A group of artists created in 1922 with the main purpose. Creative associations and unions

Ways of development of easel art in the 1920s. OST, OMKh, “4 Arts” and AHRR.

In the first years of the revolution continued to develop traditional forms easel painting and graphics. The art of the first post-October decade was created by the hands of masters naturally associated with the art of the turn of the century. The 1920s were a turbulent time for art.

There were many different groups. Each of them put forward a platform, each came out with its own manifesto. The most significant groups, whose declarations and creative practice reflected the main creative processes of that time, were AHRR, OST and “4 Arts”.

The AHRR group (Association of Artists of Revolutionary Russia) arose in 1922 (in 1928 it was renamed AHRR - Association of Artists of the Revolution). The core of the AHRR was formed mainly from former participants of the Association of Traveling Exhibitions. AHRR organized a number of thematic art exhibitions: “Life and Life of Workers” (1922), “Life and Life of the Red Army” (1923), “Revolution, Life and Labor” (1924-1925). Typical features of the works of Akrovites are a clear narrative, conservative “realism”, an attempt to recreate a historical or modern event. The artists of the AHRR sought to make their painting accessible to the mass audience of that time, and therefore in their work they often mechanically used the everyday writing language of the late Wanderers. They actively embodied their slogan of “artistic documentary”: the practice of going on location was extremely widespread.

Among the artists of the AHRR, the work of I. I. Brodsky (1883-1939) stands out, who set as his task an accurate, documentary reproduction of the events and heroes of the revolution. His canvases dedicated to the activities of V.I. Lenin - “Lenin’s Speech at the Putilov Factory”, “Lenin in Smolny” - became widely known. The master of portrait-paintings joined the AHRR in 1923. His most famous works are “Delegate” (1927) and “Chairwoman” (1928), in which the artist reveals the typical socio-psychological traits of a woman in a new society, an active participant in the industrial and social life of our country .

Among the portrait painters of the AHRR, S.V. Malyutin played a prominent role. An active participant in AHRR exhibitions was a major Russian painter of the turn of the 19th-20th centuries. A. E. Arkhipov. In the 20s, Arkhipov created life-affirming images of peasant women - “Woman with a Jug”, “Peasant Woman in a Green Apron”. A special place in the painting of the AHRR is occupied by the work of M. B. Grekov (1882-1934) - the founder battle genre in Soviet art. In such paintings of the mid-20s as “Tachanka” (1925), the Wanderer precision of the image is combined with romantic elation.

Along with the AHRR, which included artists of the older and middle generations who already had extensive creative experience by the time of the revolution, the OST (Society of Easel Painters) group, organized in 1925, played an active role in the artistic life of those years. It united the artistic youth of the first Soviet art university - VKHUTEMAS.

OST members advocated realistic painting in an updated form, contrasting it with non-objective art and constructivism. The Ostovites, like the Akhrovtsy, considered their main task to be the struggle for revival and further development easel painting on modern theme or with modern content.

Their main topic was the industrialization of Russia, which had recently been agrarian and backward, and the desire to show the dynamics of relationships modern production and man.

Another important theme that OST artists worked on was the life of the city and urban people of the 20th century. The third range of subjects is mass sports.

Artists sought to develop a new visual language, laconic in form and dynamic in composition. The works are characterized by an acute laconicism of form, its frequent primitivization, dynamics of composition, and graphic clarity of the drawing. In search of a language adequate to their figurative and thematic aspirations, the “Ostovites” no longer turned to Wanderers, but to the traditions of European expressionism with its dynamism, sharpness, expressiveness, modern traditions poster and film.

One of the most talented representatives of the OST group was A. A. Deineka. The closest declarations of OST are his paintings: “At the construction of new workshops” (1925), “Before going down into the mine” (1924), “Footballers” (1924), “Textile workers” (1926). Among the other members of OST, Yu. I. Pimenov, P. V. Williams, and S. A. Luchishkin are closest to Deineka in the nature of their works and stylistic characteristics.

In contrast to the Ostov group, which was youthful in composition, two others, who occupied important place in the artistic life of those years, creative groups - “4 Arts” and OMH (Society of Moscow Artists) - united masters of the older generation, who had developed creatively in pre-revolutionary times, who treated with particular trepidation the problems of preserving pictorial culture and considered it a very important part of the work his very language, plastic form.

4 Arts

The 4 Arts Society was founded in 1925.

The society was founded by artists who were previously members of the World of Art and the Blue Rose.

The most prominent members of this group were P. V. Kuznetsov, K. S. Petrov-Vodkin, M. S. Saryan, N. P. Ulyanov (1875-1949), V. A. Favorsky (1886-1964).

Artists who were part of the “4 Arts” group in a creative manner were very different from each other. P.V. Kuznetsov works on a wide variety of themes of nature and life in the Soviet East.

Petrov-Vodkin’s works, such as “After the Battle” (1923), “Girl at the Window” (1928), “Anxiety” (1934), most fully express the ethical meaning of various periods - milestones in the development of Soviet society. His painting “The Death of a Commissar” (1928), like Deineka’s “Defense of Petrograd,” was written in opposition to concrete journalism.

The Society of Moscow Artists (OMH) arose in 1927 as a result of the unification of members of the art groups “Moscow Painters”, “Makovets” and “Being”. Among the founders were S. V. Gerasimov, I. E. Grabar, I. I. Mashkov, M. S. Rodionov, V. V. Rozhdestvensky, N. A. Udaltsova, R. R. Falk. Members of the OMH, the core of which was former members association “Jack of Diamonds”, sought to convey the material diversity of the world with the help of a plastic combination of color and form, an energetic brushstroke.

In 1928-29, the Society was replenished with members of the Moscow art groups “Painters’ Workshop”, “Being”, “Four Arts”, “Fire-Color” and others (among them - A. I. Kravchenko, N. P. Krymov, A. V. Fonvizin, A. V. Shevchenko). Special attention attention was also paid to improving the professional level of artists. An important role in the activities of OMH last period belongs to the artistic and production workshops created in March 1928.

Socialist realism:

global politicization artistic culture 20's - 30's..

1) A group of artists created in 1922, the main goal of which was the artistic and documentary recording of the revolution:

a) The Wanderers ;

b) АХР (АХРР);

d) “World of Art”

2) Which artist’s painting is presented below:

c) -Vodkina;

3) What creative community has predominantly young people who graduated from VKHUTEMAS united in:

b) The Wanderers;

c) AHR (AHRR);

d) “Blue Rose”

4) Founder of the battle genre in Soviet art, member of the Academy of Artists of the Russian Federation, author of “Tachanka”, “To the Detachment to Budyonny”, “Oxen in the Plow”:

A) ;

b) -Vodkin;

5) The Commonwealth, created in 1925, the participants of which were Vodkin:

c) AHR (AHRR)

d) “4 arts”

A) ;

A) ;

a) V. Maksimov;

c) O. Kiprensky;

9) A movement in Soviet art of the 1920s, whose representatives sought to construct the material world using technical advances, functionality, logic and expediency of engineering and artistic solutions:

a) Pseudo-realism;

b) Eclecticism;

c) Constructivism;

d) Classicism

10) Member of the association “Jack of Diamonds”, author of the painting “Moscow Food: Bread”:

A) ;

11) Which project of the Vesnin brothers is presented below:

a) Palace of Labor in Moscow;

b) Dnepropetrovsk HPP;

c) Project of the Narkomtyazhprom building

a) M. Vrubel;

b) I. Kramskoy;

13) According to the design of which architect was this building built?

A)

c) I. Kramskoy

14) This architectural project remained unfulfilled, but it embodied the courage and talent of the architect, inspired by the scientific and technical discoveries of the early 20th century.

a) Palace of Labor;

b) “Tower of the Third International”;

c) Dnepropetrovsk hydroelectric power station;

d) Mausoleum named after.

15) Author of the films “Soviet Court”, “Rabfak is Coming”, “At the Old Ural Factory”, “Interrogation of Communists”:

16) This monument, erected in 1936, is made of silver stainless steel and has a height of 33m. Currently dismantled for renovation purposes?

a) Cobblestone is a weapon of the proletariat;

b) Worker and collective farmer;

c) Millennium of Russia

d) Top

17) Which artist’s painting is presented below?

a) V. Maksimov;

d) M. Ciurlionis

18) What style, which competed with constructivism, is often called “Stalinist classicism”:

a) Classicism;

b) Eclecticism;

c) Traditionalism;

d) Avant-garde

19) The designer of the Kropotkinskaya and Mayakovskaya metro stations in Moscow was:

A) ;

20) Architect of the Russian State Duma building:

Art groups, associations of artists of the 19th-20th centuries.

Abramtsevo (Mamontovsky) art circle- that's what they called
representatives of the creative intelligentsia, mostly from Moscow,
united around the famous entrepreneur and philanthropist S.I. Mamontov.
Meetings and gatherings of artists and art lovers took place in the house
Mamontov on Spasko-Sadovaya Street, and in the summer - on an estate near Moscow
Abramtsevo near Sergiev Posad. Mamontov helped artists financially,
supported their many creative endeavors. The circle existed in 1878-93
gg., while it was never an official society or artistic
grouping. Artists often came to Abramtsevo for the whole summer with their families.
Here they could work and communicate. Studying Russian in the Abramtsevo circle
history and culture was combined with the desire to revive the traditions of folk
creativity. Workshops were organized on the estate to revive ancient
artistic crafts (wood carving, majolica, sewing). In the park
Abramtsev, buildings were erected in the “Russian style” - “Terem” (I.P.
Roneta, 1873), church and “Hut on Chicken Legs” (designed by V.M.
Vasnetsova, 1881-83). One of the most famous undertakings of the Mamontov circle
amateur performances began. Since 1878 they have been staged every season:
in winter - in a mansion on Spasskaya-Sadovaya, in summer - in Abramtsevo. Scenery,
costumes, posters and programs for them were created by the artists themselves, and they often
were also role players. The most successful production by Mamontovsky
The mug is considered to be "The Snow Maiden" by A. N. Ostrovsky, shown in 1882. These
performances greatly contributed to the emergence in the 1890s. Moscow private
Russian opera. The Abramtsevo circle included M. M. Antokolsky, A. M. and V.
M. Vasnetsov, M. V. Vrubel, K. A. and S. A. Korokin, I. I. Levitan, M. V.
Nesterov, I. S. Ostroukhov, V. D. and E. D. Polenov, N. A. Rimsky-Korsakov,
V. A. Serov, K. S. Stanislavsky, M. V. Yakunchikova and others.

