AHRR - Association of Artists of Revolutionary Russia since 1928 - AHRR - Association of Artists of the Revolution The largest artistic group of the 1920s, including painters, graphic artists, sculptors Founded in 1922, dissolved in 1932.

AHRR was founded in Moscow in May 1922. The impetus for its creation was a speech delivered by Pavel Radimov, the last head of the Partnership of Itinerants, at the last, 47th exhibition of the partnership, held in 1922 in the House of Education and Arts Workers in Leontyevsky Lane in Moscow. This speech at the closing of the exhibition was called “On the reflection of life in art” and set the realism of the late Itinerants as a model for embodying “today: the life of the Red Army, the life of workers, peasants, revolutionaries and heroes of labor, understandable to the masses.” This report was met with furious attacks from the “left” front - avant-garde artists who also joined the service of the revolution. Pavel Radimov became the head of the new association. The avant-garde was declared "harmful fabrications".

The first organizational meeting took place in the apartment of the portrait painter Malyutin, one of the authoritative masters of old Russia. In May 1922, AHRR was founded, at the same time the charter was adopted, the name was approved, and the presidium was formed (chairman P. A. Radimov, fellow chairman A. V. Grigoriev, secretary E. A. Katsman). Others included in the core of the organization are P. Yu. Kiselis, S. V. Malyutin. On May 1, 1922, the “Exhibition of paintings by realistic artists to help the hungry” opened on Kuznetsky Most, which later became considered the first exhibition of the AHRR.

From its first steps, AHRR secured solid material support from the leadership of the Red Army (Voroshilov). A number of practical tasks recorded in the Association’s Charter included: providing “material, scientific and technical assistance” to artists and activists visual arts, “full assistance in the development of the inclinations of artistic creativity and visual abilities among workers.”

The Association of Itinerants actually merged with the AHRR, the last head of which, Radimov, became the first chairman of the AHRR. From this moment on, the Wanderers as an organization virtually ceased to exist. In addition, with the desire for realism, the Akhrovites attracted mature painters into their camp who rejected the avant-garde (for example, A. E. Arkhipov, N. A. Kasatkin, V. K. Byalynitsky-Birulya, V. N. Meshkov, E. I. Stolitsa , K. F. Yuon, V. N. Baksheev, M. B. Grekov and others, as well as sculptors M. G. Manizer, S. D. Merkurov, N. V. Krandievskaya). Among those who later joined the ranks of the AHRR, there were also many painters who received recognition before the revolution: I. I. Brodsky, B. M. Kustodiev, E. E. Lansere, F. A. Malyavin, I. I. Mashkov, K S. Petrov-Vodkin, A. A. Rylov and others.

In addition, the powerful organization actively absorbed smaller ones artistic associations. In 1924, the AHRR included members of the New Society of Painters, in 1926 - a group of “Knave of Diamonds”, in 1929 - artists from the Genesis association, in 1931 - from the Four Arts society. In 1926, “Moscow Painters” entered the AHRR in its entirety. In 1931, a number of members of the OMH (Society of Moscow Artists) moved to the AKhR, which is why the Moscow society collapsed.

Over the 10 years of its existence, true to the party line, the AHRR has become the largest artistic organization in the country. It grew rapidly: by the summer of 1923 it had about three hundred members. Regional and republican branches began to emerge. By 1926 there were already about forty of them. Among the first to appear were branches in Leningrad, Kazan, Saratov, Samara, Nizhny Novgorod, Tsaritsyn, Astrakhan, Yaroslavl, Kostroma, Rostov-on-Don. A number of related groups arose, for example, the “Association of Artists of Red Ukraine” (AKhCU), and in 1927 even the “Association of Artists of Revolutionary Germany.” In 1924, a publishing part was created under the leadership of V. N. Perelman, a “production bureau” (headed by A. A. Voltaire), 1925 - information bureau, Central Bureau of AHRR branches. “AHRR was an extremely numerous, mobile and ubiquitous organization. Unlike “stationary” art associations, AHRR, continuing the Wandering traditions, showed its works in many cities. Even those in opposition to the artistic program of the AHRR, many associations were drawn to some of its tendencies - not for opportunistic reasons (this, of course, also happened), but out of a desire to feel needed by the viewer, by the time.” In the 1920s, the Association acquired an increasing number of supporters, enjoyed state support and strengthened its position, acquiring new structures. In 1925, on the initiative of students from Moscow and Leningrad art universities, a youth association was created - OMAKhRR (Youth Association of the Association of Artists of Revolutionary Russia), which soon acquired the status of an autonomous organization with its own charter. In addition, “AHRR too persistently showed dictatorial tendencies; and sometimes it’s more likely this circumstance than just it artistic principles, aroused strong opposition from many artists and entire associations.”

In 1928, the First Congress of the AHRR was held, which adopted a new declaration and made a change in the name of the association - to the AHRR (revolution) from the AHRR (revolutionary Russia). By the end of the 1920s, the Association was in a state of half-life: a separate “Association of the Youth Association of Artists of the Revolution” (OMAKhR, since 1928) was formed, mainly joining the RAPH (“Russian Association of Proletarian Artists”), a number of former leaders and new members established their own "Union of Soviet Artists" (since 1930)". In the end, AHRR, along with all other artistic associations, was dissolved in 1932 by the decree of the Central Committee of the All-Union Communist Party of Bolsheviks of April 23 “On the restructuring of literary and artistic organizations.” The principles of relationships with the authorities and the reflection of Soviet reality that she developed formed the basis of the principles of the Union of Artists of the USSR. The Academy of Artists, like other artistic associations, became part of the single Union of Soviet Artists (USA).

In the 20s, the heyday of the Russian avant-garde, which also wanted to work for the benefit of the revolution, AHRR decisively opposed itself to these masters who used a new artistic language. Relying on the legacy of the Itinerants, who believed that the didactic content of a painting is much more important than the artistic value, and “art should be understandable to the people,” the Association created paintings that would not cause rejection by the mass audience due to their complexity. One of the components was the realism of painting, the second was the choice of themes, based on social and party orders (revolution, Soviet life and labor). The AHRR declaration was set out in the 1922 exhibition catalogue: “Our civic duty to humanity is the artistic and documentary recording of the greatest moment in history in its revolutionary impulse. We will depict today: the life of the Red Army, the life of workers, peasants, leaders of the revolution and heroes of labor... We will give a real picture of events, and not abstract fabrications that discredit our revolution in the face of the international proletariat.” The Association members considered the main task to be the creation of genre paintings based on subjects from modern life, in which they developed the traditions of painting by the Itinerants and “brought art closer to life.” “Artistic documentaryism” and “heroic realism” became the slogans of the AHRR. The masters of the association sought to create canvases that were “understandable and close to the people,” accessible to the “perception of the working masses” (as well as party leaders), art that would “truthfully reflect Soviet reality.” In subsequent years, they wrote: “The Soviet reality of those years was embodied in the truthful and intelligible works of the leading masters of the AHRR.” This activity was highly appreciated by the Soviet authorities.

The ideology of AHRR-AHRR AHRR clashed in a fierce struggle with representatives of other artistic groups that did not adhere to realism and subject painting. The Akhrovites fought against left-wing trends in art, which, in their opinion, caused great harm to realistic painting, sought to prove the need for the existence of easel subject paintings, and fought against the slogan “art for art’s sake.” Although the AHRR absorbed many smaller artistic groups, it in particular did not disdain to purge its ranks of ideologically alien artists. So, in 1924, the Commission for the re-registration of the AHRR decided to exclude from its members a number of artists, former members of the Jack of Diamonds, “as alien to the ideology of the AHRR and the general comradely life. Exclude Lobanov, Rodionov, Maksimov, Vysheslavtsev as inactive people who are unnecessary ballast for the organization and who do not respond ideologically.” Of the most important opponents of AKHRR, it is worth noting that it was close in everything except for some ideological and artistic subtleties, OST, competition with which continued even after the victory of the Akhrovites over the avant-gardists.

AHRR manifested itself especially energetically during the years of the Great Turning Point, when it published calls in the magazine “Art to the Masses”: “Artists of the revolution, fight for the industrial and financial plan! Artists of the revolution, all to the plants and factories for a great historical cause - active participation in the implementation of the five-year plan. Design wall newspapers, boards on social competition, red corners, draw portraits of the heroes of the struggle for the industrial financial plan, scourge in wall newspaper caricatures slackers, grabbers, truants, flyers, scourge bureaucracy, expose sabotage! Artists of the revolution, to carry out all this work, develop social competition among yourself in its highest forms and phases (through brigades, public tug, etc.), declare yourself shock workers, join brigades organized by trade union organizations, eliminate the lag of the entire isofront from the general front of the struggle for socialism! Fight for the five-year plan in four years!”

Artistic characteristics of painting Typical features of the works of the Akhrovites are a clear narrative, conservative “realism”, an attempt to recreate a historical or contemporary event (that is, glorified documentary). AHRR artists sought to make their painting accessible to the mass audience of that time, and therefore in their work they often used the everyday writing language of the late Wanderers. In addition to “heroic realism,” their works also showed tendencies of everyday life and naturalism, although this, as Soviet critics later noted, “often led to petty themes and illustrativeness.” They embodied their slogan of “artistic documentary”: the practice of going on location was extremely widespread. Painters went to factories and factories, to Red Army barracks, to observe the life and everyday life of their characters. Their activity began with sketches at Moscow factories (Dynamo, etc.) in 1922, where Radimov and his comrades went almost immediately. During the preparation of the exhibition “Life and Life of the Peoples of the USSR,” all participants visited the most remote corners of the country and brought from there a significant number of sketches that formed the basis of their works. The concept of creative business trips was implemented: painters went on trips together with expeditions of the Academy of Sciences, exploration geologists, and builders.

