Soviet painting - the history of contemporary art. Soviet fine art Retro photographs of peasants of the 30s
In 1934, at the First All-Union Congress of Soviet Writers, Maxim Gorky formulated the basic principles of socialist realism as a method of Soviet literature and art. This moment marks the beginning of a new era of Soviet art, with stricter ideological control and propaganda schemes.
Basic principles:
- - Nationality. As a rule, the heroes of socialist realist works were city and country workers, workers and peasants, representatives of the technical intelligentsia and military personnel, Bolsheviks and non-party people.
- - Ideology. Show the peaceful life of the people, the search for ways to a new, better life, heroic deeds in order to achieve happy life for all people.
- - Concreteness. Show the process in the image of reality historical development, which in turn must correspond to the materialistic understanding of history (in the process of changing the conditions of their existence, people also change their consciousness, their attitude to the surrounding reality).
In the years following this decree of the Central Committee of the All-Union Communist Party (Bolsheviks) on the restructuring of literary and artistic organizations, a number of major events were carried out aimed at the development of art in the direction required for the state. The practice of state orders, creative business trips, and the organization of large-scale thematic and anniversary exhibitions is expanding. Soviet artists create many works (panels, monumental, decorative) for the future VDNKh. This marked an important stage in the revival of monumental art as an independent one. In these works, it became obvious that the craving of Soviet art for monumentality is not accidental, but reflects "the grandiose prospects for the development of socialist society."
In 1918, in a conversation with K. Zetkin, Lenin defined the tasks of art in Soviet society: “Art belongs to the people. It must have its deepest roots in the very thick of the broad working masses. It should be understood by these masses and loved by them. It should unite the feeling, thought and will of these masses, raise them. It should awaken the artists in them and develop them. "
During the period under review, along with the already existing directions of art, several fundamentally new ones appeared, for example, avant-garde.
Within the framework of the style of monumentalism, sculpture is of the greatest interest. Like all other trends in Soviet art, the sculpture of the period had an agitational orientation and a patriotic content of plots. Lenin's plan for monumental propaganda, adopted in 1918, was of great importance for the development of sculpture. In accordance with this plan, monuments promoting new revolutionary values were to be erected throughout the country. Prominent sculptors were involved in the work: N.A. Andreev (who later became the creator of sculptural Leniniana). Another prominent sculptor of this period is Ivan Shadr. In 1922 he created the statues "Worker", "Sower", "Peasant", "Red Armyman". The peculiarity of his method is the generalization of the image on the basis of a specific genre setting, powerful sculpting of volumes, expressiveness of movement, romantic pathos. His most striking work is “Cobblestone - an instrument of the proletariat. 1905 "(1927). In the same year, on the territory of the hydroelectric power plant in the Caucasus ZAGES, a monument to Lenin was erected by his own work - "one of the best." Vera Mukhina was also formed as a master in the 1920s. During this period, she created the project of the monument "Liberated Labor" (1920, not preserved), "Peasant Woman" (1927). Of the more mature masters, the work of Sarah Lebedeva, who created portraits, is noted. In her understanding of form, she takes into account the traditions and experience of impressionism. Alexander Matveev is characterized by classical clarity in understanding the constructive basis of plastic, the harmony of sculptural masses and the ratio of volumes in space ("Undressing woman", "Woman putting on a shoe"), as well as the famous "October" (1927), where the composition includes 3 nude men figures - a combination of classical traditions and the ideal of the "man of the era of the Revolution" (attributes - sickle, hammer, budenovka).
Art forms capable of "living" on the streets in the first years after the revolution played an important role in "shaping the social and aesthetic consciousness of the revolutionary people." Therefore, along with monumental sculpture the most active development was received by the political poster. It turned out to be the most mobile and operational art form. During the Civil War, this genre was characterized by the following qualities: “the sharpness of the presentation of the material, an instant reaction to rapidly changing events, an agitational orientation, thanks to which the main features of the plastic language of the poster were formed. They turned out to be laconicism, conventionality of the image, clarity of silhouette and gesture. The posters were extremely common, printed in large print runs, and placed everywhere. A special place in the development of the poster is occupied by the ROSTA Satire Windows, in which Cheremnykh, Mikhail Mikhailovich and Vladimir Mayakovsky played an outstanding role. These are stenciled posters, hand-painted and with poetic inscriptions on the topic of the day. They played a huge role in political propaganda and became a new figurative form. The decoration of the festivities is another new phenomenon of Soviet art that had no tradition. Holidays included the anniversaries of the October Revolution, May 1, March 8 and other Soviet holidays. This created a new non-traditional art form, thanks to which painting acquired a new space and function. For the holidays, monumental panels were created, which were characterized by a huge monumental propaganda pathos. Artists created sketches for the design of squares and streets.
The following persons took part in the decoration of these holidays: Petrov-Vodkin, Kustodiev, E. Lansere, S.V. Gerasimov.
Soviet art history divided the masters of Soviet painting of this period into two groups:
- - artists who sought to capture the plots in the usual pictorial language of factual display;
- - artists who used a more complex, imaginative perception of modernity.