"Abstraction - Creation"-- international union
abstract artists, founded in February 1931 on the initiative of
Belgian sculptor and painter Van Duisburg. The objectives of the association
began to comprehend the experience of abstract art and its popularization. To the union
"Abstraction-Creation" had about four hundred members. The creativity of these
artists represented various trends in abstract art. IN
1932-36 A magazine was published under the same name. The union collapsed in the 1940s
gg.

"Red rose"-- association of Moscow symbolic painters
directions. It was headed by natives of the city of Saratov P.V. Kuznetsov and P.S.
Utkin. The first exhibition took place in May-June 1904 in Saratov.
initiative of students of the Moscow School of Higher Education. It showed the works of E.V. Alexandrov,
A. A. Arapova, M. V. Volgina (Kuznetsova), I. A. Knabe, P. V. Kuznetsova, N.
N. Nordossky, V. P. Polovinkina, E. S. Potekhina, N. N. Sapunova, M. S.
Saryan, S. D. Simpol, S. Yu. Sudeikina, P. S. Utkina, K. L. Felden, N. P.
Feofilaktova. M. A. Vrubel was invited as honorary exhibitors
and V. E. Borisov-Musatov. Works made in
majolica technique in the Abramtsevo workshops. Since 1905, group members have accepted
participation in exhibitions MTX and collaborated in the organ of the Moscow Symbolists -
magazine "Libra". In 1907 they formed the core of a new group - "Blue Rose",
where they continued to develop the symbolist direction and the principles of decorativism
in painting.

Artel of artists(St. Petersburg Artel of Artists) --
association founded in 1863 by young artists - participants in the "rebellion"
fourteen" who left the Academy of Arts, refusing to write to the given
programs. They included B.B. Wenig, A.K. Grigoriev, N.D.
Dmitriev-Orenburgsky, F. S. Zhuravlev, A. I. Korzukhin, I. N. Kramskoy, K. V.
Lemokh, A. D. Litovchenko, A. I. Morozov, M. I. Peskov, N. P. Petrov and N. S.
Shustov. The artists all settled together on Vasilievsky Island and carried on a common
farming and doing creative work. In 1865, the Artel Charter was approved,
according to which its members jointly performed various artistic
orders, and the fees were divided among themselves. A certain part of the funds went to
"common boiler". Interest from individual orders also went there. All questions
creativity was decided by the artel workers together. In essence, it was a form of labor
communes. The artel was also involved in organizing exhibitions. On Thursdays
artel drawing evenings took place, which attracted the St. Petersburg
intelligentsia and creative youth

Association of New Architects (ASNOVA)- the first in the post-revolutionary
Russian organization of innovative architects, founded in 1923 in Moscow.
The goal of the Association was to develop a new formal artistic language
architecture, new methods of architectural education. The association was closely
associated with the architectural faculty of Vkhutemas, its members (N.V. Dokuchaev, V.
F. Krinsky and others) organized a special department there, where
teaching cycling using a new method. In addition, ASNOVA members spoke in
press on various issues of architecture, and also prepared a publication
"Architecture of Vkhutemas" (Moscow, 1927). In 1926, the Association published Izvestia
ASNOVA". In the early 1930s, the collective creative teams of the Association
actively participated in architectural competitions: projects of the Palace of Arts,
Palace of Soviets for Moscow (1931); Mass theater for Kharkov
(1931), etc. The Association was headed by N. A. Ladovsky. In 1928 he left
ASNOVA and established the Association of Urban Architects (ARU), which included
many members of the Association. Both organizations were liquidated in 1932.
Resolution of the Central Committee of the All-Union Communist Party of Bolsheviks "On the restructuring of literary and artistic
organizations."

Association of Fine Arts Workers (ARIZO)-- was
organized in Samarkand in 1929 on the initiative of young
self-taught artists. Subsequently, it included other artists from Samarkand and
Tashkent, former members of the Tashkent branch of the Academy of Arts. The purpose of the Association was
Association of Artists of Uzbekistan. ARIZO advocated the connection between art and
masses, for reflection by artists modern life. ARIZO included about a hundred
members, including A. N. Volkov, I. I. Ikramov, V. L. Rozhdestvensky and others.
The head of the Tashkent branch was M.I. Kurzin, the Samarkand branch
headed by O.K. Tatevosyan. In Samarkand, ARIZO organized training
"Experimental production workshops of spatial arts."
Members of the Association carried out extensive propaganda work among the population,
discussed development problems national art, participated in
design of city streets, workers' clubs, etc. In 1931, works
members of the Association were exhibited at the "Exhibition of Uzbek Art" in
Moscow. In 1932, ARIZO was dissolved by Decree of the Central Committee of the All-Union Communist Party (Bolsheviks)

Association of Artists of Revolutionary Russia (AHRR; since 1928 -- Association
artists of the revolution - AHR) - founded in Moscow in May 1922, at the same time
The Charter was adopted, the name was approved, the presidium was formed (chairman P.A.
Radimov, fellow chairman A.V. Grigoriev, secretary E.A. Katsman). 1
May 1922, the "Exhibition of Paintings by Artists" opened on Kuznetsky Bridge
realistic direction to help the hungry", which later became
be considered the first exhibition of AHRR. The Association members considered the main task
creating genre paintings based on subjects from modern life, in which they
developed the traditions of painting by the Wanderers. Akhrovites fought with the left
trends in art that, in their opinion, caused great harm
realistic painting, sought to prove the necessity of existence
easel plot picture, fought against the slogan “art for art’s sake.”
The first members of the AHRR were its founders: A. E. Arkhipov, F. S. Bogorodsky,
A. V. Grigoriev, N. I. Dormidontov, E. A. Katsman, V. V. Karev, N. G. Kotov,
S. V. Malyutin, S. A. Pavlov, S. V. Ryangina, N. B. Terpsikhorov, B. N. Yakovlev
etc. The organization grew rapidly. Already by the summer of 1923, the Association
numbered about three hundred members; its regional and
republican branches, by 1926 there were already about forty of them. Among the first
branches appeared in Leningrad, Kazan, Saratov, Samara, Nizhny Novgorod,
Tsaritsyn, Astrakhan, Yaroslavl, Kostroma, Rostov-on-Don. At AHRR
Members of other artistic associations collectively joined in. So, in
In 1924, members of the New Society of Painters joined the Association, in 1926 -
group of "Jack of Diamonds", in 1929 - artists from the association "Being", in 1931
- from the Four Arts Society. Among those who joined the ranks of the AHRR were
There are many painters who received recognition before the October Revolution: V.N.
Baksheev, I. I. Brodsky, V. K. Byalynitsky-Birulya, N. A. Kasatkin, B. M.
Kustodiev, E. E. Lansere, F. A. Malyavin, I. I. Mashkov, K. S. Petrov-Vodkin,
A. A. Rylov, K. F. Yuon and others.

In the 1920s The association gained an increasing number of supporters,
enjoyed the support of the state and strengthened its position, acquiring
new structures. Thus, in 1925, on the initiative of students from Moscow and
Leningrad art universities the youth association AHRR is being created --
OMAKhRR, which soon acquired the status of an autonomous organization with its own
bylaws.

The main activity of the AHRR in the 1920s. became exhibitions. Behind
Eleven major exhibitions took place during the decade of its existence. Except
In addition, Akrovites participated in the XVI International Art Exhibition in Venice
(1928), at the USSR Art and Industrial Exhibition in New York (1929), and
also showed an independent exhibition in Cologne (1929. In parallel with
period 1923-31 More than seventy exhibitions of AHRR branches were held. Akhrovtsy
introduced into their policy the thematic principle of exhibitions: “Life and life of the Red
Army" (1922), "Life and Life of Workers" (1922), Revolution, Life and Labor" (1924 and
1925), “Art to the Masses” (1929), etc. The tradition originates from them
give exhibitions the form of a unique artistic report.

In 1924, the publishing part of the AHRR was created, which published
color reproductions, postcards, albums and exhibition catalogues. Since 1929
Akrovites published the magazine “Art to the Masses” (twenty issues were published).
The activities of the Association were terminated in 1932 by a special Resolution
Central Committee of the All-Union Communist Party of Bolsheviks.

"Bauhaus" (him. Bauhaus -- construction house) -- art educational
institution and creative association in Germany. Founded 1919
architect W. Groppius in Weimar, in 1925 transferred to Dessau, in 1933
abolished by the fascist authorities. Leaders of the Bauhaus (H. Mayer, J.
Albers et al.), based on the aesthetics of functionalism, set the goal
develop new principles of form-building in the plastic arts; They
strived for a comprehensive artistic solution to the everyday environment, developed
students' ability to creatively comprehend new materials and designs,
taught to create high-quality and practical products. Significant place
dedicated to teaching design. The main link educational process V
"Bauhaus" was the work practice of students in production,
art and design workshops, where, along with the works of educational and sketch
character they created architectural projects, works of decorative
plastics, samples of mass household products. Teaching and practical
the work was carried out by major architects, designers, and some avant-garde artists
(V.V. Kandinsky, P. Klee, O. Schlemmer, etc.). Activities of the Bauhaus
played an important role in establishing the principles of rationalism in the world
architecture of the 20th century and the formation of modern artistic
design.