Big role artists of AHRR played a role in the development of new Soviet art themes, for example, of the Soviet landscape, influencing representatives of various artistic groups of that time. Of course, they influenced the formation of the theory of socialist realism in painting. Additionally, AHRR used the inventions of the propaganda industry, since its task was not only to create canvases on current topics, but also to release them to the people, replicating them on posters and postcards. Also, “despite the programmatic anti-modernist attitudes, elements of modernity (symbolism and impressionism) constantly make themselves felt, but as if in a tamed version, alien to fantasy.” Most of the significant artists of the AHRR studied painting back in tsarist times on the basis of the academic drawing program or received their skills directly from the teachers of this school (for example, the 1st Soviet battle painter Mitrofan Grekov studied with the 1st imperial battle painter - Franz Roubaud). This has led to the fact that the works of prominent Akhrovites are not weak either in design or composition with color, and today they have not only historical, but in many cases significant artistic value.

Exhibitions 1922 - “Exhibition of paintings by realistic artists to help the hungry” (salon on Kuznetsky Most street) 2. 1922 - “Life and life of the Red Army” (Museum of Fine Arts). The catalog published the declaration of the Academy of Arts. 3. 1922 - Exhibition of paintings, sketches, graphics and sculptures “Life and Life of Workers” (Moscow, Scientific and Technical Club in the House of Unions) 4. 1923 - “Red Army. 1918-1923" (Museum of the Red Army) 5. 1923 - "Corner named after V.I. Ulyanov-Lenin" (First agricultural and handicraft-industrial exhibition, now the territory of the Central Park of Culture and Culture. O) 6. 1924 - "Revolution, life and work" (State Historical Museum) 7. 1925 - “Revolution, life and work” (Museum of Fine Arts) 8. 1926 - “Life and life of the peoples of the USSR” (former Agricultural Exhibition, now the territory of the Central Park of Culture and Culture. O; Leningrad - in a reduced composition, halls of the Academy of Arts ) 9. 1927 - “Exhibition of sketches, sketches and sculptures by artists of the Moscow organization AHRR” (Museum of the Revolution) for the tenth anniversary October revolution(The AHRR declaration is published in the catalogue) 10. 1928 - “X years of the Red Army” (Central Telegraph building), artists from other associations were invited to participate in the exhibition; The AHRR declaration is published. Such different in manner and content things appeared as “Defense of Petrograd” by Deineka, “Death of the Commissar” by Petrov-Vodkin, “Fergana Partisans” by P. Kuznetsov, “Taman Campaign” by Sokolov-Skal, “Order of the Offensive” by Shukhmin, etc. 11 1929 - “Art to the Masses” (MGSPS stadium, now the territory of the Central Park of Arts and Culture. O). The catalog published the declaration of the Academy of Artists and the declaration of the Society of Easel Artists. In 1928, the AHRR organized two traveling exhibitions for workers' clubs in Moscow. In 1928, the first OMAKhRR exhibition opened (Moscow); in 1929, two OMAKhRR exhibitions were held (one of them presented the work of the textile section). Subsequently, AHRR artists take part in various thematic exhibitions: 2. “Painting, drawing, film, photography, printing and sculpture on the theme “Life and everyday life of children of the Soviet Union” (1929) 3. “First traveling exhibition” (1929), 4 "The Red Army in Soviet Art" (Moscow, Tretyakov Gallery), 5. "Exhibition of works of revolutionary and Soviet themes" (1930, Tretyakov Gallery), etc.

Isaak Izrailevich Brodsky (1883-1939) - Soviet and Russian painter and graphic artist, teacher and organizer of art education, Honored Artist of the RSFSR (1932), one of the main representatives of the realistic trend in Soviet painting of the 1930s, author of an extensive fine art Leninians. Isaac Brodsky was born on December 25, 1883 (January 6, 1884) in the village of Sofievka near Berdyansk (at that time the Tauride province, now the Zaporozhye region of Ukraine), into a Jewish family. The father was a merchant and landowner, a merchant of the second guild of the city. Nogaisk Taurida province. The younger sister Raisa (1894-1946) was a musician, a graduate of the St. Petersburg Conservatory. In 1896 he graduated from the Berdyansk City School. He considered the city of Berdyansk his homeland. Since childhood, he showed a talent for painting. From 1896 to 1902 he studied at Odessa art school by L. D. Iorini, K. K. Kostandi and G. A. Ladyzhensky. Then he moved to. St. Petersburg and continued his studies at the capital's Academy of Arts. For five years he studied at the Academy with I. E. Repin. In 1909-1911, with money from the Academy, he traveled throughout the German Empire, France, Spain and Italy, in particular, he visited the island. Capri M. Gorky. Before the October Revolution of 1917 and in the 1920s, Brodsky participated in exhibitions at the Academy of Arts, was an exhibitor of the “Association of South Russian Artists”, “Association of Traveling Art Exhibitions”, “Society named after. A. I. Kuindzhi", "Communities of Artists". In the summer of 1917, he began a portrait of Alexander Kerensky (he finished it already in 1918, when the Provisional Government was overthrown), and after the October Revolution he actively painted portraits of Bolshevik leaders. Brodsky worked a lot to create images of Soviet leaders, primarily V.I. Lenin and I.V. Stalin. In addition, Brodsky was involved in the reorganization of art education in the USSR. Since 1932 he was a professor, and since 1934 - director of the All-Russian Academy of Arts. I. I. Brodsky attracted I. I. to work at the Leningrad Institute of Painting, Sculpture and Architecture, which he headed major artists and teachers: K. F. Yuon, P. S. Naumov, B. V. Ioganson, A. I. Lyubimov, R. R. Frenz, N. F. Petrov, V. A. Sinaisky, V. I. Shukhaev , D. I. Kiplik, N. N. Punin, V. N. Meshkov, M. D. Bernstein, E. M. Cheptsov, I. Ya. Bilibin, M. G. Manizer, P. D. Buchkin, A P. Ostroumov-Lebedev, A. E. Karev, B. A. Fogel, L. F. Ovsyannikov, S. V. Priselkov, I. P. Stepashkin, K. I. Rudakov and others. His students were: famous artists and teachers like A.I. Laktionov, Yu.M. Neprintsev, V.M. Oreshnikov, P.P. Belousov, M.P. Zheleznov, N.E. Timkov, A.N. Yar. Kravchenko, P.K. Vasiliev, M.G. Kozell and others. Brodsky died on August 14, 1939 in Leningrad. He was buried on the Literatorskiye Mostki at the Volkovskoye Cemetery. . In the center of Leningrad (Arts Square, 3 - Golenishchev-Kutuzov House) a museum of the artist was created - the museum-apartment of I. I. Brodsky, which is a department of the Scientific Research Museum of the Russian Academy of Arts. In September 1940, Lassalle Street near Nevsky Prospekt was renamed Brodsky Street (in 1991 it was given back its historical name - Mikhailovskaya Street). The Berdyansk Art Museum, founded by him in 1930, bears Brodsky’s name, where the artist donated about 200 paintings by Russian artists from his collection.

I. I. Brodsky (1883 -1939). Speech by V.I. Lenin at the farewell of the Red Army units to the Western Front on May 5, 1920. 1933

Mikhail Vasilyevich Frunze (party pseudonyms Mikhailov, Tri Fonich, Arseny, literary pseudonyms Sergei Petrov, A. Shuisky). January 21 (February 2) 1885, Pishpek, Semirechensk region - October 31, 1925, Moscow - revolutionary, Soviet statesman and military leader, one of the most prominent military leaders of the Red Army during the Civil War, military theorist. I. I. Brodsky (1883 -1939). M. V. Frunze on maneuvers. 1929

I. I. Brodsky (1883 -1939). People's Commissar of Defense K.E. Voroshilov on a ski trip. 1937 Kliment Efremovich Voroshilov (January 23, 1881, Verkhneye village, Yekaterinoslav province (now the city of Lisichansk, Lugansk region) - December 2, 1969, Moscow) - Russian revolutionary, Soviet military leader, state and party leader, participant in the Civil War, one one of the first Marshals of the Soviet Union. Since 1925, People's Commissar for Military and Naval Affairs, in 1934-1940, People's Commissar of Defense of the USSR. In 1953-1960 - Chairman of the Presidium Supreme Council THE USSR. Twice Hero of the Soviet Union, Hero Socialist Labor. Member of the Party Central Committee in 1921-1961 and 1966-1969. Member of the Organizing Bureau of the Central Committee of the All-Union Communist Party of Bolsheviks (1924-1926). Member of the Politburo of the Central Committee of the All-Union Communist Party of Bolsheviks (1926-1952), member of the Presidium of the Central Committee of the CPSU (1952-1960). Voroshilov holds the record for the length of stay in the Politburo of the Central Committee of the All-Union Communist Party of Bolsheviks (CPSU Central Committee), the Presidium of the CPSU Central Committee (34.5 years).