They created images-symbols in which they tried to express their "poetic, inspired" perception of the era in its new state. Konstantin Yuon created one of the first works dedicated to the image of the revolution (“ New planet”, 1920, Tretyakov Gallery), where the event is interpreted on a universal, cosmic scale. Petrov-Vodkin in 1920 created the painting "1918 in Petrograd (Petrograd Madonna)", solving in it the ethical and philosophical problems of the time. Arkady Rylov, as it was believed, in his landscape "In the Blue Space" (1918) also thinks symbolically, expressing "the free breath of mankind, bursting out into the vast expanses of the world, to romantic discoveries, to free and strong experiences."
New images are also traced in the graphics. Nikolai Kupreyanov "in a complex technique of wood engraving seeks to express his impressions of the revolution" ("Armored cars", 1918; "Aurora's volley", 1920). In the 1930s, monumental painting became an indispensable link in the entire artistic culture. It depended on the development of architecture and was firmly connected with it. The pre-revolutionary traditions were continued at this time by the former world of art Yevgeny Lansere - the painting of the restaurant hall of the Kazan railway station (1933) demonstrates his craving for a mobile baroque form. It breaks through the plane of the plafond, expanding the space outward. Deineka, who also at this time makes a great contribution to monumental painting, works in a different way. His mosaics of the Mayakovskaya station (1938) were created using modern style: sharpness of rhythm, dynamics of local colorful spots, energy of angles, conventionality of images of figures and objects. The topics are mostly sports. Favorsky, famous schedule, also made a contribution to monumental painting: he applied his system of constructing form, developed in book illustration, to new tasks. His paintings of the Museum of the Protection of Mothers and Infancy (1933, together with Lev Bruni) and the House of Models (1935) show his understanding of the role of the plane, the combination of frescoes with architecture based on the experience of ancient Russian painting. (Both works have not survived).
Constructivism became the dominant style in the architecture of the 1920s.
Constructivists tried to use new technical possibilities to create simple, logical, functionally justified forms, expedient designs. The projects of the Vesnin brothers can serve as an example of the architecture of Soviet constructivism. The most ambitious of them, the Palace of Labor, was never implemented, but it had a significant impact on the development of domestic architecture. Unfortunately, architectural monuments were also destroyed: only in the 30s. in Moscow, the Sukharev Tower, the Cathedral of Christ the Savior, the Miracles Monastery in the Kremlin, the Red Gate and hundreds of unknown urban and rural churches, many of which were of historical and artistic value, were destroyed.
In connection with the political nature of Soviet art, many artistic associations and groupings are being created with their own platforms and manifestos. Art was in search and was diverse. The main groupings were AHRR, OST, and also "4 arts". The Association of Artists of Revolutionary Russia was founded in 1922. Its core consisted of former Itinerants, whose manner had a great influence on the group's approach - the realistic language of everyday life of the late Itinerant movement, "going to the people" and thematic exhibitions. In addition to the themes of the paintings (dictated by the revolution), the AHRR was characterized by the arrangement of thematic exhibitions such as "Life and Life of Workers", "Life and Life of the Red Army."
The main masters and works of the group: Isaac Brodsky ("Lenin's speech at the Putilov factory", "Lenin at Smolny"), Georgy Ryazhsky ("The Delegate", 1927; "Chairwoman", 1928), portrait painter Sergei Malyutin ("Portrait of Furmanov", 1922 ), Abram Arkhipov, Efim Cheptsov ("Meeting of the village cell", 1924), Vasily Yakovlev ("Transport is getting better", 1923), Mitrofan Grekov ("Tachanka", 1925, later "To the Kuban" and "Trumpets of the First Horse", 1934 ). The Society of Easel Painters, founded in 1925, included artists with less conservative views in terms of painting, mainly students of VKHUTEMAS. These were: Williams "Hamburg Uprising"), Deineka ("At the construction site of new workshops", 1925; "Before descending into the mine", 1924; "Defense of Petrograd", 1928), Labas Luchishkin ("The ball flew away", "I love life "), Pimenov (" Heavy Industry "), Tyshler, Shterenberg and others. They supported the slogan of rebirth and development easel paintings, but focused not on realism, but on the experience of contemporary expressionists. Of these, they were close to industrialization, city life and sports. The Four Arts Society was founded by artists who were previously part of the World of Art and the Blue Rose, who were careful about the culture and language of painting. The most prominent members of the association are Pavel Kuznetsov, Petrov-Vodkin, Saryan, Favorsky and many other outstanding masters. The society was characterized by a philosophical background with adequate plastic expression. The Society of Moscow Artists includes former members of the associations "Moscow Painters", "Makovets" and "Bytie", as well as members of the "Jack of Diamonds". The most active artists: Pyotr Konchalovsky, Ilya Mashkov, Lentulov, Alexander Kuprin, Robert Falk, Vasily Rozhdestvensky, Osmerkin, Sergei Gerasimov, Nikolai Chernyshev, Igor Grabar. The artists created "thematic" paintings using the worked out "Jacks of Diamonds" and so on. trends of the avant-garde school. The creativity of these groups was a symptom of the fact that the consciousness of the masters of the older generation was trying to rebuild itself to new realities. In the 1920s, two large-scale exhibitions were held, which consolidated the trends - to the 10th anniversary of the October Revolution and the Red Army, as well as the "Exhibition of Art of the Peoples of the USSR" (1927).