"Tower" -- art studio with this name existed in
Moscow in the 1910s. It was a typical free workshop for those years, in
which artists could paint from nature; topics related to
modern art. The studio was visited by N. S. Goncharova, M. F. Larionov, L.
S. Popova, L. A. Prudkovskaya, A. I. Troyanovskaya, N. A. Udaltsova and others.
The composition of the visitors changed frequently.

"Jack of Diamonds"-- association of Moscow painters, leading
from the exhibition of the same name, organized in 1910. Its members were V.D. and
D. D. Burlyuki, N. S. Goncharova, P. P. Konchalovsky, A. V. Kuprin, N.
Kulbin, M.F. Larionov, A.V. Lentulov, K.S. Malevich, I.I. Mashkov, R.R.
Falk, V.V. Rozhdestvensky and others. The name belongs to M.F. Larionov,
which apparently meant negative interpretation images in the spirit
old French interpretation playing card: "Jack of Diamonds --
swindler, rogue." Explaining his choice, the artist said: "Too much
pretentious names... as a protest we decided the worse the better
... what could be more absurd than “Jack of Diamonds”?”

The artists of the association are characterized by pictorial and plastic quests in
the spirit of post-impressionism. The Jack of Diamonds have developed a peculiar
pictorial-plastic system (the so-called Russian Cezannism), where
the principles of cubism and fauvism were implemented taking into account the influence of Russian folk
art - popular prints, painting on wood and ceramics, as well as painting trays and
signage. Of all the genres of painting, they preferred still life, landscape
and portrait, solving problems of constructing a three-dimensional form on a plane using
colors, conveying the “materiality” of nature, its textured tangibility.

At the exhibitions of the "Jack of Diamonds" in addition to paintings by members of the association
works of V.V. Kandinsky and A.G., who lived in Munich, were exhibited.
Javlensky, as well as the Frenchmen J. Braque, C. Van Dongen, F. Valoton, M.
Vlaminka, A. Gleza, R. Delaunay, A. Derain, A. Marche, A. Matisse, P. Picasso,
A. Rousseau, P. Signac, other famous artists; open
debates about the fate of contemporary art, reports were read, etc. However
the association itself, corroded by internal contradictions, turned out to be
short-lived. In 1911, the most radically minded came out of it
artists (Burliuk, Goncharova, Larionov, etc.), oriented in their
works on samples of folk and primitive art, cubo-futurism,
abstract art. They organized an independent exhibition
the shocking name "Donkey's Tail". In 1916-17 another group of artists
professed moderate views and adhered to a more traditional easel
painting (Konchalovsky, Mashkov, Kuprin, Lentulov, Rozhdestvensky, Falk)
joined the association "World of Art". After that "Jack of Diamonds"
actually ceased to exist.

"Being"-- an association of Moscow artists founded in 1921.
a group of Vkhutemas graduates. In 1924-26. replenished with former members
associations KNIFE And "Moscow painters". Members of the society: M. N. Avetov, S.
A. Bogdanov, A. A. Lebedev-Shuisky, P. P. Sokolov-Skalya and others. It was
seven "Genesis" exhibitions were organized, in which participants, in addition to members
association, P. P. Konchalovsky, A. V. Kuprin, A. A. Osmerkin, G. G.
Ryazhsky. For the artists of this association, formed under the influence
"Jack of Diamonds", characterized by pictorial quests in landscape and still life, and
also an appeal to Soviet themes. However, the vagueness of the software
installations led "Being" to a split, some of its members moved to AHRR. In 1930
The association ceased to exist.

"Wreath"-- a short-term exhibition association, which included
St. Petersburg and Moscow artists close to symbolism, including
participants "Blue Rose" and the exhibition "Stefanos", held in Moscow in winter
1907/08 The group included: B.I. Anisfeld, A.F. Gaush, A.E. Karev, P.V.
Kuznetsov, M. F. Larionov, V. N. Masyutin, N. D. Milioti and others.
The exhibition took place in St. Petersburg in the spring of 1908.

"Gilea"- literary and artistic association of cubo-futurists,
arose in May 1910. It was started by the community of brothers V.D. and D.D.
Burlyukov and B.K. Livshits, established in the Chernyanka estate of Tauride province,
where in 1907-14 lived the Burliuk family. The very word "Gilea" - translated from
ancient Greek "Forest" - the name of the region in Scythia. To "Gilea", besides her
founders included E. G. Guro, A. Gey (S. M. Gorodetsky), V. V. Kamensky,
A. E. Kruchenykh, V. Khlebnikov, V. V. Mayakovsky and others. They were also called
"Budetlyans" and Cubo-Futurists. "Gilea" is considered the earliest and most
radical futurist group in Russia. In March 1913
the literary association "Gilea" became part of "Youth Union", however
the name "Gilea" was used by the group members for a long time

"Blue Rose"- an association of symbolist artists,
which arose in 1907 in Moscow. Received its name from the exhibition of the same name,
organized in 1907 by the magazine "Golden Fleece", published with funds
art lover and philanthropist N.P. Ryabushinsky. Around the magazine
Moscow Simolist poets grouped together, led by V. Ya. Bryusov,
who presumably came up with the idea for the title of the exhibition. IN
The association included painters and graphic artists P.V. Kuznetsov, N.P. Krymov, N.N.
Sapunov, M. S. Saryan, S. Yu. Sudeikin, P. S. Utkin, N. P. Feofilaktov,
brothers V.D. and N.D. Milioti, A.V. Fonvizin and others. The core consisted of participants
Saratov exhibition "Red rose", held in 1904. Decisive influence on
The formation of the style of the Blue Rose association was influenced by the work of V.E.
Borisova-Musatova. The works of the "Goluborozovites" are characterized by a pronounced
decorative beginning; creation of original paintings,
combining the principles of easel painting and monumentality (tapestry painting,
painting-panel) with a predominance of elegiac, mystical and allegorical
topics. It is no coincidence that for some of them - Sapunov, Sudeikin -
The transition to the field of theatrical and decorative art became organic.
The works of the Blue Rose artists are distinguished by the sophistication of linear rhythm,
attraction to a planar solution, to a soft, muted color, often
- to the tonal pictorial organization of the composition. Association exhibitions
were distinguished by the special, exquisite design of the halls, decorated with fresh flowers,
furnished with "stylish" furniture, decorated with skillfully selected
draperies. In this environment, symbolist poets A. Bely,
V. Ya. Bryusov, K. D. Balmont, music by A. N. Scriabin was played. An association
ceased its activities in 1910. In 1925, a
retrospective exhibition "Masters of the Blue Rose".

"Heat-color"- an association of painters and graphic artists, founded in Moscow in
December 1923. It included mainly former members "World of Art"
(K. F. Bogaevsky, A. E. Arkhipov, M. A. Voloshin, V. A. Vatagin, O. L.
Della-Vos-Kardovskaya, M. V. Dobuzhinsky, D. I. Mitrokhin, P. I. Neradovsky,
A. P. Ostroumova-Lebedeva, K. S. Petrov-Vodkin, N. E. Radlov, V. D. Falileev
etc.) and "Moscow Salon". They were united by their attention to issues
artistic skill, to the culture of painting and drawing, to the picture in its
traditional form. At the same time, the works of these artists often gravitated towards
decorative stylization. "Fire-color" acted mainly as an exhibition
unification, 1924-29 five exhibitions of his were organized in Moscow
members. The association disbanded in 1929.

"Golden ratio" (French. "Section d'Or") - artistic
association that arose in Paris in 1911 and finally formed after
the first cubist exhibition, organized in October 1912 at the La Gallery
Boetier. The association included about thirty cubist artists,
among them F. Leger, A. Glez, A. Metzinger, A. Le Fauconnier. Participants of the "Golden
sections" rejecting traditional painting, proclaimed new tasks
art: creation of independent pictorial realities, independent of
objective reality. The works of these artists are based on a combination of direct
lines, edges and cube-like shapes.

"Isograph"-- professional union of Moscow artists, founded on 14
May 1917 The creation of the union was initiated by former members
Professional Union of Moscow Painters who came out of it
as a result of organizational disagreements. In addition, in "Izograf"
included representatives of other art associations - TPHV, SRH, "Mira
art." Among the members of the union there are many famous names: A. E. Arkhipov, V. N.
Baksheev, A. M. and V. M. Vasnetsov, S. Yu. Zhukovsky, N. A. Kasatkin, L. O.
Pasternak, V.V. Perepletchikov, V.D. Polenov, L.V. Truzhansky, D.A.
Shcherbinovsky, K. F. Yuon, M. N. Yakovlev and others.

Members of Izograph aimed to protect professional interests
artists and protect art monuments. Uniting during a difficult period,
when there was a fierce war in Russia political struggle, union members stood up
faced with the need to determine one’s civic position. First they
declared political neutrality, but already in December 1917 they actively
supported Soviet power. In full accordance with its objectives, the union in
February 1918 became a collective member of the Commission for the Protection of Monuments
art and antiquity under the Council of Workers' and Soldiers' Deputies. In September
1919 Izograph joined the Trade Union of Artists and thereby stopped
its independent existence.