Mitrofan Borisovich Grekov Real name - Martyshchenko Mitrofan Pavlovich (June 3, 1882, Sharpayevka village, Yanovskaya volost, Donetsk district, Don Army Region - November 27, 1934, Sevastopol) - Soviet battle painter of Russian Cossack origin. Born into a Cossack family, on the Sharpayevka farm in the Don Army Region (now Rostov Region). First he went to study painting at the Odessa Art School (from Kiriyak Kostandi), then he ended up at the St. Petersburg Academy of Arts, where he studied with I. Repin and F. A. Rubo - classics battle genre. He became the founder of the Soviet battle genre. First world war I was at the front, from where I brought back many sketches. In the Civil War he fought as part of the Red Army, where he volunteered. Documented the exploits of Budyonny's First Cavalry Army. Was a member of the AHRR. Lived in Novocherkassk and Moscow. The artist’s most famous works: “Trumpeters of the First Cavalry”, “Tachanka”, “Battle of Yegorlykskaya”, “The Frozen Cossacks of General Pavlov”. He headed the team creating the panorama “The Storm of Perekop” (1934).

Ryazhsky Georgievich (Egorovich; January 31 (February 12) 1895 - October 20, 1952) - Soviet painter, teacher, professor. Secretary of the Presidium of the USSR Academy of Arts from 1949 to 1952. Academician of the USSR Academy of Arts (1949). Honored Artist of the RSFSR (1944). Born on January 31 (February 12), 1895 in the village of Ignatyevo, Moscow province of the Russian Empire. In 1910-15 he studied in the drawing classes of the Prechistensky evening courses with N. N. Komarovsky; in the studio of M. V. Leblanc, R. A. Baklanov, M. M. Severov, took lessons in the workshop of Anna Golubkina (1917). In 1918 -1920 studied at the State Free Art Workshops - Vkhutemas with Kazimir Malevich. In 1922 he organized the NOW group, then taught correspondence courses in drawing, from 1929 to 1931 - at Vkhutein, worked at the School of Memory of 1905, from 1934 - at the Moscow Art Institute. V.I. Surikova, since 1940 - professor. Honored Artist of the RSFSR (1944). Full member of the USSR Academy of Arts (1949). He painted mainly female portraits. In 1937, the works of G. G. Ryazhsky “Delegate” and “Chairwoman” were awarded a large gold medal at the International Exhibition in Paris.

Sergei Vasilyevich Malyutin (September 22, 1859, Moscow, Russian Empire - December 6, 1937, Moscow, RSFSR, USSR) - Russian artist, architect. The son of a merchant, was born, lived, and worked in Moscow. The author of the painting of the first Russian nesting doll. 1883-1886 - studied at the Moscow School of Painting, Sculpture and Architecture (MUZHVZ), in the workshops of I.M. Pryanishnikov, V.E. Makovsky and other teachers 1886 - received a small silver medal, in 1890 - the title of non-class artist 1891-1893 - taught drawing at the Moscow Elizabethan Institute; in 1903-1917 - at MUZHVZ. 1890s - artist at the Russian Private Opera S.I. Mamontov 1896 - member of the Moscow Association of Artists 1900-1903 - in Talashkino, with Princess M.K. Tenisheva, he led art workshops that served as an example for the further development of the Russian art industry. Member of the artistic association " World of Arts a" 1903 - in the "Union of Russian Artists". Taught at MUZHVZ (until 1917) 1913 - member of the “Association of Wanderers” 1914 - academician of the Academy of Arts 1918-1923 - taught at GSKHM-VKHUTEMAS 1918-1921 - participated in the creation of the “Windows of Satire ROSTA” 1922 - one of the organizers of the “Association of Revolutionary Artists” Russia" 1927-1931 - member of the art group "Association of Realist Artists

Boris Vladimirovich Ioganson (July 13 (25), 1893, Moscow - February 25, 1973, Moscow) - Russian and Soviet artist and teacher, one of the leading representatives of socialist realism in painting, professor. President of the USSR Academy of Arts from 1958 to 1962. Academician of the USSR Academy of Arts (1947). People's Artist of the USSR (1943). Hero of Socialist Labor (1968). Winner of two Stalin Prizes first degree (1941, 1951). Member of the CPSU(b) since 1943. Boris Ioganson was born in Moscow into the family of an employee of Swedish origin. He received his primary art education at the school-studio of P. I. Kelin. Then, from 1912 to 1918, he studied at the Moscow School of Painting, Sculpture and Architecture, where his teachers were A. E. Arkhipov, N. A. Kasatkin, S. V. Malyutin and K. A. Korovin. In 1919-1922 he worked as a set designer in theaters in Krasnoyarsk and Alexandria (Kherson province). In 1922-1931, he was a member of the Association of Artists of Revolutionary Russia. One of the most significant representatives of the Soviet easel painting 1930s. In his work, he turned to the most valued traditions of Russian painting of the 19th century at that time - the legacy of I. E. Repin and V. I. Surikov. Interpreting it, he introduces into his works “new revolutionary content, in tune with the era.” His paintings are especially famous: “Interrogation of Communists” (1933) and “At the Old Ural Factory” (1937). In 1937-1961 he taught at the Repin Institute in Leningrad, and since 1939 - as a professor. Since 1964 he worked in Moscow, taught at the Art Institute. V. I. Surikova. From 1953 he was vice-president, and in 1958-1962 - president of the USSR Academy of Arts. In 1965-1968 he was the First Secretary of the Board of the Union of Artists of the USSR. Since 1962, Ioganson has been the editor-in-chief of the encyclopedia “The Art of Countries and Peoples of the World”. Member of the USSR Supreme Council of the 7th convocation (1966-1970). Delegate to the XX and XXIII Congresses of the CPSU. Died on February 25, 1973.

OST (OKHST) Society of Easel Painters is an artistic group founded in 1925 in Moscow by a group of VKHUTEMAS graduates led by David Shterenberg. A characteristic feature of OST's creativity is the glorification of Soviet reality (industrialization, sports, etc.) using the techniques of modern European expressionism. Existed until 1931. Leading OST artists played an important role in the development of Soviet easel painting, as well as monumental painting, book graphics, posters, and theatrical and decorative art.

Creation of the association In 1924, the First discussion exhibition of associations of active revolutionary art took place (Moscow, Tverskaya st., 54), where VKHUTEMAS students took part as part of the following groups: “projectionists” (S. Luchishkin, S. Nikritin, K. Redko, N . Tryaskin A. Tyshler; group formed in 1922). “concretivists” (P. Williams, K. Vyalov, V. Lyushin, Yu. Merkulov; separated from the group of “projectionists” in 1924). “group of three” (Alexander Deineka together with Yu. Pimenov and A. Goncharov) The next year, 1925, they, together with other graduates who joined them, founded the OST, the chairman of which, as the most respected and “foreman,” was chosen Shterenberg, a teacher VKHUTEMAS, whose students (as well as V. A. Favorsky) were the majority of the association’s participants. The founding members of OST were Y. Annenkov, D. Shterenberg, L. Weiner, V. Vasiliev, P. Williams, K. Vyalov, A. Deineka, N. Denisovsky, S. Kostin, A. Labas, Y. Merkulov, Yu . Pimenov. The OST Charter was adopted in September 1929. The chairman of the society is D. P. Shterenberg. Composition of the board in 1925-1926 - L. Weiner, P. Williams, N. Denisovsky, Y. Pimenov; 1927 - P. Williams, Y. Pimenov, L. Weiner, N. Shifrin.

Ideology The name of the group - the Society of Easel Artists - was associated with heated discussions about the fate and purpose of art. A group of contemporary OST painters fundamentally rejected easel forms of creativity for the sake of artistic production tasks, which the members of the future OST did not like. Actually, Shterenberg, even in his post in the fine arts department, as a teacher, contributed to the development of this production art, but as a painter and member of OST he already began to defend the fruitfulness of easel art. “Anti-machine-machine producers”, and then AHRR, became the main opponents of OST. P. Williams. “Auto rally”, 1930, Tretyakov Gallery. One of the most famous OST paintings combines expressiveness, lightness of brushwork, and modern theme- cars After the formation in 1922 of AHRR - the Association of Artists of Revolutionary Russia and its fight against “formalism” (Russian avant-garde), the emergence of OST - an association of artists, which, like AHRR, preferred Soviet themes, but did not reject the tools of artistic language, became natural. invented in the twentieth century. Unlike the Akhrovites, who were guided by the very life-like realism of the Wanderers, the Ostovites considered the latest European movements, especially expressionism, to be their aesthetic ideal. This was partly due to the fact that most of the members of the association were graduates of VKHUTEMAS - young people who sought to “express the energy and vigor of the young country.” Only Shterenberg was a representative of the older generation. The OST began to be called “the most left-wing of right-wing groups.”

Researchers note that at first in the program and practice of OST there was a lot of purely speculative experimental fervor and mischief, but something else is important - a creative atmosphere reigned in this Society, it was dominated by a greedy interest in the revolutionary novelty of modern reality, in new forms of life, and not only to new forms of painting and graphics for their own sake. OST did not take on the revolutionary themes of the Civil War (the best examples of which were presented by the Akrovites), but preferred peaceful, bright themes, “signs of the 20th century,” typical phenomena of the peaceful reality of their time: the life of an industrial city, industrial production, sports, etc. In educational The plan defined a “focus on artistic youth.” They sought to reflect in individual facts the new qualities of their contemporary era. Main themes: Industrialization of Russia, which was recently still agrarian and backward, the desire to show the dynamics of the relationship between modern production and people. Life of the city and urban man of the 20th century. Mass sports (football, tennis, sports competitions and cross-country, gymnastics), which also became a characteristic feature of the life of Soviet society.

