safely called such works of pictorial art as "Construction of the Kuibyshev Hydroelectric Power Station", "The Lights of Kuibyshevgidrostroy" by artist Vladimir Gremitskikh.

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Industrialism- comes from the word "industry". An industrial society is an industrial society that develops in the direction of machine production, urbanization, and industry. The theme of industrialism is especially characteristic of the period of Soviet painting of the 20th century, when scientific and technological progress was especially noticeable, which entered the life of people of that time very sharply. This happened so unexpectedly that people almost instantly changed their views on life. New values ​​have absorbed all spheres of life, including art. In painting, sculpture, literature, it was plots from industrial life that more and more often arose: workers in factories and factories, combine operators in the fields, construction sites, development and development of new territories, production without end and edge, selflessly and tirelessly, and so on. Usually such art was directed precisely at the heroic component of the working class. People who did hard work presented themselves as real heroes, heroes, people to be looked up to.

In this regard, industrialism itself became so widespread that separate styles and subgenres of industrialism began to arise on its basis. The industrial landscape and portraits were especially striking.

Soviet posters mainly engaged in the propaganda of the working life of people, accompanied by vivid statements, put the worker on a special level. If earlier the workers were the lowest link in the social development of the country, now the worker is the main cog, an irreplaceable link in life. In addition, a Soviet industrialist style poster is often similar to military posters. Basically, this is war. War on the Home Front. Put everything on the future of the country, give up all your strength and spare no effort to turn the USSR into a great state with a developed industry!

Industrial landscape conveyed not the types and beauties of nature, but amazing, completely new types of man-made buildings, where the main factories were factories, smoking, smoking, and therefore working for the good of the country. Large-scale construction projects, factory everyday life, trains carrying coal, oil and so on. Industrial portrait was also extremely common and was one of the most popular at the time. Here workers were depicted, who in most cases were dressed in their work clothes. From the fact that the workers worked for the good of the country tirelessly, they have stern but happy faces, a purposeful look, they stand confidently on their feet and believe in their future. The country had grandiose plans for the future, and the artists tried to implement these plans and dreams even then.