"Circle of Artists"- association of painters and sculptors,
organized in 1926 in Leningrad. The original composition included
mostly graduates of Vkhutein in 1925, students of painters A. E. Karev, A. I.
Savinov, K. S. Petrov-Vodkin, sculptor A. T. Matveev. Core of the organization
compiled by artists A. S. Vedernikov, M. F. Verbov, G. Kortikov, T.
Kuperwasser, S. Kupriyanova, G. Lagzdyn, V. V. Pakulin (chairman
association), A. F. Pakhomov, A. I. Rusakov, G. N7 Traugot and others. Composition
gradually expanded due to joining members of the creative society
youth of Leningrad. Total in the "Circle of Artists" during its existence
there were about fifty members. The members of the association saw their tasks as
in order to “establish painting and sculpture as art in our country, and
the professions of painter and sculptor as genuine professions... Along the line
professional - this is the accounting and analysis of the entire artistic heritage
past and the use of that formal experience, which, increasing
visual culture of the artist, promotes pictorial-critical
knowledge of modern times. On the public side - linkage and cooperation with
Soviet general public" (from the declaration of the society "Circle
artists", 1926).

The association organized three large reporting exhibitions (1927,
1928, 1929) and one mobile (1929-30). Participants of the "Circle of Artists" led
active artistic and educational work: lectures and excursions were held.
Discussions and debates were held at the Circle exhibitions. With reports on
famous art critics N.N. spoke on the current state of art.
Punin, V.V. Voinov and others.

Since the formation of the "Circle of Artists" its members have embarked on the path
open confrontation with one who had much stronger official support
AHRRom. “Krugovtsy” accused “Akhrovtsy” of “protocol realism” to the detriment of
formal construction of the work, its plastic expressiveness,
texture and color harmony. Ideologists of AHRR and Proletkulta, to your
in turn, they accused the Krugovites of being overly enthusiastic about formal
experiments with which they supposedly “cover their bourgeois nakedness,
its class physiognomy, its political misery." In the light of the general
Due to the ideological situation in the country, things could take a very serious turn.
In an effort to prevent such a development of the situation, the artists of the Circle in 1928
decided "to strengthen collective leadership directly in
the process of an artist working on a bachelor" and the creation of the "Bureau
control of ideology." This caused a split in the association itself. A number of members,
outraged by the establishment of internal censorship, he left its ranks. Active
The activities of the society ceased after 1930. Formally "Circle"
artists" existed until the spring of 1932

Circle of lovers of Russian fine publications-- originated in St. Petersburg in 1903
on the initiative of I. I. Leman. United St. Petersburg bibliophiles and
art lovers, collectors. Members of the circle were M. A. Ostrogradsky,
I. V. Ratkov-Rozhnov, P. E. Reinbot, E. N. Tevyashev, N. V. Solovyov and others,
Chairman - V. A. Vereshchagin. The circle carried out publishing and
exhibition activities, held auctions. In 1907-16. Mug participants
took part in the publication of the monthly magazine "Old Years". In 1908-11
gg. Through the efforts of the Circle, four issues of “Materials for Bibliography” were published
Russian illustrated publications".

Kultur-League-- center of Jewish culture in Ukraine. Organized in
Kyiv in 1917. The arts section of the Culture League included artists B.A.
Aronson, M. Kaganovich, E. Lisitsky, A. G. Tyshler, N. A. Shifrin, S. M. Shor,
M.I. Epstein and others. There was an art school at the section. IN
February-April 1920, the Kultur-League held a “Jewish
art exhibition of sculptures, graphics and drawings." After the dissolution
The Kultur-League (1920) was organized on the basis of the Amsterdam Arts Section
Jewish art and industrial school under the leadership of M. I. Epstein.

Left front art (LEF; since 1929 -- Revolutionary Front of Art --
REF) - literary and artistic association created in Moscow at the end
1922 by representatives of avant-garde movements. The core of the group was
poets, artists, architects - B. I. Arvatov, N. N. Aseev, O. M. Brik, A.
A. Vesnin, K. V. Ioganson, V. V. Kamensky, G. G. Klutsis, A. E. Kruchenykh, B.
A. Kushner, A. M. Lavinsky, V. V. Mayakovsky, L. S. Popova, A. M. Rodchenko,
S. M. Tretyakov, V. F. Stepanov, V. E. Tatlin. LEF ideological program
was developed in articles that were published on the pages of LEF magazines
(1923-25) and "New LEF" (1927-28), published under the editorship of V.V.
Mayakovsky. "Lefovtsy" claimed to create a new revolutionary
art, which, in their opinion, should have become “truly proletarian” and
forever overshadow in the minds of the masses the classical “bourgeois-noble”
cultural heritage. “The artistic culture of the future is created on
factories and factories, and not in attic workshops,” wrote one of
ideologists of left art O. M. Brik. "Lefovtsy" considered themselves successors
plastic ideas of the Cubo-Futurists. They saw their task as
to form a new living environment and a “new person”, calling it
"life building". Introducing art into everyday life, working on creating
modern in form, rational, easy to use household
objects, the desire to introduce them into mass production gave impetus
design development. Attaching great importance to the propaganda role of art,
"Lefovites" did a lot to develop his propaganda and documentary
genres - poster, photography (photo report) and photomontage, documentary
movie; in journalism - reportage, in literature - documentary essay.
They actively advocated the rapprochement of art with life, rejecting it
classical forms - a picture in painting, a novel in literature, etc.;
sought to create new, dynamic forms of creativity associated with
production - "industrial art". In program documents
LEF declares the theory of “social order” in art and literature,
quite consistent with the active role that the Lefites assigned
creativity in the process of life-building.

In the 1920s LEF's ideas had a great resonance and spread among
creative youth. Its branches appeared in Odessa (Yugo-LEF), Leningrad
(Len-LEF), Kazan (Tat-LEF), Ivanovo-Voznesensk, Baku and Tiflis. Settings
LEFA was shared by the Siberian literary group "Present", the Ukrainian -
"New Generation", Belarusian - "Literary-Artistic Commune",
Far Eastern magazine "Creativity". The program proclaimed by LEF
brought art closer to production noticeable influence for the organization
educational processes in Vkhutemas and Inkhuk.

At the end of the 1920s. the association dealt mainly with problems
literature, more and more aggressively manifesting its political-ideological
direction. In 1929, LEF was renamed REF (Revolutionary Front
art"). At the beginning of 1930, the association ceased to exist.

"Shop"-- exhibition association of Moscow and Petrograd
artists. An exhibition called "The Store" opened in Moscow in March 1916
(it took place in a store on Petrovka - hence its name). IN
It was attended by futurist artists L. A. Bruni, M. M. Vasilyeva, I. V.
Klyun, A. A. Morgunova, V. E. Pestel, L. S. Popova, A. M. Rodchenko, V. E.
Tatlin, S.I. Dymshits-Tolstaya and others. One of the organizers was K.S. Malevich,
however, due to disagreements with other participants, he did not exhibit his work.
In the spring of 1917, participants in the exhibition and Petrograd artists founded
the same name as the Society for the Improvement of Vision and Hearing. It also included
S. K. Isakova, P. V. Mutrich, V. A. Milashevsky, B. A. Zenkevich, art critic
N. N. Punin and composer A. S. Lurie. Members of society stood in positions
avant-garde art.

"Makovets"(until 1924 -- Union of Artists and Poets "Art is Life")
-- an association founded in Moscow in 1921 on the initiative of young people
artists and writers who defended the high spirituality of art,
advocated the inheritance of classical traditions. The association included
exhibitors "Moscow Salon", "World of Art", partly
"Jack of Diamonds" as well as artistic youth: Amphion Reshetov (N.N.
Baryutin), S. V. Gerasimov, L. F. Zhegin, I. F. Zavyalov, E. O. Mashkevich, V.
E. Pestel, M. S. Rodionov, S. M. Romanovich, N. M. Rudin, P. A. Florensky,
V. N. Chekrygin, A. M. Chernyshev, A. V. Shevchenko and others.

Since 1922, members of the association published the magazine "Makovets" (edited by A.
M. Chernysheva; two issues were published). Works were reproduced in the magazine
artists and also published poems by N. N. Aseev, P. G. Antokolsky, K. A.
Bolshakov, B. L. Pasternak, V. Khlebnikov and others. The publication of the magazine was
part of a planned extensive program, which was to include the release
collections of poetry, works on the history and theory of art. The program is not
was implemented due to lack of funds. Mainly for this reason
At the end of 1923, writers left the “Art - Life” association.
The artists who remained in it transformed the organization into a traditional one,
exhibition, and gave it the name "Makovets". In addition to the art exhibition,
held in April-May 1922 at the Moscow Museum of Fine Arts,
Makovets artists organized three more independent exhibitions. In general
difficulties, more than thirty artists participated in the exhibitions of the association.

The weakness of the unification was the lack of common creative principles,
which soon became the reason for its collapse. For heterogeneity of positions
artists included in “Makovets” were repeatedly pointed out by critics, noting
that “Makovets” is “no longer so much a group, an artistic
flow, as much as a purely everyday, organized association." Inside
association, two main directions emerged. One of them, presented
the creativity of Chekrygin, Zhegin, Romanovich, gravitated towards cosmism, high
philosophical generalizations, the use of historical and literary reminiscences,
biblical stories. Other - Gerasimov, Rodionov, Chernyshev and others -
on the contrary, it was addressed to real life, perceived in an emotional way,
lyrical key to the depiction of urban life and rural nature. And if
artists of the first group actively experimented in the field of formal
solutions to the work, then the artists of the second group used traditional
classic shapes. By 1926, relations between the groups had sharply deteriorated,
Some of the active members of Makovets left the association, and its activities
stopped.

"Masters of Analytical Art" (MAI)-- association of young people
Leningrad artists, students of P. N. Filonov. It was born in the summer of 1925
when Filonov taught at Vkhutein, and it finally took shape after
first exhibition in 1927, when the association's charter was adopted. Officially
ceased to exist in 1932, although classes in Filonov’s workshop
continued until his death in besieged Leningrad in 1941.