OST members advocated realistic painting in an updated form, contrasting it with non-objective art and constructivism. OST affirmed the importance and vitality of easel art forms. The Ostovites, like the Akrovites, considered their main task to be the struggle for the revival and further development of easel painting on a modern theme or with modern content - in which they were completely different from LEF. OST was inclined to see the strict reality of the 1920s poetically and realize it in a professionally and logically constructed picture, thus entering into polemics with both the documentaryism of the AHRR and the more abstract quests of the avant-garde.

from the OST Charter: Considering that only art of high quality can set itself such tasks, it is necessary, in the conditions of modern development of art, to put forward the main lines along which the work should proceed (...) a) rejection of abstraction and wandering in the plot; b) rejection of sketchiness as a phenomenon of disguised amateurism; c) rejection of pseudo-Cézanneism as disintegrating the discipline of form, design and color; d) revolutionary modernity and clarity in the choice of subject; the desire for absolute mastery (...); e) the desire for a finished picture; g) orientation towards artistic youth.

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, to the modern traditions of posters and cinema, which have a free and precise sense of space, the ability to sharply , expressive impact on the viewer (especially those stylistically gravitating towards German expressionism).” “They needed a loud and clear voice, a laconic and expressive artistic language, they boldly introduced the techniques of graphics, posters, and frescoes into their paintings.” “The style was very advanced, including elements of constructivist montage, as well as the techniques of figurative defamiliarization and deconstruction characteristic of expressionism and surrealism.”

“All these new tasks have determined new methods. One of the principles of the compositional construction of a picture is the fragmentation of space. The plot to which the image is dedicated ceases to be closed and becomes an organic part of the infinite world. The silhouettes of people are enlarged and brought to the fore. By depicting them in contrast both in color and size in relation to everything else, artists emphasize their dynamic power. Ostovsky easel painting thus absorbs elements of monumental painting, providing this type of art with living space within itself for a long time. This is all the more important to note and emphasize that the Soviet era experienced an urgent need for the monumental pathos of its figurative embodiment, but at the same time, the Soviet state did not have sufficient funds in those years for the development of urban planning and the accompanying synthesis of architecture with monumental art.” “The fusion of modern plots with modern formal means is (...) the course taken by OST. The course is absolutely correct in principle, from which fruitful results could be expected,” wrote critic J. Tugendhold. “The corresponding tradition made itself felt for many years, actively influencing both official and unofficial Russian art (it was OST - even to an even greater extent than the Jack of Diamonds - that became the stylistic basis for the harsh style of the 1960s)" .

Deineka left OST back in 1928 for reasons of principle. One of the reasons for leaving was his disagreement with the leadership of the society, primarily with Shterenberg, who did not like the fact that young people were not limited to the search for a pictorial form, but were invading related forms of art - posters, magazine drawings, theatrical decorations, trying their hand at creating monumental thematic compositions. As Deineka’s researchers noted with criticism, “after successful performances in the genre of thematic painting, Shterenberg and the group of artists adjacent to him began to retreat to the position of chamber easel painting with an emphasized conventional interpretation of the surrounding world. Their formal stylistic experiments often took on a laboratory character and were overly artificial form. Deineka and his like-minded people in OST also strived for innovation in the ideological and thematic sphere of art.” There were considerable differences among members of the OST in assessing the importance of individual types and genres of art. “The most consistent easel painters defended the priority of purely pictorial methods of working on magazine drawings, posters, and monumental panels; adherents of intimate-lyrical painting expressed claims to those who were carried away by the search for the great style of the era. Most likely, Deineka was not satisfied with the internal division of artists, the desire of some members of the association to assert the priority of pure formal innovations over the search for specific meaningful imagery.” The association itself did not last long in its original composition. Already in 1928, two groups of artists were clearly defined within it, differing in their creative positions.

One of the groups (Williams, Deineka, Luchishkin, Pimenov, etc.) gravitated toward depicting city life, new technology, industrial landscape, sports, young, physically developed people. Their works were distinguished by dynamism, clarity of composition, and graphic expression of forms. Another group, united around Shterenberg (Goncharov, Labas, Tyshler, Shifrin, etc.), worked in a freer manner, preferring lyricism and picturesqueness to the rational organization of works.

Initially professional debates and polemics between members of both groups soon took on political overtones. Experiencing increased ideological censorship and political attacks from the AKHRR, and later from the RAPH, society underwent a split (it was accused of formalism, bourgeois individualism, etc.). At the beginning of 1931, the core members came to the decision that one of the groups should leave the Society. This group was the artists led by Shterenberg, who retained the old name. The remaining artists soon abandoned the name OST and declared themselves as a new association - “Izobrigada” (“Brigade of Artists”). (Some of the participants also moved to “October”, organized in 1930, which included Deineka).

The board of the remaining part of OST: D. Shterenberg (chairman), A. Labas, A. Tyshler and A. Kozlov. The “Isobrigade” (Yu. Pimenov, P. Williams and others) made accusations against their recent comrades and assurances that from now on they will be “for journalism in art as a means of sharpening the figurative language of art in the struggle for the combat tasks of the working class "". Board of the Art Brigade: V.P. Tyagunov - chairman; Adlivankin, Williams, Luchishkin, Pimenov). In the end, the OST itself and its heirs, along with all other artistic associations, were dissolved in 1932 by a resolution of the Central Committee of the All-Union Communist Party of Bolsheviks ) dated April 23 “On the restructuring of literary and artistic organizations.” Its remnants merged with the Moscow branch of the Union of Soviet Artists.

OST members In total, OST united more than 30 main artists: Annenkov, Yuri Pavlovich Williams, Pyotr Vladimirovich Volkov, Boris Ivanovich Goncharov, Andrey Dmitrievich Deineka, Aleksandrovich Kupreyanov, Nikolai Nikolaevich Labas, Alexander Arkadyevich Luchishkin, Sergei Alekseevich Merkulov, Yuri Alexandrovich Pimenov, Yuri Ivanovich Tyshler , Alexander Grigorievich Shterenberg, David Petrovich others: Axelrod, Meer (Mark) Moiseevich Alfeevsky, Valery Sergeevich Antonov, Fedor Vasilyevich Barto, Rostislav Nikolaevich Barshch, Alexander Osipovich Berendgof, Georgy Sergeevich Bulgakov, Boris Petrovich Bushinsky, Sergei Nikolaevich (from 1928) Weiner, Lazar Yakovlevich Vasiliev V. Vyalov, Konstantin Aleksandrovich Gorshman, Mendel Khaimovich Denisovsky, Nikolai Fedorovich Dobrokovsky, Mechislav Vasilyevich Zernova, Ekaterina Sergeevna Kishchenkov (Lik) L. I. Klyun, (Klyunkov) Ivan Vasilievich Kozlova, Klavdiya Afanasyevna Kostin, Sergey Nikolaevich Kolyada, Sergey Avksentyevich Kudryashev, Ivan Alekseevich Igumnov, Andrey Ivanovich (since 1929) Lyushin, Vladimir Ivanovich Melnikova, Elena Konstantinovna Nikritin, Solomon Borisovich Nissky, Georgy Grigorievich Parkhomenko K. K. Perutsky, Mikhail Semenovich Poberezhskaya A. I. Popkov, Ivan Georgievich Prusakov , Nikolai Petrovich Tryaskin, Nikolai A. Tyagunov, Vladimir Petrovich Shifrin, Nisson Abramovich Shchipitsyn, Alexander Vasilievich Ellonen, Viktor Vilgelmovich Kuptsov, Vasily Vasilievich

The most famous paintings of the skeletons: P. Williams, “Motor Race” (1930), “Hamburg Uprising” by D. Shterenberg, “The Old Man (Old)” (1925), “Aniska” (1926) by A. Deineka, “On the Construction of New Workshops” (1926), “Before Descending into the Mine” (1924), “Football Players” (1924), “Textile Workers” (192 6), “Defense of Petrograd” (1928). A. Labas, “The First Soviet Airship” (1931), “The First Steam Locomotive on Turksib” (1931) S. Luchishkin, “The Ball Flew Away” (1926), “I Love Life” Y. Pimenov “Heavy Industry”. Pictures after the dissolution of the association: “New Moscow” (1937); "Wedding on Tomorrow Street" (1962).

David Petrovich Shterenberg (July 14 (26), 1881, Zhitomir - May 1, 1948, Moscow) - painter, graphic artist, one of the main representatives of Russian fine art of the first half of the 20th century. Early life and the Parisian period Born into a Jewish family in Zhitomir. He was a photographer's student in Odessa and was fond of revolutionary ideas. In 1906 he emigrated from Russia to Vienna as an active member of the Bund. From 1907 to 1917 he lived in Paris. In Paris he studied phototypes and studied painting, first at the School of Fine Arts, and then at the A. Vitti Academy. Among his fellow students was the Dutch artist Kees van Dongen. Shterenberg lived in the famous Parisian phalanstery “The Beehive”. The artist was influenced by the work of Paul Cezanne and Cubism. Since 1912 he took part in exhibitions at the Paris Salon. Later he joined the Salon of Independents, becoming close to other artists of the Parisian school: Lipchitz, Kisling, Diego Rivera, Marc Chagall and others. Shterenberg's paintings from the Parisian period are often contradictory and heterogeneous. The artist would develop a recognizable style only towards the end of his stay in Paris.