The leading sphere of development of literature in the 20s. undoubtedly is poetry. In terms of form, literary life has largely remained the same. As at the beginning of the century, literary circles set the tone for her, many of which survived the bloody hard times and continued to operate in the 1920s: symbolists, futurists, acmeists, etc. New circles and associations are emerging, but the rivalry between them now goes beyond the artistic sphere and often takes on a political connotation. The associations RAPP, "Pass", "Serapionovy brothers" and LEF were of the greatest importance for the development of literature.
RAPP (Russian Association of Proletarian Writers) took shape at the I All-Union Conference of Proletarian Writers in 1925. It included writers (of the most famous A. Fadeev and D. Furmanov) and literary critics... The predecessor of the RAPP was "Proletkult" - one of the most massive organizations, founded in 1917. They treated almost all writers who were not part of their organization as "class enemies". Among the authors who were attacked by the RAPP were not only A. Akhmatova, Z. Gippius, I. Bunin, but even such recognized “singers of the revolution” as M. Gorky and V. Mayakovsky. The ideological opposition to the RAPP was the literary group Pereval.
The Serapion Brothers group was created in 1921 at the Petrograd House of Arts. The group included such famous writers, like V. Ivanov, M. Zoshchenko, K. Fedin and others.
LEF is the left front of the arts. The positions of the members of this organization (V. Mayakovsky, N. Aseev, S. Eisenstein and others) are quite contradictory. Combining futurism with innovation in the spirit of a proletarian cult, they came up with a very fantastic idea of creating a kind of "production" art, which was supposed to fulfill the utilitarian function of providing a favorable atmosphere for material production in society. Art was viewed as an element of technical construction, without any subtext, invention of psychologism, etc.
Of great importance for the development of Russian literature of the twentieth century. played the poetry of V. Ya. Bryusov, E. G. Bagritsky, O. E. Mandelstam, B. L. Pasternak, D. Bedny, "peasant" poets, the brightest representative which was a friend of Yesenin N.A.Klyuev. A special page in history domestic literature constitutes the work of poets and writers who did not accept the revolution and were forced to leave the country. Among them are such names as M. I. Tsvetaeva, Z. N. Gippius, I. A. Bunin, A. N. Tolstoy, V. V. Nabokov. Some of them, realizing the impossibility for themselves to live away from their homeland, subsequently returned (Tsvetaeva, Tolstoy). Modernist tendencies in literature were manifested in the work of E. I. Zamyatin, the author of the anti-utopian science fiction novel "We" (1924). Satirical literature of the 20s represented by the stories of M. Zoshchenko; novels by co-authors I. Ilf (I. A. Fainzilberg) and E. Petrov (E. P. Kataev) "Twelve Chairs" (1928), "The Golden Calf" (1931), etc.
In the 30s. there are several major works that have gone down in the history of Russian culture. Sholokhov creates the novels "Quiet Don", "Virgin Land Upturned". Sholokhov's work received worldwide recognition: for his writer's merits he was awarded Nobel Prize... In the thirties M. Gorky completed his last epic novel “The Life of Klim Samgin”. The work of N. A. Ostrovsky, the author of the novel "How the Steel Was Tempered" (1934), was very popular. A classic of the Soviet historical novel became A. N. Tolstoy ("Peter I" 1929-1945). The twenties and thirties were the heyday of children's literature. Several generations of Soviet people grew up on the books of K. I. Chukovsky, S. Ya. Marshak, A. P. Gaidar, S. V. Mikhalkov, A. L. Barto, V. A. Kaverin, L. A. Kassil, V. P. Kataeva.
In 1928, M. A. Bulgakov, hunted by Soviet criticism, without any hope of publication, begins to write his best novel"The Master and Margarita". Work on the novel continued until the writer's death in 1940. This work was published only in 1966. In the late 80s, the works of A.P. Platonov (Klimentov) "Chevengur", "Pit", "Juvenile Sea" were published ... The poets AA Akhmatova and BL Pasternak worked on the table. The fate of Mandelstam (1891-1938) is tragic. The poet of extraordinary strength and great pictorial accuracy was among the writers who, having once accepted the October Revolution, could not get along in Stalin's society. In 1938 he was repressed.
In the 30s. The Soviet Union is gradually beginning to fence itself off from the rest of the world. Many Russian writers remained behind the "Iron Curtain", who, in spite of everything, continue to work. The poet and prose writer Ivan Alekseevich Bunin (1870-1953) was a writer of the first magnitude. From the very beginning Bunin did not accept the revolution and emigrated to France (the story "Mitya's Love", the novel "The Life of Arseniev", the collection of stories "Dark Alleys"). In 1933 he was awarded the Nobel Prize.
In the early 30s. the existence of free creative circles and groups came to an end. In 1934, at the I All-Union Congress of Soviet Writers, the "Union of Writers" was organized, into which all people who were engaged in literary work were forced to join. The Writers' Union has become an instrument of total control over the creative process by the authorities. It was impossible not to be a member of the Union, because in this case the writer was deprived of the opportunity to publish his works and, moreover, could be prosecuted for "parasitism". M. Gorky stood at the origins of this organization, but his chairmanship in it did not last long. After his death in 1936 A. A. Fadeev became the chairman. In addition to the "Union of Writers", other "creative" unions were organized: "Union of Artists", "Union of Architects", "Union of Composers". A period of uniformity was beginning in Soviet art.