Throughout the existence of the association, its composition changed. In general
difficulties over the years it included about seventy members. Most
famous of them, who formed the core of the team: T. N. Glebova, B. I. Gurvich,
N. I. Evgrafov, S. L. Zaklikovskaya, P. Ya. Zaltsman, E. A. Kibrik, P. M.
Kondratiev, R. M. Leviton, A. E. Mordvinova, A. I. Poret, A. T. Sashin, I. I.
Suvorov, V. A. Sulimo-Samuillo, Yu. B. Khrzhanovsky and M. P. Tsybasov.

The creative method of unification was based on principles developed
Filonov in his theoretical works"Canon and Law", 1912; manifesto
"Made Pictures", 1914; "Declaration of "World Heyday"", 1923, etc.
The main idea of ​​this method is to get closer to artistic creativity To
reproduction of the creative processes of nature, and not its objective forms.

For the first time, the association announced itself with a significant exhibition shown in
1927 in the Leningrad House of Press. It displayed picturesque
works and sculpture. At the same time, a production was taking place on the stage of the House of Press
N.V. Gogol's play "The Inspector General" designed by members of the MAI association. At the end
1928-early 1929 Filonovites participated in the exhibition "Modern
Leningrad artistic groups." Somewhat later, small
exhibitions of their works were shown at the Academy of Arts. Significant event in history
book graphics began with the publication in December 1933 of the Finnish epic "Kalevala"
in the publishing house "Academia". The illustrations in the book were made under
Filonov's leadership of thirteen members of the MAI.

Despite the active creative activity and absolute loyalty
the art of Filonov and the association he headed was not approved by the authorities
and were sharply criticized in the official press. Moreover, the nature of criticism
as a rule, had a political overtones: Filonov’s works were regarded as
"an extreme expression of the worldview of the decadent strata petty bourgeoisie And
intelligentsia." In 1930, there was an official ban on opening a personal
Filonov’s exhibition, already prepared by the staff of the State Russian Museum. It caused fermentation
in the ranks of his students, dealt a blow to the unification. Some artists left
MAI. Since 1932, Filonov's name was removed from artistic life; in the spring
this year MAI officially ceased to exist

"Method"-- an artistic association founded in 1922.
senior students at the Moscow Vkhutemas. The core consisted of artists S.A.
Luchishkin, S. B. Nikritin, M. M. Plaksin, K. N. Redko, N. A. Tryaskin, A. G.
Tyshler. Z. Kommisarenko, A. A. Labas and
P. W. Williams. All of them were united by formal quests in the spirit of constructivism
and abstract art. The leader and theoretician of the group was S.P.
Nikritin, who is responsible for the development of a new direction, a new method
in art, called "projectionism". According to this method, the general
for all types of creativity, the artist must produce non-everyday objects,
but only their “projections”, that is, to provide a model for mass industrial
production. Painting is assigned the role of “the most convincing means of expression
METHOD (PROJECTIONS) -- organization of materials."

The first exhibition of "projectionists" was held in 1922 at the Museum of Paintings
culture and received positive feedback in the press. Criticism saw in the works
artists "a small step forward... from pure one-sidedness
colorful Suprematism of Malevich and colorless constructivism of Tatlin."
May 1924, the group’s artists participated in the “First Discussion Exhibition
associations of active revolutionary art." The vast majority
works (with the exception of compositions by Tyshler, Plaksin and Luchishkin) --
abstract or close to abstract composition. Also exhibited
strange works that were a combination of analytical schemes with
photographs and text explaining the direction of the new creative
experiment. The Method group extended this experiment to the sphere
theater On the initiative of Luchishkin and Nikritin, a theater troupe was created,
the so-called “Projection Theatre”, which in the 1920s. carried out
several innovative productions. One of them is "The Tragedy of A.O.U."
(design by N. A. Tryaskin), shown in 1929 in the Moscow House of Printing,
- was one of the first experiments in abstract performance design.
Tryaskin’s engineering innovation was developed and applied in this
performance a special moving stage machine.

The Method group existed until 1925, when all its members, for
with the exception of Redko and Nikritin, became part of OST.

"World of Art"-- an artistic society founded in 1898 in
Petersburg by a group of young painters and graphic artists. Creation of society
was preceded by a circle organized in the late 1880s by graduates
private gymnasium of K. I. May: A. N. Benois, D. V. Filosofov, V. F. Nouvel.
Soon they were joined by L. S. Bakst, S. P. Diaghilev, E. E. Lanceray, A. P.
Nurok, K. A. Somov. The purpose of this association was to study artistic
culture, both modern and past eras, perceived synthetically,
in all the diversity of types, forms, genres of art and life. From mid-1890s
gg. the group was headed by S. P. Diaghilev.

The first public event of the association was the “Exhibition of Russian and
Finnish artists", opened in January 1898 in the Museum of the School of Baron A.
L. Stieglitz. Along with members of the association, well-known people took part in it
painters - M. A. Vrubel, A. M. Vasnetsov, K. A. Korovin, I. I. Levitan, S.
V. Malyutin, M. V. Nesterov, A. P. Ryabushkin, V. A. Serov, and Finnish artists
V. Blomsted, A. Edelfelt and others. After a successful exhibition event in the spring
1898 Diaghilev, with the participation of members of the circle, organized
literary and artistic magazine "World of Art", published with funds
patrons M.K. Tenishova and S.I. Mamontov. The magazine opposed
dogmatic adherence to the canon, not accepting academicism as a system that deprives
the artist's right to self-expression. Another direction, also subjected to
criticism - the painting of the Peredvizhniki, according to the World of Arts, suffered
illustrative, edifying to the detriment of artistic qualities
works. The magazine advocated individualism in creativity, free
disclosure by the master of all facets of his talent. During the publication period of the magazine
(1898-1905) in its twelve issues the editors presented readers with different
directions in the history of Russian and Western art. In the first issues there is a lot
attention was paid to contemporary artists of the so-called national
Russian style associated with Abramtsevo circle: V. M. Vasnetsov, S. V.
Malyutin, E. D. Polenova, M. V. Yakunchikova. Further in sight
Miriskusnikov turned out to be Russian culture XVIII-- first half of the 19th century V.
It was they who “rediscovered” the work of D. G. Levitsky for the general public,
V. L. Borovikovsky, O. A. Kiprensky, A. G. Venetsianov. They also
laid the foundations for studying the history and architecture of St. Petersburg by publishing on
the pages of the magazine contain articles about the architects of Russian Baroque and Classicism. Wherein
The “World of Art” was not limited only to the problems of national culture.
On the contrary, the magazine introduced its readers to the state of modern
artistic life Western Europe, publishing extensive, stocked
reproductions of an article about the work of A. Böcklin, F. Stuck, P. Puvis de Chavannes,
G. Moreau, E. Burne-Jones and other artists who worked mainly in the style
modern The magazine also published many symbolist poets and
articles on religious and philosophical topics. The magazine was highly cultured
editions, exquisite decoration and excellent
printing execution. His last, twelfth issue came out at the beginning
1905 The magazine ceased to exist due to the refusal of patrons to finance
his.

Under the auspices of the magazine “World of Art”, artistic events were also organized.
Exhibitions. The first such exhibition took place in January-February 1899. In it
Along with leading Russian artists, foreign masters participated (K.
Monet, G. Moreau, P. Puvis de Chavannes, J. Whistler, etc.). Were also shown
products of decorative and applied arts. Four subsequent fiction
exhibitions organized by the magazine "World of Art" took place in 1900-03.
(the fourth was also shown in Moscow). More than
sixty artists, including such outstanding masters as M.A.
Vrubel, V. M. Vasnetsov, A. S. Golubkina, M. V. Dobuzhinsky, P. V. Kuznetsov,
A. P. Ryabushkin. In 1902, the works of the World of Arts were exhibited in
Russian department of the International Exhibition in Paris, where K. A. Korovin, F. A.
Malyavin, V.A. Serov and P.P. Trubetskoy received the highest awards. In 1903
Miriskus students teamed up with a Moscow group "36 artists", forming
"Union of Russian Artists". From 1903 to 1910 "World of Art" is not formally
existed. At the same time, S.P. Diaghilev organized under this name in 1906
exhibition, in which, along with the main core of the association, young people participated
artists - B. I. Anisfeld, M. F. Larionov, V. D. and N. D. Miloti, N. N.
Sapunov, A.G. Yavlensky and others. Then the World of Art students showed their works at
exhibition of Russian art at the Paris Salon d'Automne, later
exhibited in Berlin and Venice. From this time on, Diaghilev began
independent activities to promote Russian art in the West. Her
The pinnacle was the so-called “Russian Seasons”, held annually in
Paris in 1909-14. Opera and ballet performances to classical and
contemporary in innovative productions by young directors and choreographers, in
performed by a whole galaxy of stars, in designs by Bakst, Benois, Bilibin,
Golovin, Korovin, Roerich - formed an era in the history of not only Russian,
but also world culture.