Return to Russia After the October Revolution of 1917, Shterenberg returned to Russia, where his political past and acquaintance with the People's Commissar of Education A.V. Lunacharsky played a role. Familiar with Shterenberg's Parisian work, Lunacharsky appointed him head of the Fine Arts Department of the People's Commissariat for Education. Along with Nathan Altman and other Russian cultural figures, he took part in a conference of writers, artists and directors on cooperation with the Soviet government at Smolny in Petrograd (St. Petersburg). In 1918, an exhibition of participants of the Jewish Society for the Promotion of Art took place in Moscow, in which Shterenberg took part along with Altman, Baranov-Rossine and Lissitzky. From 1918 to 1920 he was head of the fine arts department of the People's Commissariat of Education. In 1918, he published his programmatic article “Tasks of Contemporary Art” in the news of the Petrograd Soviet. From 1920 to 1930 he taught at VKHUTEMAS. In 1922 in Moscow, Shterenberg took part in an exhibition of Jewish artists, of which Marc Chagall was a participant. In the same year he wrote an essay for the catalog of the First Russian Art Exhibition at the Van Diemen Gallery in Berlin. He was a member of the association of Comfuts (communist futurists). He refused to join LEF due to the denial of easel art by LEF theorists. In 1925-1932, he was the founder and leader of the Society of Easel Painters (OST). Shterenberg played a significant role in the development of Soviet art, especially in the post-revolutionary period, when the Fine Arts Department of the People's Commissariat for Education united avant-garde artists who were rejected by the previous official art. Shterenberg paid great attention to the organization of exhibitions and issues of art education. Shterenberg saw the main task of Soviet art in the need to improve pictorial culture, thereby underestimating the importance of narrative, socially active art

Andrei Dmitrievich Goncharo (1903-1979) - Soviet painter and graphic artist, book artist, theater artist, teacher. People's Artist of the RSFSR (1979). Corresponding Member of the USSR Academy of Arts (1973) Andrei Dmitrievich Goncharov was born on June 9 (June 22), 1903 in Moscow. He took his first drawing lessons in the private studio of K. F. Yuon. In 1917-1919 he studied at the 59th labor school. In 1918, he entered the Second State Free Art Workshops (formerly the Moscow School of Painting, Sculpture and Architecture), where he first studied in the workshop of I. I. Mashkov, and then moved to the workshop of A. V. Shevchenko. In 1921 he entered the graphic department of VKHUTEMAS, where he studied in the wood engraving department under V. A. Favorsky. Since 1923, he constantly worked as an illustrator for newspapers, magazines, and publishing houses (Izvestia TsIK, Academia, Molodaya Gvardiya, GIHL, etc.). Participated in the design of the All-Russian Agricultural and Handicraft Exhibition. In 1924, he exhibited for the first time at the First Discussion Exhibition of Associations of Active Revolutionary Art (Moscow, Tverskaya Street, 54) as part of the “group of three” with A. A. Deineka and Yu. I. Pimenov. Since 1925, member of the Society of Easel Painters (OST). In 1927 he graduated with honors from the graphic department of VKHUTEMAS (VKHUTEIN) with the title of graphic artist. He began teaching at the art studio of the Frunze Department of Public Education in Moscow, at the ethnological faculty of Moscow State University named after M.V. Lomonosov. In 1928 he participated in the All-Union Printing Exhibition. In 1929-1930, he was an associate professor at the Leningrad VKHUTEIN. In 1930-1934 he was an associate professor at the MPI. From 1934 to 1938, he was an associate professor at the V. I. Surikoyv Moscow State Academy of Arts. During the Great Patriotic War (1941-1945) he served in the ranks of the Red Army. He worked as a production editor and artist in the magazine “Front-line Humor” (publication of the 3rd Belorussian Front), and then as the main artist of the exhibition “Political work in units of the 3rd Belorussian Front”. In 1947-1948 he taught at the Moscow Central Art and Industrial School at the faculty of monumental painting. In 1948-1979 he taught at. Moscow Printing Institute, where from 1950 to 1974 he headed the department of drawing and painting. In 1958, Goncharov was awarded the title of professor. In 1959, Goncharov created four main panels for Soviet exhibition in NYC. [In 1960, A.D. Goncharov’s book “On the Art of Graphics” was published, and in 1964, the book “The Artist and the Book” was published. In 1971-1979, Goncharov served as chairman of the jury of the All-Union annual competition “The Art of Books”. Corresponding member of the USSR Academy of Arts (1973). A.D. Goncharov died on June 6, 1979 in Moscow.

Alexander Arkadyevich Laba s (February 19, 1900, Smolensk - August 30, 1983, Moscow) - Soviet artist, member of the OST group, representative of the Russian avant-garde of the 20s - 30s. Born in Smolensk on February 19, 1900. Parents - Arkady Grigorievich (Aizik Girshevich) and Khaya Shaulovna Labas. At the age of 6 he began painting in the private studio of the artist V. Mushketov. In 1910, Labasa's father, a journalist and publisher, moved with his family to Riga, and in 1912 to Moscow. Labas enters the Imperial Stroganov School of Art and Industry. At the same time, he studies in the studio of F. Rerberg, then in the studio of I. Mashkov. Since 1917, he studied at the State Art Workshops (later VKHUTEMAS), first in the workshop of F. Malyavin, and then in the workshop of P. Konchalovsky. Studies with K. Malevich, V. Kandinsky, P. Kuznetsov, K. Istomin, A. Lentulov. In 1919 - artist of the 3rd Army of the Eastern Front. Since 1924, at the invitation of V. Favorsky, he has been teaching painting and color science at VKHUTEMAS. In the 20s - 30s he was involved in designing performances at the Theater of the Revolution, the Theater named after. V. F. Komissarzhevskaya, State Jewish Theater (GOSET). He made panoramas and dioramas for the Soviet pavilions at the World Exhibition in Paris (1937), the World Exhibition in New. York (1939), for the Main Pavilion of the All-Russian Agricultural Exhibition (1938-1941). One of the founding members of OST (Society of Easel Painters). In the 20s - early 30s, an active participant in international exhibitions (XVII International Art Exhibition, Italy (Venice), 1930, XXX International Painting Exhibition in the USA (Pittsburgh, Baltimore, St. Louis), 1931, Exhibitions in Holland, Germany, Sweden, Latvia, Switzerland, England, South Africa, France, Japan, Spain In 1935 -36 he was accused of formalism, his works were not acquired by museums, and were not accepted for exhibitions.

Alexander Grigorievich Ty Shler (July 14, 1898 Melitopol - June 23, 1980, Moscow) - Soviet painter, graphic artist, theater artist, sculptor. Honored Artist of Uzbekistan. USSR (1943). Winner of the Stalin Prize of the second degree (1946), Aleksandr Tyshler was born in Melitopol (now the Zaporozhye region of Ukraine) into the family of an artisan. In 1912-1917 he studied at the Kiev Art School, in 1917-1918 - in the studio of Alexandra Ekster. In 1919, Tyshler volunteered to join the Red Army; Serving under the administration of the Southern Front, he made posters for the windows of ROSTA, illustrated the first primers in the languages ​​of peoples who had no written language before the revolution: Kalmyk, Mordovian, Tatar, as well as Yiddish. In 1921, after demobilization from the army, he entered VKHUTEMAS and studied in the workshop of Vladimir Favorsky. In 1927, Alexander Tyshler made his debut as a theater artist, designing a number of performances at the Belarusian Jewish Theater in. Minsk. In the 1930s he worked in Moscow, collaborated with many capital and Leningrad theaters; Since 1935, he designed the performances of the GOSETMoscow Jewish Theater. In the first years, Tyshler's theatrical works were characterized by expressionist features that were generally characteristic of his work of this period: emphasized whimsicality, often arbitrariness of stage images - later the artist's style changed. Since the mid-30s, starting with “King Lear” at the GOSET and “Richard III” at the Leningrad Bolshoi Drama Theater (both 1935), Shakespeare took a central place in Tyshler’s theatrical work. Many of his works contributed to the world "Shakespearean"; Tyshler created stage images imbued with expression and intense emotionality, easily transformable designs based on the principle of organizing a public square theater. In the post-war years, these features of the mature Tyshler were transformed in different ways in productions of Soviet and modern foreign drama, including in the performances “Mystery-Buff” by V. V. Mayakovsky at the “Theater of Satire” (1957), “Optimistic Tragedy” by V. V. Mayakovsky. V. Vishnevsky at the Moscow Drama and Comedy Theater (1956), “Saint Joan” by B. Shaw at Lenkom (1958), the opera “Not Only Love” by R. K. Shchedrin at the Bolshoi Theater (1962). A. G. Tyshler died on June 23, 1980. He was buried in Moscow at the Kuntsevo cemetery.