The revolution has unleashed powerful creative powers. This also affected the development of domestic theatrical art... Many theater groups... An important role in the development of theatrical art was played by the Bolshoi Drama Theater in Leningrad, the first artistic director of which was A. Blok; V. Meyerhold, theater. E. Vakhtangov, Moscow Theater. Mossovet.
The mid-1920s saw the emergence of Soviet drama, which had a tremendous impact on the development of theatrical art. The largest events of the theatrical seasons 1925-1927. became "Storm" V. Bill-Belotserkovsky in the theater. MGSPS, “Love Yarovaya” by K. Trenev at the Maly Theater, “Rift” by B. Lavrenev at the theater. E. Vakhtangov and at the Bolshoi Drama Theater, "Armored train 14-69" V. Ivanov at the Moscow Art Theater. Classics occupied a firm place in the repertoire of theaters. Attempts to re-read it were made both by academic theaters (“Ardent Heart” by A. Ostrovsky at the Moscow Art Theater) and by “leftists” (“The Forest” by A. Ostrovsky and “Inspector General” by N. Gogol at the V. Meyerhold Theater).
If drama theaters restructured their repertoire by the end of the first Soviet decade, the main place in the activities of opera and ballet groups was still occupied by the classics. The only major success in reflecting the contemporary theme was the staging of R. Glier's ballet “Red Poppy” (“Red Flower”). In countries Western Europe and America were made by L.V. Sobinov, A.V. Nezhdanova, N.S. Golovanov, Moscow Art Theater troupe, Chamber Theater, Studios them. E. Vakhtangova, Quartet of Old Russian Instruments
The musical life of the country in those years is associated with the names of S. Prokofiev, D. Shostakovich, A. Khachaturyan, T. Khrennikov, D. Kabalevsky, I. Dunaevsky and others. Young conductors E. Mravinsky and B. Khaikin came to the fore. Were created musical ensembles, later glorified the national musical culture: Quartet them. Beethoven, Grand State Symphony Orchestra, Orchestra of the State Philharmonic Society, etc. In 1932 the Union of Composers of the USSR was formed.
Along with the actors of the older generation (M. N. Ermolova, A. M. Yuzhin, A. A. Ostuzhev, V. I. Kachalov, O. L. Knipper-Chekhova), a new revolutionary theater emerged. The search for new forms of stage expressiveness is characteristic of the theater, which worked under the direction of V.E. Meyerhold (now the Meyerhold Theater). On the stage of this theater were staged plays by V. Mayakovsky "Mystery-Buff" (1921), "Bedbug" (1929) and others. A major contribution to the development of the theater was made by the director of the 3rd Moscow Art Theater Studio E. B. Vakhtangov ; organizer and director of the Chamber Theater, reformer of the performing arts A. Ya. Tairov.
One of the most important and interesting phenomena in the history of culture of the 20s. was the beginning of the development of Soviet cinema. Documentary cinematography is developing, which has become one of the most effective tools for ideological struggle and agitation, along with the poster. An important milestone in the development of fictional films was the film by Sergei Mikhailovich Eisenstein (1898 - 1948) "Battleship Potemkin" (1925), which was one of the world's masterpieces. The Symbolists, Futurists, Impressionists, Imagists, etc. fell under a barrage of criticism. They were accused of "formalistic twists", that their art was not needed by the Soviet people, that it was hostile to socialism. Composer D. Shostakovich, director S. Eisenstein, writers B. Pasternak, Yu. Olesha and others were among the "aliens". Many art workers were repressed.
political culture totalitarianism ideology
Details Category: Fine arts and architecture of the Soviet period Published on 09/14/2018 13:37 Hits: 1845Since the 1930s of the XX century. official art in Russia developed along the lines of socialist realism. An end was put to the variety of artistic styles.
The new era of Soviet art was distinguished by strict ideological control and elements of propaganda.
In 1934, at the First All-Union Congress of Soviet Writers, Maxim Gorky formulated the basic principles of socialist realism as a method of Soviet literature and art:
Nationality.
Ideology.
Concreteness.
The principles of socialist realism were not only declared, but also supported by the state: state orders, creative business trips of art workers, thematic and anniversary exhibitions, the revival of monumental art as an independent one, since it reflected "the grandiose prospects for the development of socialist society."
The most significant representatives of easel painting of this period were Boris Ioganson, Sergey Gerasimov, Arkady Plastov, Alexander Deineka, Yuri Pimenov, Nikolai Krymov, Arkady Rylov, Pyotr Konchalovsky, Igor Grabar, Mikhail Nesterov, Pavel Korin and others. We will devote separate articles to some artists.
Boris Vladimirovich Ioganson (1893-1973)
B. Johanson. Self-portrait
One of the leading representatives of socialist realism in painting. He worked in the traditions of Russian painting of the 19th century, but introduced into his works "a new revolutionary content, consonant with the era."
He was also a teacher of painting, director of the State Tretyakov Gallery in 1951-1954, First Secretary of the Union of Artists of the USSR, editor-in-chief of the encyclopedia "The Art of Countries and Peoples of the World", had many state awards and titles.
Two of his paintings are especially famous: "Interrogation of the Communists" and "At the Old Ural Factory" (1937).
B. Johanson "Interrogation of the Communists" (1933). Canvas, oil. 211 x 279 cm.The State Tretyakov Gallery (Moscow)
The history of the painting in this case is necessary for the realization of its idea. “I was personally pursued by the idea of comparing classes, a desire to express irreconcilable class contradictions in painting.