Since 1910, a new, second stage in the history of the Mir association begins
art." A. N. Benois and with him seventeen artists left the "Union
Russian artists" and created an independent society under the already known
title. Its members were L. S. Bakst, I. Ya. Bilibin, O. E. Braz, I. E.
Grabar, G. I. Narbut, M. V. Dobuzhinsky, B. M. Kustodiev, E. E. Lansere, A.
L. Ober, A. P. Ostroumova-Lebedeva, N. K. Roerich, V. A. Serov, K. A. Somov,
N. A. Tarkhov, Ya. F. Tsionglinsky, S. P. Yaremich. The new association led
active exhibition activities in St. Petersburg-Petrograd and other cities
Russia. The main criterion for selecting works for exhibitions was
"mastery and creative originality." This tolerance has attracted
exhibitions and in the ranks of the association of many talented masters. An association
grew quickly. It was joined by B. I. Anisfeld, K. F. Bogaevsky, N.
S. Goncharova, V. D. Zamirailo, P. P. Konchalovsky, A. T. Matveev, K. S.
Petrov-Vodkin, M. S. Saryan, Z. E. Serebryakova, S. Yu. Sudeikin, P. S. Utkin,
I. A. Fomin, V. A. Shuko, A. B. Shchusev, A. E. Yakovlev and others. Among
exhibitors the names of I. I. Brodsky, D. D. Burliuk, B. D. appeared.
Grigorieva, M. F. Larionova, A. V. Lentulova, I. I. Mashkova, V. E. Tatlina,
R. R. Falka, M. Z. Chagala and others. It is clear that they are dissimilar, sometimes directly
the opposite creative attitudes of the participants did not contribute to
artistic unity of both exhibitions and the association itself. With time
this led to a serious split in the association. The last exhibition of "Mira"
art" was held in 1927 in Paris.

"Target"-- a major exhibition of a group of Moscow artists, held in
March-April 1913 in Art salon on Bolshaya Dmitrovka.
Organized by M. F. Larionov, who considered it the final one in a series of exhibitions
"Jack of Diamonds"(1910-11) and "Donkey's Tail"(1912). Opening of the exhibition
was preceded by a debate at the Polytechnic Museum on the topic “East, nationality
and the West", where presentations were made by M.F. Larionov ("Larionov's Rayism"), I.
Zdanevich (&q

In 1921, the artist Konstantin Yuon, who was previously famous for his landscapes and depictions of church domes, painted the painting “New Planet”. There, a crowd of tiny people, actively gesticulating, watches the birth of a giant crimson ball. A little later, the same crimson ball appeared in the composition of Ivan Klyun, Malevich’s colleague. He is also in Kliment Redko’s painting “Midnight Sun”, and he is also held in the muscular hands of a worker from the painting of the same name by Leonid Chupyatov, a student of Kuzma Petrov-Vodkin.

Konstantin Yuon. New planet. 1921State Tretyakov Gallery

Leonid Chupyatov. Worker. 1928 arteology.ru

The coincidence of motifs among completely different artists is significant. Everyone feels changes on a planetary scale, but they do not fully understand what the role of the artist will be in this new world. No, this is not a selfish question about finding a place, this is an essential question - about the new function of art.

It would seem that everything is as before: artists unite, disengage, rattle manifestos, organize exhibitions, move from group to group. However, after the revolution, a new and very active actor appears in their usual space - the state. It has power, it has multiple methods of encouragement and punishment: these include purchases, the organization of exhibitions, and various forms of patronage. “Whom I love, I give.”

And this is an unusual situation, because before the state was not too interested in artistic endeavors. Tsar Nicholas II once gave money for the publication of the magazine “World of Art,” but only because he was asked for it, he hardly read the magazine itself. And now the government is going to rule everywhere. And in a way that suits her.

Therefore, looking ahead, when in 1932 the state will cover everything by decree artistic associations, this would be a completely logical gesture on his part. It is impossible to control something that moves and changes appearance. Blooming complexity is, of course, good, but it sometimes resembles a mass brawl at a tavern; and if everything is made uniform, then the hostility will stop, and it will be easier to control art.

We’ll talk about enmity later, but now let’s talk about how the presence of an external force in the person of the state changes the conditions of the game. For example, group manifestos, which were previously addressed to the city and the world and looked quite defiant, now have a specific addressee. And the words that everyone is ready to reflect new revolutionary themes in their works very quickly take on the appearance of ritual spells - because the addressee, the state, invariably demands them. In general, these are no longer so much manifestos as declarations of intentions sent to superiors. Moreover, most artists are sincerely ready to serve the revolution - but with their own artistic means and in the way they understand it.

Speaking about post-revolutionary artistic associations, let us first try to highlight those that are not really associations, but rather schools. Some significant artist, teacher, some kind of guru - and his students. Such schools could indeed be purely educational enterprises, such as the Petrov-Vodkin school, which existed from 1910 to 1932, but they could also be formed as artistic communities.

For example, Unovis (“Approvers of the New Art”) is a community of students of Kazimir Malevich that existed in Vitebsk in 1920-1922. It was truly a unification - with a manifesto written by Malevich, with exhibitions and other collective events, with rituals and attributes. Thus, members of Unovis wore armbands with the image of a black square, and the organization’s seal also had a black square. The maximum program of the association was that Suprematism should play the role of a world revolution and spread not only in Russia, but throughout the world, becoming a universal language - such artistic Trotskyism. Having left Vitebsk, members of Unovis will find refuge in Petrograd Ginkhuk - the State Institute of Artistic Culture, a scientific institution.

Members of the Unovis group. 1920 evitebsk.com

Classes in the Unovis workshop - Kazimir Malevich stands at the blackboard. September 1920 thecharnelhouse.org

The association, albeit of a strange kind, was also the school of another avant-garde, Mikhail Matyushin. In 1923, the Zorved group took shape (the name is derived from the words “vision” and “knowledge”) with the manifesto “Not art, but life.” It was about expanded vision and training the optic nerve to form a new vision. Matyushin did this all his life, and this was clearly not how the country lived. Nevertheless, in 1930, Matyushin and another group of students organized the “Extended Observation Collective” (KORN) and managed to hold one exhibition. The works of the Matyushinites were most reminiscent of biomorphic abstraction in form; theory occupied a more significant place there than practice.

In 1925, Pavel Filonov’s school also received the status of an association; it was named “Masters of Analytical Art,” abbreviated as MAI. MAI did not have a special manifesto, but Filonov’s previous manifesto texts existed in this capacity - “Pictures Made” of 1914 and “Declaration of World Heyday” of 1923. They set out Filonov's method of analytical study of each element of the picture, the result of which should be a formula. Many of Filonov’s works are called “Formula of Spring”, “Formula of the Petrograd Proletariat”. Then Filonov himself left MAI, and the school would exist until 1932 without a leader, but according to his behests.

But all these association schools, which gathered around the central figures of the old, pre-revolutionary avant-garde, now find themselves completely out of the mainstream. At the same time, the phrase of the critic Abram Efros about the fact that the avant-garde “has become the official art of the new Russia” clearly captures the state of affairs in the first years of the decade. The avant-garde is indeed influential, but it is a different avant-garde, differently oriented.

The simplest (although not the most accurate) is to say that the main plot of the twenties was the active confrontation between avant-garde artists and artists of the anti-avant-garde, which was very quickly gaining strength. But in the early twenties, avant-garde art experienced a crisis on its own, without any outside help. In any case, it is experienced by art with high ambitions, which is exclusively occupied with the search for a universal language and the preaching of a new vision. It is not in demand by anyone except a narrow circle of its creators, their adherents, friends and enemies from the same field. But now being in demand is important; one laboratory work with students in Inkhuk and Ginkhuk is not enough, we must be useful.

In this situation, the concept of production art is born. It partly reproduces the utopia of modernity - to transform the world, creating new forms of everything that a person encounters every day, to save a person with the right beauty. Everything should be modern and progressive - from clothes to dishes. And art in this case justifies its existence: it is applied, even useful. Suprematist and constructivist fabrics, porcelain, clothing, typography, books, posters and photography - avant-garde artists are now doing all this. These are Lyubov Popova, Varvara Stepanova, Alexander Rodchenko, El Lissitsky, Vladimir Tatlin and many others.

Sergei Chekhonin. A dish with the slogan “There will be no end to the kingdom of workers and peasants.” 1920

Varvara Stepanova in a dress made from fabric made according to her design. 1924State Museum fine arts them. A. S. Pushkina

Nikolay Suetin. Milk jug with lid from the Baba service. 1930Collections of the Imperial Museum porcelain factory/ State Hermitage

At the same time, it is interesting that Suprematist things - for example, dishes created with the participation of Malevich by his students - were not comfortable and did not even strive for it. Malevich thought in universal categories, and in this sense, his dishes - the so-called half cups - were akin to his designs for skyscrapers for people of the future: all this was not for those who live here and now. But constructivist objects found practical mass application; they had reasonable functionality: dishes could be used, clothes could be worn, buildings could be used for living and working.

Kazimir Malevich. Suprematist tea service. Developed in 1918Museum of Fine Arts, Houston / Bridgeman Images / Fotodom

Kazimir Malevich. Architects layout. 1920sPhoto by Pedro Menéndez / CC BY-NC-ND 2.0

The ideological justification of industrial art took place in the society “Lef” (“Left Front of the Arts”) and in the magazines “Lef” and “New Lef” published by it. It was an association of writers that existed since 1922, Mayakovsky and Osip Brik set the tone there. And the conversation was mainly about literature - in particular, about the literature of fact, about the rejection of essays in favor of documentation, and also about working for social orders and life-building. But around Lef there were also constructivist artists and architects, for example the Vesnin brothers, Moses Ginzburg. On the basis of Lef, the Association of Modern Architects (OSA group) emerged.

Cover of Lef magazine, No. 2, 1923 avantgard1030.ru

Cover of Lef magazine, No. 3, 1923 thecharnelhouse.org

Cover of the magazine “New Lef”, No. 1, 1927 thecharnelhouse.org

Cover of the magazine “New Lef”, No. 3, 1927 thecharnelhouse.org

Cover of the magazine “New Lef”, No. 6, 1927Auction house "Empire"

Lef - in his own way extreme point on the map of art associations of the twenties. At the other pole - AHRR - Association of Artists of Revolutionary Russia (later the name will be transformed into the Association of Artists of the Revolution and will lose one “r”). These are the late residual Itinerants and others. The Association of Traveling Exhibitions, which has been artistically irrelevant for thirty years, has existed all this time, recruiting artists from among the dropouts. Formally, the partnership ceases to exist only in 1923 - and its participants automatically become members of the AHRR.