Aleksandraovich Deineka (1899-1969) - Soviet painter, graphic artist and sculptor, teacher. Academician of the USSR Academy of Arts (1947). People's Artist of the USSR (1963). Hero of Socialist Labor (1969). Lenin Prize laureate (1964). Member of the CPSU since 1960. Aleksandrovich Deineka was born on May 8 (20), 1899 in Kursk in the family of a railway worker. He received his primary education at the Kharkov Art School (1915-1917). The artist’s youth, like many of his contemporaries, was associated with revolutionary events. In 1918, he worked as a photographer in Ugrozysk, headed the Fine Arts section of Gubnadobraz, designed propaganda trains, theatrical productions, and participated in the defense of Kursk from the Whites. From 1919 to 1920, Deineka served in the Red Army, where he headed the art studio at the Kursk Political Administration and the “Windows of ROST” in Kursk. From the army he was sent to study in Moscow, at VKHUTEMAS at the printing department, where his teachers were V. A. Favorsky and I. I. Nivinsky (1920-1925). The years of apprenticeship and communication with V. A. Favorsky, as well as meetings with V. V. Mayakovsky, were of great importance in the artist’s creative development. Deineka’s creative image clearly and clearly manifested itself at the very first major exhibition in 1924 (the First Discussion Exhibition of Associations of Active Revolutionary Art), in which he participated as part of the “Group of Three” (together with A.D. Goncharov and Yu.I. Pimenov). In 1925 Deineka became one of the founders of the Society of Easel Painters (OST). During these years, he created the first Soviet truly monumental historical and revolutionary painting, “The Defense of Petrograd” (1928). In 1928, Deineka left OST and became a member of the artistic association "October", and in 1931 - 1932 - a member of the Russian Association of Proletarian Artists (RAPH). In 1930, the artist created posters that were expressive in color and composition: “We are mechanizing Donbass”, “Physical worker”. In 1931, works very different in their mood and theme appeared: “On the Balcony”, “Girl at the Window”, “Mercenary of the Interventionists”.

New stage Deineka's work began in 1932. The most significant work of this period is the painting “Mother” (1932). During these same years, the artist created poetic works: “Night Landscape with Horses and Dry Herbs” (1933), “Bathing Girls” (1933), “Afternoon” (1932), “Behind the Curtain” (1933), etc. Along with Socio-political works also appeared with lyrical works: “Unemployed in Berlin” (1933), drawings filled with anger for the novel “Fire” by A. Barbusse (1934). Since the beginning of the 1930s, Deineka has been turning to the topic of aviation (“Parachutist over the Sea”, 1934), illustrations for the children’s book by pilot G. F. Baidukov “Across the Pole to America” (published in 1938). He wrote a number of paintings, one of the most romantic - “Future Pilots” (1937). The historical theme was embodied in monumental works devoted mainly to pre-revolutionary history. The artist made sketches of panels for exhibitions in Paris and New York (not realized). Among the most significant works of the late 1930s and early 1940s is “Left March” (1940). During the Great Patriotic War, Deineka lived in Moscow and made political posters for the military defense poster workshop "TASS Windows". In 1942, together with the artist G. G. Nissky, he made a trip to the front near the city of Yukhnov. During this time he created intense and dramatic works. Painting “Outskirts of Moscow. November 1941" (1941) is the first in this series. Another work, “The Burnt Village” (1942), is imbued with deep suffering. In 1942, Deineka created the canvas “Defense of Sevastopol” (1942) filled with heroic pathos, which was a kind of hymn to the courage of the city’s defenders. Significant works of the post-war period include the paintings “By the Sea. Fisherwomen" (1956), "Military Moscow", "In Sevastopol" (1959), as well as mosaics for the foyer of the assembly hall of Moscow State University named after M.V. Lomonosov (1956), mosaics for the foyer of the Palace of Congresses in the Moscow Kremlin (1961). Deineka's mosaics adorn the Moscow metro stations Mayakovskaya (1938) and Novokuznetskaya (1943). Deineka taught in Moscow at the VKHUTEIN (1928-1930), at the Moscow Printing Institute (1930-1934), at the Moscow State Academy of Arts named after V.I. Surikov (1934-1946, 1957-1963), at the Moscow Institute of Applied and Decorative Arts (1945- 1953, director until 1948), at the Moscow Architectural Institute (1953-1957). He was a member of the presidium (since 1958), vice-president (1962-1966), academic secretary (1966-1968) of the department of decorative arts of the USSR Academy of Arts. On June 12, 1969, Aleksandrovich Deineka died. Buried in Moscow Novodevichy Cemetery(site no. 7). Deineka's works are in the collections: KKG im. A. A. Deineka, Tretyakov Gallery, State Russian Museum, Institute of Russian Realistic Art (IRRI), etc. Deineka’s works in connection with the development of the art market in Russia in last years, the demand for the works of this artist and the lack of new serious scientific descriptions of his work quite often become the object of falsification. The painting “Behind the Curtain” by Soviet artist Alexander Deineka was sold at the London Mac auction. Dougall's for 2 million 248 thousand pounds - almost 3.5 million dollars[

Ferdinand Hodler. Speech by Jena students in 1813. 1908 -1909 Ferdinand Hodler (German: Ferdinand Hodler; March 14, 1853, Bern - May 19, 1918, Geneva) - Swiss artist. One of the largest representatives of "modernity". In those years he painted landscapes and portraits in the spirit of realism. In 1875 he visited Basel, where he studied the work of Hans Holbein the Younger, especially scrupulously his painting “Dead Christ,” which later led to his attention to the theme of death. The works of the 1890s show the influence of several genres, including symbolism and modernism. Hodler developed a style he called "parallelism", characterized by the symmetrical arrangement of figures in dance or ritual poses.

Pyotr Vladimirovich Williams (1902-1947) - Soviet painter, graphic artist, set designer and theater designer. Honored Artist of the RSFSR (1944). Winner of three Stalin Prizes of the first degree (1943, 1946, 1947). Peter Williams was born on April 17 (30), 1902 in Moscow in the family of scientist-technologist V. R. Williams (1872 -1957), the son of Robert Williams, an American bridge engineer who was invited to work in Russia in 1852 and remained forever in her. Since 1909 he attended the school-studio of V.N. Meshkov. In 1918, for a short time he was a student at the Faculty of Medicine of Moscow State University. In 1919-1924 he studied at VKHUTEMAS with such masters as V. V. Kandinsky, I. I. Mashkov, K. A. Korovin, D. P. Shterenberg. In 1922 he took part in the creation of the experimental Museum of Picturesque Culture. In 1922-1924 he was part of the group of “concretivists” that stood at the origins of OST (1925-1930). Professor at the Moscow Institute of Applied and Decorative Arts (1947). Since 1929 he worked as a theater artist. Since 1941 main artist The Bolshoi Theater created an emotional, stylistically integral design for performances.

Sergei Alekseevich Luchishkin (May 30 (June 12) 1902, Moscow - November 27, 1989, ibid.) - Soviet artist, theater figure, Honored Artist of the Russian Federation. Biography and creativity Born into the family of a shopkeeper. In 1917-1923 he studied at declamation courses (since 1919 - State Institute of Words). In parallel, from 1919 to 1924 he studied at the Free Art Workshops with A. Arkhipov, and then (when they were transformed into VKHUTEMAS) with Lyubov Popova, Alexandra Ekster and Nadezhda Udaltsova. He was a member of the Method group (1924) and the Society of Easel Painters (OST; from the same year). Participant in the most radical artistic experiments of the 1920s. Following S. Nikritin, he developed conceptual tables and graphs - “projections” of ideas designed to replace the traditional work (Coordinates of the pictorial surface, 1924). In 1923-1929 he headed the Projection Theater studio, which combined scenography in the spirit of constructivism with the beginnings of the theater of the absurd. Until 1930, he repeatedly acted as organizer of city propaganda processions; in 1930-1932 he was the artistic director and director of the Theater of Small Forms of the Moscow Proletkult. In 1932 he joined the board of the Moscow Organization of the Union of Artists (MOSH). The playful principle combined with absurdity and tragedy is characteristic of Luchishkin’s best easel works (I really love life, 1924-1926; The ball flew away, 1926; Stretching out his neck, he guards the collective farm night, 1930). He acted as production designer for the film Circus (directed by G. Alexandrov, 1936). Later he was engaged in posters, design work at the All-Russian Agricultural Exhibition and similar opportunistic activities. He died on November 27, 1989 in Moscow at the eighty-eighth year of his life. Left memories.