The White Guard is a special outgrowth in history, it is a rabble where the remnants of the old officers, speculators in military uniform, and outright bandits, and marauders of war are mixed. What a striking contrast to this gang were our military commissars, the communists, who were the ideological leaders and defenders of their socialist fatherland and the working people. It was my creative task to express this contrast, to compare it ”(B. Johanson).
One White Guard officer sits in a gilded chair with his back to the viewer. The rest of the white officers are facing. To enhance the dramatic effect, the artist provides artificial night lighting. The convoy figure is placed in the upper dark edge of the left corner and is a slightly visible silhouette. In the right corner there is a window with a curtain, through which additional night light is pouring.
The communists seem to be on an elevation in comparison with the White Guards.
Communists are a girl and a worker. They stand side by side and calmly look into the face of their enemies, their inner excitement is hidden. Young communists symbolize a new type of Soviet people.
Sergei Vasilievich Gerasimov (1885-1964)
S. Gerasimov. Self-portrait (1923). Canvas, oil. 88 x 66 cm.Kharkiv Art Museum(Kharkov, Ukraine)
Russian artist, representative of Russian impressionism, especially manifested in his landscapes. He also created a number of standard socialist realist paintings.
S. Gerasimov “Spring. March". Canvas, oil
In the historical genre, his most famous work is The Oath of the Siberian Partisans.
S. Gerasimov "The Oath of the Siberian Partisans" (1933). Canvas, oil. 173 x 257 cm.The State Russian Museum (St. Petersburg)
The picture is harsh in content, but expressive and expressive. It has a clear composition and ideological focus.
The genre painting by S. Gerasimov "Collective Farm Holiday" (1937) is considered one of the most significant works Soviet art of the 30s of the XX century.
S. Gerasimov "The collective farm holiday" (1937). Canvas, oil. 234 x 372 cm.The State Tretyakov Gallery (Moscow)
One of the most famous paintings about the war was S. Gerasimov's painting "The Mother of the Partisan."
S. Gerasimov "Mother of the Partisan" (1943-1950). Canvas, oil. State Tretyakov Gallery (Moscow)
The artist himself spoke about the idea of the painting as follows: "I wanted to show in her image all the mothers who sent their sons to war."
The woman is firm in her innocence, she personifies great power popular anger. She suffers, but this is the suffering of the proud strong man, so her face seems calm at this tragic moment.
Arkady Alexandrovich Plastov (1893-1972)
P. Bendel. Portrait of the artist Plastov
The artist A. Plastov is called “the singer of the Soviet peasantry”. All of his genre paintings are created against the background of a landscape. The artist's Russian nature is always lyrical and animated. His paintings are distinguished by poetic expressiveness and almost conflict-free.
A. Plastov "First Snow" (1946)
The artist depicted a small fragment from village life. On the threshold of the wooden house there are two peasant children, most likely a sister and a brother. Waking up in the morning, they saw snowfall and ran out onto the porch. The girl did not even have time to tie a warm yellow shawl, she just threw it on easy homemade dress, and stuck her legs into boots. Children with surprise and delight look at the first snow. And this joy, this childish delight from the beauty of nature is transmitted to the audience.
Plastov is a convinced realist. The search for something completely new and unprecedented was alien to him. He lived in peace and admired its beauty. Plastov believed: the main thing for an artist is to see this beauty and convey it on canvas. You don't need to write beautifully, you need to write the truth, and it will be more beautiful than any fantasy.
A. Plastov "Golden Edge" (1952). Canvas, oil. 57 x 76 cm. State Museum-Reserve "Rostov Kremlin"
A. Plastov "Haymaking" (1945). Canvas, oil. 193 x 232 cm. State Tretyakov Gallery (Moscow)
The artist created a series of paintings about the Great Patriotic War. The canvas "Fascist Flew" is filled with tragedy, it is considered a masterpiece of Soviet art of the war and post-war period.
A. Plastov "Fascist Flew" (1942). Canvas, oil. 138 x 185 cm.The State Tretyakov Gallery (Moscow)
The artist A. Deineka continues to work on his favorite themes.
Yuri Ivanovich Pimenov (1903-1977)
Known as a painter, theater artist, set designer and graphic artist, poster artist, teacher.
His most famous painting is "New Moscow".
Yuri Pimenov "New Moscow" (1937). Canvas, oil. 140 × 170 cm.State Tretyakov Gallery (Moscow)
It was written in the midst of the reconstruction of the capital. A woman driving is a rather rare occurrence for those years. This is a symbol of new life. The compositional solution is also unusual: the image looks like a camera frame. The woman is shown from the back, and this perspective invites the viewer to look at the morning city through her eyes. The feeling of joy, freshness and spring mood is created. This is facilitated by the artist's impressionistic manner of painting and the delicate coloring of the picture. The picture is imbued with an optimistic attitude characteristic of that time.
The artist also used this technique when painting the picture "Front road". The emotional content of the picture is built on the contrast between the image of a peaceful, changing Moscow and the city depicted in the picture "Front road", plundered and destroyed as a result of the fascist invasion.