AHRR says: we now have a new time, a revolution has happened, socialist construction is now underway. And art should simply honestly record this new time - its signs, plots, events. And don’t worry about the means of expression at all.

A small digression. At some point, part of Russian Facebook discovered the Akhrov artist Ivan Vladimirov. His films, which were exceptionally poorly executed, chronicled the first post-revolutionary years. How a noble estate is robbed. Like a dead horse lying there and the people tearing it apart, because it’s 1919 and there’s a famine. How the landowner and the priest are being tried - and now they will be shot. People began to repost selections of Vladimirov’s paintings, commenting like this: it turns out that even in the first post-revolutionary years, artists were aware of all this horror. However, this is precisely today’s perception, and Vladimirov did not have such an assessment. He, like an akyn or like a dispassionate reporter, recorded what he saw - and he saw a lot. In addition, Vladimirov worked as a policeman.

It turns out that AHRR painting is the art of fact. Let us remember that Lef defended the literature of fact. At some ideological level, aesthetic opposites converge.

Or there was such an Akhrov artist Efim Cheptsov. He has a painting called “Retraining of Teachers.” A room is depicted, there are people in it, among them there are pre-revolutionary types (there are two of them), there are others. They read brochures, we can see the names of the brochures - “Third Front”, “Red Dawn”, “Workers’ Enlightenment”. But the question is - why is this retraining, and not just preparation, an exam? The simple-minded artist is trying to convey in the title of the painting the idea that he could not depict with paints - and could not, because the word “retraining” contains the idea of ​​duration. He seems to take the title “Retraining” from one of these brochures, not realizing that this is not a book, but a painting. And this happens very often.

The colorless and naive works of the artists of the early AHRR, with their lack of any aesthetic concern, are reminiscent of the early Itinerant movement, very early. When every concept of pictorial beauty was ideologically rejected: what kind of beauty is there when the world lies in evil and the task of art is to expose evil? Now the world, on the contrary, is developing revolutionaryly, but this is happening quickly, and you need to have time to capture all the events - is it so beautiful? The Red Army is winning, the village council is meeting, transport is being improved. All this should be depicted, documentary evidence should be left. The artist seems to voluntarily leave the picture; his individual presence is not present here. And this departure, paradoxically, brings the Akhrovites closer both to mass production art and to the fundamentally anonymous students of Malevich from Unovis, who did not sign their paintings.

Efim Cheptsov. Village cell meeting. 1924Photo by RIA Novosti, State Tretyakov Gallery

Mikhail Grekov. Trumpeters of the First Cavalry Army. 1934 Wikimedia Commons

A little later, in the thirties, this program would become the basis of socialist realism, whose credo would be “the depiction of reality in its revolutionary development.” But already in the 1920s, what the Akhrovites are doing resonates with many power structures - because it is a simple and understandable art. The main patrons of the AHRR are the military - the Red Army, the Revolutionary Military Council and People's Commissar Voroshilov personally. The artists work on a social order, and this is spelled out in the association’s program: this is not considered something reprehensible here. We fulfill current orders, that's why we are current artists. And whoever has government orders has government money.

Between the designated poles - AHRR and Lef - the map of associations of the 1920s resembles an artistic nomadism. People move from group to group, there are so many of these groups, it’s impossible to list them all. Let's name just a few.

Some of them were formed by artists of a relatively older generation - those who had formed even before the revolution. For example, the Society of Moscow Artists is mainly former “Jacks of Diamonds”: Konchalovsky, Mashkov and others. In their manifesto they defend the rights of the ordinary picture, which the production workers deny - so here they are conservatives. But they say that this picture, of course, cannot be the same: it must reflect the realities of today and reflect them without formalism - that is, without excessive focus on artistic techniques, allegedly to the detriment of the content. It is characteristic that before the discussion about formalism, which will give rise to repressions against creative professions, is still about ten years old, but the word is already used with a negative connotation, and it is amazing that it is uttered by former brawlers and troublemakers. Fighting formalism is a kind of pochvenism: we have the primacy of content, and experiments with form are Western. The Society of Moscow Artists will leave behind the tradition of the so-called Moscow school - thick, heavy writing, and the former “jacks” will ideally suit the court in socialist realism.

Another association of “formers” - those who exhibited with both the World of Art and the Jacks, and at the symbolist exhibition Blue Rose - is the Four Arts. Here are Kuzma Petrov-Vodkin, Martiros Saryan, Pavel Kuznetsov, Vladimir Favorsky and many others. Four arts - because, in addition to painters, sculptors and graphic artists, the association also includes architects. Their manifesto does not state any unified program is a community of people who value the individual. And in general, this is a very calm manifesto, toothless in its own way. There are ritual words about new themes, but the main emphasis is on the fact that plastic culture must be preserved. Many of the participants in the “Four Arts” will turn out to be teachers at Vkhutemas-Vkhutein and educate students who will create “under-the-cupboard” art, not connected with the triumphant socialist realism.

Let's name two more associations that are not very noticeable against the general background, but allow us to evaluate the breadth of the spectrum. Firstly, this is the NOZH (New Society of Painters), which existed from 1921 to 1924. This is a young landing in Moscow, Odessa residents predominated there - Samuil Adlivankin, Mikhail Perutsky, Alexander Gluskin. They managed to hold only one exhibition, but in their paintings, especially Adlivankin’s, one can feel the primitive style and comic intonation, which will almost never be found in Soviet art. This is realism - but with its own special intonation: a completely missed opportunity in the history of Russian art.

Samuel Adlivankin. The first Stalinist route. 1936Photo by Yuri Abramochkin / RIA Novosti

Amshei Nuremberg. Bourgeois bastard. 1929Wikimedia Commons / CC BY-SA 3.0; State Tretyakov Gallery

And secondly, this is Makovets. This association was created around the artist Vasily Chekrygin, who died at the age of 25, leaving behind amazing graphics. It included the most different people— Lev Zhegin, Chekrygin’s closest friend and an underrated artist himself; Sergei Romanovich, student and adept of Mikhail Larionov; Sergei Gerasimov, future socialist realist and author of the famous painting “Mother of the Partisan.” And the name of the society was invented by the religious philosopher Pavel Florensky, whose sister, Raisa Florenskaya, was also a member of Makovets. Makovets is the hill on which Sergius of Radonezh founded the monastery, the Trinity Lavra of St. Sergius.

The artists of Makovets were no strangers to the prophetic and planetary pathos of the avant-garde: they dreamed of a cathedral art that unites everyone, the symbol of which for them was the fresco. But since a fresco is impossible in a hungry, collapsed country, all art must be thought of as some approach to it, as sketches. Sketches for some of the most important texts about humanity - hence the remakes of old masters, the appeal to religious themes. It was very untimely art.

But very soon everything else will turn out to be marginal. By the second half of the decade, only two main forces remained on the field, opposing each other. But in the future, together they will have to form the signs of the “Soviet style.” This refers to AHRR and OST - the Society of Easel Painters, “the leftmost among the right-wing groups,” as they said about it. The most discussed works of those years were exhibited at OST exhibitions - “Defense of Petrograd” by Alexander Deineka, “The Ball Flew Away” by Sergei Luchishkin, “Aniska” by David Shterenberg and others. “Defense of Petrograd” is a kind of symbol of the times: a “two-story” composition, where in the upper register the wounded are returning from the front, and in the lower register they are replaced by a line of Red Army soldiers. The OST also included Alexander Labas, Yuri Pimenov, Solomon Nikritin, Peter Williams; many here came from the vanguard. And the face of the association was Deineka, who left OST several years before its closure. In Leningrad, the “Circle of Artists” society was a kind of backup to OST. Its face was Alexander Samokhvalov, who was a member of the society for only three years, but wrote “The Girl in a T-shirt” - the most life-affirming type of the era. It is characteristic that in 30 years the girl will be styled after Samokhvalov’s main character film about the 30s “Time, Forward!” - in everything, right down to the striped T-shirt.

Alexander Samokhvalov. Girl in a T-shirt. 1932Photo by A. Sverdlov / RIA Novosti; State Tretyakov Gallery

The very phrase “society of easel painters” declares an anti-Lef position. OST - for easel painting, for the painting, and Lef - for mass production and design, for dishes and posters. However, by the mid-1920s, AHRR was more influential than Lef: the production utopia had already outlived its active period. And in fact, the main dispute that OST is having is with AHRR - a dispute about what contemporary art should be. Instead of sluggish likeness and descriptiveness, the OST has sharp angles, editing, and a silhouette style of writing. The painting is graphic and resembles a monumental poster. The characters are necessarily young and optimistic, they play sports, drive cars, and are themselves like well-functioning machines. City and industrial rhythms, well-coordinated teamwork, health and strength are glorified here. A physically perfect person is also a spiritually perfect person; such new person and must become a citizen of the new socialist society.

Of course, this is not typical for all artists of the association, but only for its core. But in this rapture of technology and well-coordinated work, the Ostovites, paradoxically, are close to the constructivists from Lef, against whom their program seems to be directed.

And now, at the turn of the twenties, we see the beginning of some new confrontation. On the one hand, there is the pathos of OST, which will later turn into socialist realism. It is the joy of how wonderfully everything moves - people, trains, cars, airships and airplanes. How perfect the technology is. How wonderful collective efforts are, they lead to victory. On the other hand, there are completely opposite emotions, themes and means of expression“Makovets”, “Four Arts” and others. This is silence and static: indoor scenes, intimate scenes, picturesque depth. People drink tea or read books, they live as if there is nothing outside the walls of the house - and certainly nothing majestic. They live as if following the words of Mikhail Bulgakov from The White Guard: “Never pull the lampshade off a lamp!”