Yuri Ivanovich Pimenov (November 13 (26), 1903, Moscow - September 6, 1977, Moscow) - Soviet painter, theater artist, set designer and graphic artist, teacher, professor. Academician of the USSR Academy of Arts (1962; corresponding member 1954). People's Artist of the USSR (1970). Winner of the Lenin Prize (1967) and two Stalin Prizes of the second degree (1947, 1950). Yuri Pimenov was born in Moscow into the family of a lawyer. In 1920-1925 he studied at VKHUTEMAS with V. A. Favorsky and S. V. Malyutin. Upon completion of his studies in 1925, he became one of the founders of the Society of Easel Painters. IN early period Pimenov was greatly influenced by German expressionism, which largely explains the hysterical dramatic sharpness of his best paintings of these years: “Invalids of War” (1926, State Russian Museum), “Give us heavy industry!” (1927); “Soldiers go over to the side of the revolution” (1932; both are in the Tretyakov Gallery). Over the years, he moved to renewed impressionism, professing the creative principle of a “beautiful moment,” a light and artistic image-impression. In 1962 he was elected a full member of the USSR Academy of Arts. In 1966, Pimenov signed a letter from 25 cultural and scientific figures to the General Secretary of the CPSU Central Committee L. I. Brezhnev against the rehabilitation of Stalin

Members of the society Basmanov Pavel Ivanovich Bruni Lev Alexandrovich Efimov Ivan Semenovich Zholtovsky Ivan Vladislavovich Istomin Konstantin Nikolaevich Kravchenko Alexey Ilyich Kuznetsov Pavel Varfolomeevich Kupreyanov Nikolay Nikolaevich Lebedev Vladimir Vasilievich Matveev Alexander Terentievich Mogilevsky Alexander Pavlovich Mukhina Vera Ignatievna Nivinsky Ignatievich Goldman Nina Ilyinichna Ostroumova-Lebedeva Anna Petrov -Vodkin Kuzma Sergeevich Saryan Martiros Sergeevich Ulyanov Nikolay Pavlovich Favorsky Vladimir Andreevich Shchusev Alexey Viktorovich

OMH - Society of Moscow Artists Society of Moscow Artists - founded in 1928, at the same time the charter and declaration were published. OMH included former members of the associations “Moscow Painters”, “Makovets” and “Being”, as well as members of the “Jack of Diamonds”. Members of the association developed Soviet themes and sought to convey the material diversity of the world through the plastic unity of color and form, a combination of energetic volume modeling and light and shadow modeling. The society’s declaration read: “We demand from the artist the greatest effectiveness and expressiveness of the formal aspects of his work, forming an inextricable unity with the ideological side of the latter.” In 1931, a number of OMH members moved to the AHR and the society disintegrated. The society had art and production workshops (MASTOMH).

Artists OMH The Society united up to 70 members and candidates Gerasimov, Sergei Vasilyevich Grabar, Igor Emmanuilovich Drevin, Alexander Davidovich Konchalovsky, Pyotr Petrovich Krymov, Nikolai Petrovich Kuprin, Alexander Vasilyevich Lebedev-Shuisky, Anatoly Adrianovich Lentulov, Aristarkh Vasilyevich Mashkov, Ilya Ivanovich Morgunov, Alexey Alekseevich Osmerkin, Aleksandrovich Rozhdestvensky, Vasily Vasilyevich Ryndin, Vadim Fedorovich Udaltsova, Nadezhda Andreevna Falk, Robert Rafailovich Feigin, Moisey Aleksandrovich Fonvizin, Artur Vladimirovich Chernyshev, Nikolai Mikhailovich Chirkov, Anton Nikolaevich Shestakov, N. I. Shevchenko, Alexander Vasilyevich and others.

Family Father - Pyotr Petrovich Konchalovsky (1839-1904), famous writer, translator and publisher. Father-in-law - Vasily Ivanovich Surikov (1848-1916), great Russian painter, academician. Wife - Olga Vasilyevna Surikova (1878-1958) Daughter - Natalya Petrovna Konchalovskaya (1903-1988), writer Son - Mikhail Petrovich Konchalovsky (1906 - ?), painter Son-in-law - Sergei Vladimirovich Mikhalkov (1913-2009), children's writer, Hero of Socialist Labor, author of the anthem of the USSR and Russia Grandchildren: Ekaterina Mikhalkova-Konchalovskaya (wife of the writer Yulian Semyonov) Andrei Sergeevich Konchalovsky (born 1937), film director, People's Artist of the RSFSR Nikita Sergeevich Mikhalkov (born 1945), film director, actor, People's artist of the RSFSR, chairman of the Union of Cinematographers of the Russian Federation Great-grandchildren: Egor Andreevich Mikhalkov-Konchalovsky (born 1966), film director Stepan Nikitich Mikhalkov (born 1966), actor Olga Yulianovna Semyonova (born 1967), journalist, publicist, actress Anna Nikitichna Mikhalkova (1974 ), actress Artyom Nikitich Mikhalkov (1975), actor Nadezhda Nikitichna Mikhalkova (1986), actress

Nikolai Andreevich Andreev (October 26, 1873, Moscow - December 24, 1932) - Russian sculptor and graphic artist, member of the Partnership of the Wanderers. Honored Artist of the RSFSR (1931). In his work he paid tribute to impressionism, symbolism, and realism. Author of portraits of revolutionary figures, founder of “Leninianism” (created about 100 sculptural and 200 graphic images of V.I. Lenin). 1885-1891 - studied at the Stroganov Art and Industrial School. 1892-1901 - studied at the Moscow School of Painting, Sculpture and Architecture under the guidance of S. M. Volnukhin; experienced a strong formal influence from P. P. Trubetskoy. 1904 - joins the Association of Itinerants.

Iva n Dmitrievich Shadr (real name - Ivanov; January 30 (February 11), 1887, Taktashinskoye, now Kurgan region - April 3, 1941, Moscow) - monumental sculptor. Ivan Dmitrievich Ivanov was born on January 30 (February 11), 1887 in the village of Taktashinsky, Chelyabinsk district, Orenburg province (now the village of Taktashi, urban settlement, working village of Mishkino, Mishkinsky district, Kurgan region). Father - Dmitry Evgrafovich Ivanov (May 1860 or June 17, 1862 - April 8, 1926), Mother - Maria Egorovna (nee Ovchinnikova, daughter of a peasant in the village of Ryapolovo, Kovrov district, Vladimir province (c. 1863 - November 23, 1935). The village of Taktashinskoye - place seasonal work carpenter Dmitry Evgrafovich Ivanov, and permanent place of residence - the city of Shadrinsky district, Perm province (now in the Kurgan region). Ivan’s great-grandfather painted the walls in the Transfiguration Cathedral, his father and uncles were also builders and bogomaz (church painters). But Dmitry Evgrafovich’s main occupation was a carpenter. Ivan Dmitrievich was the third son in a family of twelve children (three babies died). Presumably, Ivan was baptized in the Holy Trinity Church from the Ostrovnoye Masleysky volost of the Chelyabinsk district (now in the Mishkinsky district of the Kurgan region). In 1898, Vanya was taken to Yekaterinburg to the factory of the merchants Panfilov, where he was first an errand boy, then a watchman and a loader. In 1901, Ivan escaped from the factory. Without any preparation, he successfully passed the drawing exam at the Yekaterinburg Art and Industry School, where he studied until 1906 with T. E. Zalkaln. In the summer of 1907, Ivan, together with fellow student Pyotr Drobyshev, went to travel around Russia to the places where Maxim Gorky had visited in his time. They visited the Kama, Volga, Don, traveled through the Caucasus, Ukraine, stopped in Moscow, Ivan walked to St. Petersburg. In the capital, after an unsuccessful attempt to enter the Academy of Arts, Ivan worked part-time, in particular, by street singing. One day the director heard his voice Alexandria Theater M.E. Darsky, who took an active part in the fate of the young man. He helped Ivan enter the Higher Drama Courses of the St. Petersburg Theater School so that he could study to become a singer. At the school, I. Shadr continued to draw and sculpt. His drawings came to I.E. Repin, who highly appreciated them. At the request of St. Petersburg connoisseurs of Ivan Dmitrievich’s talent, the Shadrinsk city government awarded him a scholarship. In St. Petersburg, Shadr also attended the drawing school of the Society for the Encouragement of the Arts of N.K. Roerich and the Musical Drama School. Ivan lived in the capital until 1908, then served for a year in the Russian Imperial Army.

In 1910, Ivan went abroad. First to Paris, where he was a student at the higher municipal courses of sculpture and drawing at the Académie de la Grande Chaumiere under the guidance of F. O. Rodin and E. A. Bourdelle. In 1911, Parisian teachers sent I. Shadr for an internship in Rome at the Institute of Fine Arts. In 1912, Ivan Dmitrievich returned to Russia. In Moscow he studies at the Moscow Archaeological Institute. In 1918, Shadr left for Omsk to take his family to Moscow, but remained in this city until 1921. There he gave lectures on art. He worked in the Political Education of the 5th Army and in the Sibrevkom. In 1921, as soon as the railway connection was restored, Shadr left for Moscow. In 1926, I. Shadr became a member of the Society of Russian Sculptors, later the Union of Soviet Sculptors. Ivan Dmitrievich Shadr died on April 3, 1941 in Moscow. He was buried in Moscow at the Novodevichy Cemetery (plot No. 2, tombstone - sculptor I. Rabinovich, architects G. P. Golts, A. A. Zavarzin. I. D. Shadr was married to Muscovite Tatyana Vladimirovna Guryeva (1893 - August 19, 1974) , buried next to her husband at the Novodevichy cemetery. There were no children in their family.