Yuri Pimenov "Front road" (1944)
In the early period of his work, Pimenov was influenced by German Expressionism, which largely explains the dramatic acuteness of his best paintings of these years: "War Invalids", "Give Heavy Industry!" (1927), "Soldiers go over to the side of the revolution" (1932). Gradually, he turned to impressionism, adhering to the creative principle of "a beautiful moment".
Yu. Pimenov "Invalids of War" (1926). State Russian Museum (Petersburg)
Georgy Grigorievich Nissky (1903-1987)
Georgy Nyssa during this period was actively engaged in landscape art. His paintings are notable for their pictorial laconicism, dynamics, bright compositional and rhythmic solutions. The artist's nature has always been transformed by human hands.
G. Nyssa “Autumn. Semaphores "(1932)
G. Nyssa “Moscow region. February "(1957). Canvas, oil. State Tretyakov Gallery (Moscow)
Nikolai Krymov is referred to as landscape painters of the older generation.
Nikolai Petrovich Krymov (1884-1958)
Nikolay Krymov (1921)
N.P. Krymov was born into the family of an Itinerant artist, so the original direction of his work was the same. During his studies (1905-1910), he inclined towards the impressionistic depiction of nature, gentle pastel colors and light strokes gave his canvases an inspired and weightless look. In the 1920s he became an adherent of Russian realistic painting.
N.P. Krymov "Morning in Central park culture and recreation them. M. Gorky in Moscow "(1937). Canvas, oil. 81 x 135 cm. State Tretyakov Gallery (Moscow)
The last period of the painter's work is associated with the Oka River and the small town of Tarusa, where Krymov came to stay. He was fascinated by the local landscapes and the Oka River, which "breathed freedom".
N. Krymov "Street in Tarusa" (1952)
A reflection of love for Tarusa was the paintings "Before dusk", "Polenovo. Oka River "and a number of others. The artist has many winter landscapes.
N. Krymov “Winter. Roofs "(1934)
Arkady A. Rylov (1870-1939)
A. Rylov. Self-portrait with a squirrel (1931). Ink, Italian pencil on paper. State Tretyakov Gallery (Moscow)
Russian and Soviet landscape painter, graphic artist and teacher.
His most famous painting is "Lenin in Razliv".
A. Rylov “V.I. Lenin in Razliv in 1917 " (1934). Canvas, oil. 126.5 by 212 cm.The State Russian Museum (St. Petersburg)
This is one of the best works of the artist in his late period of creativity. In this painting, the artist combines landscape with a historical genre. Lenin's stay in Razliv in the summer of 1917 is one of the main subjects of the Leninist theme in Soviet art. In the landscape and in the dynamic figure of the leader, one can feel the excitement and tension of the moment. Clouds rush across the sky, the wind oppresses mighty trees, in the struggle against these natural forces the figure of Lenin rushes towards the wind with a firm determination to win in the name of the future.
A stormy lake and an unsettling sky symbolize a storm. Dusk falls on the ground. Lenin, not noticing anything of this, peers intently into the distance. This interpretation of the image of the leader is an ideological order of the Soviet era.
The Soviet portrait genre was actively developing at this time, in which Pyotr Konchalovsky, Igor Grabar, Mikhail Nesterov showed themselves most vividly.
P. Konchalovsky. Portrait of the composer Sergei Sergeevich Prokofiev (1934). Canvas, oil. 181 x 140.5 cm.The State Tretyakov Gallery (Moscow)
P. Konchalovsky. Portrait of V.E. Meyerhold (1938). Canvas, oil. 211 x 233 cm.The State Tretyakov Gallery (Moscow)
During the period of mass repressions, shortly before the arrest and death of Meyerhold, P. Konchalovsky created a portrait of this outstanding theatrical figure. On January 7, 1938, the Arts Committee adopted a resolution to liquidate State Theater named after Meyerhold.
The artist conveyed the conflict between the personality and the surrounding reality through a complex compositional solution. The canvas depicts not a dreamer, but a man whose fate hangs in the balance, and he knows it. Konchalovsky reveals tragic image director-reformer.
I. Grabar. Portrait of Academician N.D. Zelinsky (1935). Canvas, oil. 95 x 87 cm.The State Tretyakov Gallery (Moscow)
I. Grabar. Portrait of Vladimir Ivanovich Vernadsky (1935)
Pavel Dmitrievich Korin (1892-1967)
Pavel Korin (1933)
Russian and Soviet painter, muralist, portrait master, restorer and teacher, professor.
He was brought up in Palekh and began by painting icons. He studied at the Moscow School of Sculpture and Architecture, eventually became one of the most important masters of early Soviet portraiture, created a whole gallery of portraits of intellectuals of his time.
The works of this artist are characterized by monumentality, severe scale, clearly sculpted forms.
The most famous works of P. Korin: triptych "Alexander Nevsky", portraits of Georgy Zhukov and Maxim Gorky.
P. Corin. Triptych "Alexander Nevsky"
The triptych was commissioned by the artist in the year of the Great Patriotic War, when the theme of confronting the invader was central in art.
On the left and right sides of the triptych, the soldiers are going to war. They were escorted by women: an old woman-mother, a wife holding a small child in her arms. They as well motherland need protection.
In the middle is the image of a warrior. Alexander Nevsky stopped the German knights in ancient times, so he can inspire the defenders to fight the fascist invaders. His figure is monumental - it is the memory of the Russian heroes. The banner with the face of Christ reminds of the holiness of the Russian land. He stands leaning on a sword - the enemies must perish from the sword with which they came.