And this quiet one, with lyrical and dramatic shades, was to go underground in the 1930s. And the cult of youth and proper control of mechanisms will lead to parades and sports festivals, to a feeling of unity with a jubilant crowd. But this will happen after the Central Committee of the All-Union Communist Party of Bolsheviks, with its 1932 resolution “On the restructuring of literary and artistic organizations,” bans all these organizations, and instead creates a single Union of Artists. And the next “imperial” period of history, stretching over two decades, will begin. Soviet art. The dominance of socialist realism and the totalitarian ideology that feeds it.

This association was founded in May 1922 by Moscow artists Pavel Aleksandrovich Radimov (chairman), Alexander Vladimirovich Grigoriev and Evgeny Aleksandrovich Katsman (secretary). Fyodor Bogorodsky and Viktor Perelman also joined the top leadership. They adhered to the realistic direction in painting and were the successors of the Association of Itinerants. These artists wanted to be understandable to the masses and reflect today on their canvases - the life of peasants, workers, heroes of labor, the exploits of the Red Army, and leaders of the revolution.

First exhibitions

Gathering in the apartment of a prominent artist of pre-revolutionary Russia, Sergei Malyutin, activists of the new movement approved their Charter. The association quickly moved from words to deeds, and already in 1922 organized three exhibitions. The first was sent to help the starving. By the second, a catalog was released in which all the main ideas of the group were made public. The entire avant-garde, which the realists declared harmful, rallied furiously and began to oppose the thoughts expressed by Pavel Radimov when, at the first exhibition, he made a report that spoke about realism as a reflection of the life of Soviet people. From the first days of its existence, AHRR found itself under the patronage and material support of K.E. Voroshilov - leader of the Red Army. Immediately in 1922, a small team of artists under the leadership of P. Radimov went to make sketches and sketches in foundries and factories. Pavel Radimov and his comrades, present as artists at party congresses, made sketches for portraits of its leaders and leaders. After P. Radimov wrote “Meeting in the Kremlin” and “Trotsky’s Speech at the Second Congress of the Comintern,” he and Evgeny Katsman were given a workshop on the territory of the Kremlin. P. Radimov never tired of painting inspired portraits of participants in the Third Congress of the Comintern, sketches of party congresses, sketches of the old and new Kremlin. The leaders of the young union immediately set a course for political order, showing its members in which direction they should work. In the same 1922, one of the founders of the association, Sergei Vasilyevich Malyutin, by the way, he was the author of the painting of our first matryoshka doll, painted one of his best paintings - “Portrait of the writer D.A. Furmanov". This was a hero of new times. In the portrait we see a noble young and modest man, in whom the spiritual and revolutionary beginnings. His face is open, his eyes look straight, friendly. They look straight into the viewer's soul. The writer sits in a calm, natural pose, putting his briefcase on his knees and holding a pencil in his hand. It was as if he had taken a break from working on his novel for a minute. The background is an overcoat casually thrown over the shoulders. Nothing stands out from the painter’s modest palette. The only thing that attracts the eye, besides a beautiful, intelligent face and hands, is the scarlet ribbon of the Order of the Red Banner. The writer received this award after being wounded at the front. With such examples, the best painters of the AHRR showed everyone that it is possible and how a new person should be depicted on canvas. Graphic artists, sculptors, and painters sought to introduce ordinary people to beauty, who were actively building a new free society. They focused, without lowering the artistic bar, on him, and not on a narrow elite circle. Painting, in their opinion, should clearly show everyone our reality - political and industrial construction, successes in agriculture, strengthening the defense capability of Soviet Russia. The viewer at the exhibitions recognized his life, saw how wonderful and good it was, and in the future everything was clear, bright, joyful and amazing.

The growth of the Akrovites

The community that merged with the Peredvizhniki quickly grew. Only more than a year passed, and there were already more than three hundred artists and sculptors. It included everyone who rejected the avant-garde. These were, for example:

A. Kasatkin, who worked in the genre of psychological landscape.

V. Meshkov, genre artist and portrait painter.

V. Byalynitsky-Birulya, who previously worked on landscapes, and then became interested in the construction of the Azovstal metallurgical plant, changes in agriculture, and the transformation of the North.

A. Arkhipov, who often traveled to the Russian North.

E. Stolitsa, who was involved in the restoration of icons.

K. Yuon, master of landscape, who, having joined the AHRR, created such works as “New Planet”, “People”, “Parade of the Red Army”, reflecting the significance of the October Revolution.

M. Grekov, who participated in the civil war as part of Budyonny’s army, and wrote “Trumpeters of the First Cavalry”, “Battle of Yegorlyvskaya”, “Tachanka”.

V. Baksheev, who created the paintings “Lenin in Razliv”, “Uprising in the rear of the white flotilla”, “Demonstration”, “On the eve of January 9”. Even when AHRR ceased to exist, he painted the canvases “Now” and “Before”, “V. I. Lenin and N.K. Krupskaya in the village of Kashino.”

Painters who were recognized even before the revolution came to the “Akhrovites”: B. Kustodiev, I. Brodsky, F. Malyavin, A. Rylov, E. Lanceray, K. Petrov-Vodkin, I. Mashkov.

AHRR quietly “pulled in” small associations such as “Jack of Diamonds”, “New Society of Painters”, “Genesis”, “Four Arts”, “Moscow Painters”.

the main task

The members of the AHRR considered their main mission, to put it in high style, to be the creation of genre films based on the subjects of the heroic revolutionary past, as well as modern paintings, depicting the work and life of Soviet people in realistic forms understandable to everyone. The viewer had to immediately read the main idea from the paintings. In V. Perelman’s painting “Rabkor” the hero is lost in thought and smoking cigarette after cigarette. He chooses words that will reach hearts and souls. The newspaper Pravda, which lies in front of him, has already published “Lenin has died.” What can be added to these mournful words? The whole country was plunged into mourning. And he keeps searching and searching for the necessary words. In K. Petrov-Vodkin’s canvas “Death of a Commissar” we look at huge world through the eyes of a dying man. He is no longer afraid of death. He paves the way for the future with it. It must be bright and beautiful, otherwise what is this sacrifice for? In the painting by E. Cheptsov “School workers. Retraining of teachers" depicts moments of debate and reflection between old gymnasium teachers and new, young, greedily absorbing modern knowledge. The group OST (Society of Easel Artists) argued with the AHRR, which also took themes from modern reality, but spoke a different pictorial language - expressionism. Their cheerful and joyful paintings glorified sports, the life of a city man, and industrialization. They did not tackle the topics of the civil war. The Akhrovites considered their main task in modern art to be ideology and education. AHRR saw its greatest ideological enemy as the “October” group, which was a supporter of constructivism. The “Akhrovites” waged an irreconcilable struggle with her, considering them unreliable in the political sense.

Further development of the Association

Branches of AHRR began to appear in the regions and republics of the USSR. The first were Leningrad, Kazan, Samara, Saratov, Nizhny Novgorod, Tsaritsyn, Yaroslavl, Astrakhan, Kostroma. By the mid-20s, it was a powerful organization that dictated its program and demanded strict obedience to it. This caused discontent among freedom-loving artists. Some groups, for example, “Jack of Diamonds”, were excluded from their ranks by the AHRR as alien petty-bourgeois elements. The young painter Nikolai Terpsikhorov devoted his work to landscape and genre painting. In 1925, at the seventh exhibition, his painting “The First Slogan” attracted attention. In a cold, semi-dark studio, into which dim morning light pours in through a small attic window, the artist writes the slogan “All power to the Soviets” on a scarlet cloth. The artist's studio is sparsely furnished. We see plaster casts, a “potbelly stove” that does not heat the room well, a tin teapot and a loaf of bread on the table, a light bulb hanging from the ceiling and wrapped in a simple newspaper instead of a lampshade. These are all signs of the life of those harsh post-war years. A bright slogan bursts in like a fresh wind carrying revolution, filling the artist’s life with new meaning. Later he would write “The End of the Devastation in Transport,” conveying his sense of the era, emotionally revealing the theme of revolution and building a new society. In 1930, the venerable and very famous artist Isaac Brodsky painted a painting that immediately became a classic - “Lenin in Smolny”. The artist painted portraits of the leader more than once. By this time, a large-scale canvas “Speech by V.I. Lenin at a rally of workers of the Putilov plant” had already been painted. This time the artist chose a modest color scheme, which emphasizes the truthfulness of the image. real place. This image of Lenin, with all its portrait resemblance, brought the viewer very close to the intense everyday life of the head of state, since he was painted almost in full height. The environment that surrounds him is ascetic and modest. Lenin is deeply immersed in his thoughts and writes something, slightly bent over. Nothing distracts him from his work. Silence surrounds him. When this painting appeared, it was followed by numerous reproductions, postcards, and leaflets that reproduced this work.

Completion of activity

In 1928, a congress of the AHRR was held, which made changes to the charter and also changed the name. The association was renamed the Association of Artists of the Revolution (AHR). The leaders assumed that their ranks would include foreign communist artists, as well as new artistic youth. The leaders even stopped paying attention to the fact that the artistic language of some members of the association was beginning to diverge from realism. Gradually, the association began to be torn apart by contradictions. Many artists' works were very far from the AKhR classics. There was no single style direction. Many painters, working in Central Asia, were only nominally considered members of the Association and did not even exhibit their works at exhibitions. This did not contribute to unity and strengthening. In 1932, a resolution of the Central Committee of the All-Union Communist Party of Bolsheviks disbanded all artistic associations, including the Academy of Arts. The principles developed by this organization formed the basis for the creation of the Union of Artists of the USSR.

Tatiana Piksanova