Behind him is his native land, which must be protected.
Thematic paintings and portraits performed by the master are characterized by spirituality and composure of images, rigor of composition and drawing.
Interest in creative individuals characteristic of the atmosphere of this period.
In the 20s. a number of artistic trends retained continuity with the art of the Russian
modern and avant-garde - largely due to the fact that the masters of the beginning of the century continued to work. On the other hand, the functions of art in society became more and more diverse. New types of artistic activities have emerged: cinema, advertising, design.
Active debates were conducted by "easel artists" (supporters of easel forms of art) and "production workers", or constructivists, whose activities were aimed at improving the subject environment, surrounding man... The beginning of the Constructivist movement is associated with the Moscow Society of Young Artists (OBMOKHU), which was organized in 1919 by Konstantin (Kazimir Konstantinovich) Medunetsky (1899-1935) and the Stenberg brothers - Vladimir Avgustovich (1899-1982) and Georgy Avgustovich (1900-1933). At OBMOKHU exhibitions, artists demonstrated mainly three-dimensional structures - in space and on a plane. If in the Suprematist compositions of Kazimir Malevich the direct pictorial feeling was of the greatest value, then OBMOKHU's works belonged to the field of design. They were easy to use in the design of a play or book, in a poster and in photography.
El Lissitzky (real name Lazar Markovich Lissitzky, 1890-1941) called his works "prouns" - "projects for the approval of the new." According to the author, they were "a transfer station from painting to architecture." Alexander Mikhailovich Rodchenko (1891 -1956) “designed” books, created advertising posters, designed furniture and clothing, and was engaged in photography.
To train artists - engineers and designers capable of designing industrial products, the Higher Artistic and Technical Workshops (VKHUTEMAS) were created in Moscow in 1920. The workshops united several faculties: architectural, graphic (printing and printed graphics), metal and wood processing, painting, ceramic, sculptural and textile. For the first two years, students had to comprehend the laws of shaping that are common to art, and then specialization in any faculty was supposed.
In 1926, the Moscow VKHUTEMAS was transformed into VKHUTEIN - the Higher Artistic and Technical Institute. (Since 1922, VKHUTEIN already existed in Leningrad instead of the Academy of Arts.) In 1930, VKHUTEIN was closed, its faculties became separate institutes - printing, textile, etc.
As for painting, already in the 20s. critics have noted her "turn towards realism." By realism, they meant, first of all, an interest in figurativeness (as opposed to abstraction), in the classical painting tradition. The appeal to the classics can also be explained by the requirements of ideology: the art of the Soviet state was intended to use best achievements world culture. This determined the search for clear and distinct forms of the "grand style".
The Association of Artists of Revolutionary Russia (AHRR), founded in 1922 (since 1928 - the Association of Artists of the Revolution, AHR), partly took over from the Itinerants. The Association of Traveling Art Exhibitions itself ceased activity a year later, and many Itinerants - among them, in particular, Abram Efremovich Arkhipov, Nikolai Alekseevich Kasatkin - became members of the AHRR. V different time The Association included Sergei Vasilyevich Malyutin (1859-1937), Alexander Mikhailovich Gerasimov (1881-1963), Boris Vladimirovich Ioganson (1893-1973), Mitrofan Borisovich Grekov (1882-1934), Isaak Izrailevich Brodsky (1883-1939) and other artists ...
These masters were united by a common ideological orientation. They insisted on creating a narrative, genre art that would be understandable to the people and truthfully reflect reality. The Association published the magazine "Art to the Masses" and was actively involved in exhibitions.
The names of the exhibitions speak of the theme of the works of the artists of the AHRR: "Life and Life of Workers" (1922), "Red Army" (1923), "Revolution, Life and Labor" (1925), etc. His work they defined the concepts of "artistic documentary" and "heroic realism", considering painting as historical evidence, as a chronicle of the era.
In this spirit, Grekov's canvases on the themes of the Civil War, paintings "Vladimir Ilyich Lenin in Smolny" (1930) by Brodsky, "Portrait of D. A. Furmanov" (1922) by Malyutin were written. The association lasted until 1932.
In 1925, graduates of the workshop of David Petrovich Shterenberg (1881 - 1948) at VKHUTEMAS formed the Society of Easel Artists (OST). They united as supporters of easel art - as opposed to "production workers". Nevertheless, the work of the Ostovites cannot be considered easel in the strict sense of the word. Members of the OST were engaged in monumental painting and posters, decorated books, theatrical performances.
Alexander Alexandrovich Deineka (1899-1969) initially worked as a magazine graphic artist, went through the school of V.A. In the monumental and decorative paintings of 1928 "At the construction site of new workshops" and "Defense of Petrograd" the artist distributes, "mounts" light and dark spots, they seem to be cut out and glued to each other. The white background of "Defense of Petrograd" in the hall of the State Tretyakov Gallery merges with the wall, goes into it, and only the "metal" skeleton of the image remains.
Composition by Yuri Ivanovich Pimenov (1903-1977) "Give us heavy industry!" (1927) exists in two versions - a picture and a poster, and in the latter case it is the most organic.
OST artists took part in international exhibitions, including those held in Germany. The influence of German art - expressionism and "New Materiality" - was reflected in the graphic and painting works of Alexander Grigorievich Tyshler (1898-1980), Alexander Arkadyevich Labas (1900-1983) and other artists.
In 1931 the Society of Easel Artists split into two associations - OST and Isobrigada, and in 1932 they ceased to exist.
In the 20-30s. graphics became increasingly important: book illustration, drawing, engraving - art intended for replication, accessible to the masses, directly addressing people. Outstanding illustrators Alexey Ilyich
Kravchenko (1889-1940) And Vladimir Andreevich Favorsky (1886-1964) worked mainly in the technique of woodcut - wood engraving. Favorsky was a teacher at VKHUTEMAS-VKHUTEIN, and since 1930 - at the Moscow Polygraphic Institute. He strove for a synthetic design of the book, when all artistic elements - plot illustrations, headpieces and fonts - make up a single figurative and stylistic ensemble. Vladimir Mikhailovich Konashevich (1888-1963) and Vladimir Vasilyevich Lebedev (1891 - 1967) dedicated their work to illustrating children's books. In 1932, a decree was issued on the disbandment of all art groups and the creation of a single Union of Artists of the USSR. Now only the state could place orders, organize large-scale thematic exhibitions dedicated to the socialist industry; it sent artists to paint all-Union construction projects and portraits of production shock workers.
Critics and researchers consider the art of the 30s. as the neoclassical period. They argued about the classics, they actively used it. The fascination with the art of the past flourished, while independent study nature has receded into the background.
The most eminent masters of socialist realism of the 30s. were former Akhrovites A.M. Gerasimov and B.V. Ioganson. Gerasimov in his ceremonial portraits-paintings of 1938 “I. V. Stalin and K. E. Voroshilov in the Kremlin "," Portrait of the ballerina O. V. Lepeshinskaya "achieves an almost photographic effect. Johanson's works "Interrogation of the Communists" (1933) and "At the Old Ural Factory" (1937) continue the tradition of the Itinerants. The artist sometimes directly "quotes" them in separate images.
Not many artists worked for themselves, that is, outside the rules of socialist realism. Among them are Alexander Davydovich Drevin (Drevinsh, 1889-1938) and Mikhail Ksenofontovich Sokolov (1885-1947), who in intimate, chamber works limited themselves to a certain range of pictorial topics. Both masters were repressed during the years of Stalinist terror.
By the beginning of the 40s. the pressure on artists from the authorities increased. The Museum of New Western Art was closed, where the works of the impressionists - Paul Cézanne, Henri Matisse, and other masters of the second half of the 19th - early 20th centuries - were exhibited.
During the Great Patriotic War 1941-1945. The most developed was the massively reproduced graphics, and above all the poster.
This section presents paintings by Soviet artists, contains paintings of various genres: here you can find both landscape and still life, portraits and various genre scenes.
Soviet painting in this moment gained great popularity, both among professionals and art lovers: numerous exhibitions and auctions are organized. In our section of Soviet painting, you can choose a picture not only for interior decoration, but also for a collection. Many works of the era of socialist realism have historical meaning: for example, city landscapes have preserved for us the lost appearance of familiar places since childhood: here you will find views of Moscow, Leningrad and other cities of the former USSR.
Of particular interest are genre scenes: like documentary newsreels, they recorded the peculiarities of the life of a Soviet person. The portraits of this time also remarkably convey the mood of the era, tell about people of various professions and destinies: here are workers, and peasant women, and military leaders, and, of course, the leaders of the proletariat. Children's portraits of the era of socialist realism are a direct embodiment of the concept of "happy childhood". The site also widely presents the genre of industrial landscape typical of Soviet art.
Our experts will help you choose a suitable painting or sell works from your collection on our website.
In the category of antiques "Soviet art»More than 2 thousand different works of masters from the period of the revolution of 1917 to 1991 are presented. The official ideological thought exerted a great influence on the creators of this period, which is reflected in many thematic works presented in this catalog. Art has become closer to the common man, as evidenced by the unique portraits of ordinary workers, pioneers, and Komsomol members. These are the works that the antiques store presents on its pages.
Military themes became a separate area of Soviet inventive art. Such antiques are valuable not only for the technique of execution, but also for the history itself, displayed on the canvas. The cost of each canvas is determined individually, depending on the following important factors:
- its plot uniqueness;
- thematic area;
- the chosen writing technique and its quality of execution.
"Buy a Painting" gives users a unique opportunity to purchase antiques of those times at affordable prices. Pictures perfectly convey the feelings and experiences of a Soviet person, reflect his everyday life. The user's attention is presented with antiques depicting the great leaders of the USSR, posters with slogans known throughout the country, still lifes, illustrations from books, graphic works and, of course, beautiful landscapes from various parts of the Soviet state.
In the antique shop you can find traditional paintings from that period. Many Soviet artists worked in the genre of realism, and starting in the 60s, the direction of the "severe style" became popular. Still lifes on various themes were also very popular. Such antiques are also presented on the site, and you can view all the offers.
It is worth noting that posters on political themes have become a separate type of visual art of the Soviet period. They played an important social and ideological role. These antiques have survived to this day, some examples are presented in the corresponding category "Buy a painting". The beautiful landscapes of eminent Soviet masters are of tremendous artistic value. Today the best domestic galleries... In the catalog you can find their reproductions and make a purchase.
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