Creative activity I. D. Shadr in his workshop in Moscow is working on the sculptural composition “Girl with an Oar” (1st version) In his work, Ivan Shadr was looking for ways to create a monumental realistic sculpture. Numerous memorial structures created by him in the 1910-1930s were dedicated mainly to the victims of the First World War. They are associated with the traditions of Art Nouveau and national-romantic movements, are distinguished by viscous, ponderous rhythms, a predilection for metaphorical understanding of the motif of the human body, a stone frozen in dead matter or freed from it, and sometimes by the use of elements of folk architecture. Among his early works, the project “Monument to World Suffering” (1916) stands out. Later, this work was transformed into an even more ambitious project “Monument to Humanity”. In 1919, the Siberian Cadet Corps ordered Ivan Shadr a monument to his student General Kornilov for 18 thousand rubles. In the same year, the sculptor was preparing a project for the coronation of Admiral Kolchak, as well as a project for a monument in honor of the liberation of Siberia. In addition, the Kolchak government entrusted Shadr with the development of sketches of banknotes of the “Revival of Russia” series. However, these projects remained unrealized, since in November 1919 the Provisional All-Russian Government fled Omsk, and the city was occupied by Red Army units. In April 1920, I. Shadr undertakes to perpetuate the memory of the victims of the White Terror, buried in the city garden of Omsk. In May of the same year, he received an order from Sibrevkom for a monument to Karl Marx. In the summer, the statue was already ready and installed. In Omsk, Ivan Dmitrievich also worked on reliefs depicting Karl Marx, Karl and Wilhelm Liebknecht and Rosa Luxemburg. I. D. Shadr is the author of sculptures of the so-called “money men”: figures of a worker, a peasant, a Red Army soldier and a sower (plaster, 1922, Russian Museum; bronze castings - in the Tretyakov Gallery), created by order of Goznak for reproduction on banknotes. The first three sculptures became the basis for the release of the fourth standard issue of postage stamps of the RSFSR (TsFA (ITC "Marka") No. 73 -85), the first standard issue of the USSR (TsFA (ITC "Marka") No. 99 -194) and partially for the next two (DFA (ITC “Marka”) No. 281 -287, 291 -295). The first artistic stamped postcard and stamped envelope in the USSR came out with Shadrovsky stamps. Sculptures of Ivan Dmitrievich were also reproduced on loan bonds and government securities of the USSR. The sculptor found prototypes of his heroes in the village of Prygovaya (Kolganova) in the Krestovskaya volost of the Shadrinsky district (now in the Iltyakovsky village council of the Shadrinsky district). In 1923, Shadr took part in the design of the All-Russian Agricultural and Handicraft Exhibition in Moscow. His sculptures were also demonstrated there and were a success.

In 1924, Ivan Shadr created the full-scale sculpture “Lenin in the Coffin,” which made him the main master of pre-war sculptural Leninism. Over 13 years, I. Shadr created 16 sculptural images of V. I. Lenin, including for Central Museum V.I. Lenin in 1934. One of his most significant works is a monument with an eleven-meter bronze figure, installed in 1927 on the territory of the Zemo-Avchala Hydroelectric Power Station named after V.I. Lenin (ZAGES) in Georgia. This is one of the first monuments to V.I. Lenin; it was dismantled in 1991. “Cobblestone - a weapon of the proletariat” (December Uprising Park, Moscow) Ivan Shadr created revolutionary romantic, generalized symbolic images, for example, the high relief “Fight with the Earth” (1922), the sculpture “Cobblestone - a weapon of the proletariat” (1927). The latter, in addition to Moscow, was installed in Chelyabinsk, Lvov, Shadrinsk, Mongolia and Romania. In 1926, Shadr went abroad: he visited France and Italy. In Paris, he sculpts a bust of L. B. Krasin, who was then the plenipotentiary representative of the USSR, and then repeats the portrait in marble. In 1931, Shadr created the tombstone of V. M. Fritsche. In 1934, Ivan Shadr began work on the sculpture “Girl with an Oar” for the Central Park of Culture. About the name of Gorky in Moscow. The main model of the sculptor was V.D. Voloshina, a student at the Moscow Institute of Physical Education. The sculpture was installed in the center of the fountain on the main thoroughfare of Gorky Park in 1935. However, it was criticized and in the same year it was moved to the Gorky Park of Culture and Leisure (Lugansk)|Park of Culture and Leisure of Lugansk. Its reduced copy is kept in the Tretyakov Gallery. At the end of the 1950s, at the insistence of the sculptor’s wife, I. Shadr’s plaster work was transferred to bronze. By the summer of 1936, I. D. Shadr created a new enlarged eight-meter sculpture made of tinted concrete. The model for her was the gymnast Zoya Bedrinskaya (Belorucheva). The new “Girl with an Oar” was installed in the center of the fountain in the same place. The sculpture was destroyed in 1941 during a bombing. It is mistakenly believed that the sculptures of Ivan Shadr served as prototypes for the creation of cheap plaster copies, which were massively installed in parks almost throughout the USSR. In fact, they were based on the work of the sculptor R. R. Iodko with the same name, but the figure of a girl was in a swimsuit and with an oar in her left hand, which he made for the park of the Dynamo water stadium in 936 1. At the end of the 1930s, Shadr worked on a project for a monument to A.S. Pushkin. In 1939 he created a sculpture of A. M. Gorky in the image of the Petrel (bronze, Tretyakov Gallery). In the same year, he prepared a more classical model of the Gorky monument. However, this monument was built near the Belorussky railway station in Moscow after the death of Ivan Dmitrievich by sculptor V. I. Mukhina with the help of N. G. Zelenskaya and Z. G. Ivanova. Most of I. D. Shadr’s works (in particular, “Storm of the Earth”, “Cobblestone - a weapon of the proletariat” and others) are in the Museum modern history Russia in Moscow. I. D. Shadr is the author of the tombstones of N. S. Alliluyeva (1933; architect - I. V. Zholtovsky) and E. N. Nemirovich-Danchenko (1939) at the Novodevichy Cemetery in Moscow. Both tombstones are made of marble and granite. The tombstone for Nadezhda Alliluyeva was made by a sculptor commissioned by the Central Committee of the All-Union Communist Party of Bolsheviks. Ivan Shadr and sculptor P.I. Tayozhny were the authors of the model of the Order of Lenin, the sketch of which was handed over to them in the spring of 1930.

Sarra Dmitrievna Lebedeva (maiden name - Dormilatova, (11) December 23, 1892, St. Petersburg - March 7, 1967, Moscow), master of sculptural portraiture. Honored Artist of the Russian Federation (1945), Corresponding Member of the USSR Academy of Arts (1958) Born into the family of an official. She studied at the School of Drawing, Painting and Sculpture of Mikhail Bernstein and Leonid Sherwood (1910-1914), worked in the sculpture workshop of Vasily Kuznetsov (1914). Since 1925 she lived in Moscow. Since 1926, member of the Society of Russian Sculptors. Participated in the implementation of the “monumental propaganda” plan. In the interwar twenty years, she created many portraits of her contemporaries: Vyach. Ivanov (1925), Felix Dzerzhinsky (plaster, 1925), Alexander Tsyurupa (1927), Abram Efros (plaster, 1927), Valery Chkalov (1937), Solomon Mikhoels and Vera Mukhina (both plaster, 1939), Alexander Tvardovsky (plaster , 1943 and marble, 1950), Vladimir Tatlin (limestone, 1943-1944), Mariam Aslamazyan (1949), Konstantin Paustovsky (1956), etc. Among the best examples of Russian memorial sculpture is the tombstone of Boris Pasternak sculpted by Lebedeva at the Peredelkinskoye cemetery (sandstone, 1965). The tombstone is a stele of strict forms with a romantic profile of the poet using the technique of in-depth relief. On the 40th anniversary of Pasternak’s death (2000), the monument by Lebedeva, which by that time needed restoration, was replaced by an exact copy of the work of the sculptor Dmitry Shakhovsky. Lebedeva also owns a portrait of Pasternak, made of limestone (1961-1963).

Matveev Alexander Terentyevich (August 13 (25), 1878, Saratov - October 22, 1960, Moscow) - Russian, Soviet sculptor, art critic; master and teacher, who with his creativity had a significant influence on the development of modern plastic art. One of the organizers, ideological inspirers and active participants of many creative associations first third of the 20th century. Professor: TSUTR in Petrograd (1917), Academy of Arts (1918-1948; director 1932-1934). Doctor of Art History (1939). Honored Artist of the RSFSR (1931).

Vladi Mir Andreevich Favorsky (1886-1964) Russian and Soviet graphic artist, master of portraits, woodcuts and book graphics, art critic, set designer, muralist, teacher and theorist of fine arts, professor. Academician of the USSR Academy of Arts (1962; corresponding member 1957). People's Artist of the USSR (1963). Lenin Prize laureate (1962)

Lazar Markovich (Mordukhovich) Lisitsky (book graphics in Yiddish signed with the name Leizer (Eliezer) Lisitsky - אליעזר ליסיצקי November 10 (22), 1890, village of Pochinok, Smolensk province (now Smolensk region) - December 30, 1941, Moscow ) - Soviet artist and architect, also commonly known as "El Lissitzky". El Lissitzky is one of the outstanding representatives of the Russian avant-garde. Contributed to the emergence of Suprematism in architecture.

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Ministry of Education of the Russian Federation

Magnitogorsk State University

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Artists of the 20-30s

Completed by: Alena Timeeva

Magnitogorsk 2001

Introduction

October 1917 opened a new era not only in social life, but also in the life of art. Any revolution destroys something, and then the creation of something new begins. What is taking place is not a simple development, but a decisive re-equipment of the foundations of previous social, political, ideological and other types of structures, including art.

The revolution raised at least two problems. The first problem is the classism of art. The attempt to closely link it with the class struggle led to a distortion of its multifunctional nature. A particularly acutely simplified understanding of the class character of art was manifested in the activities of the well-known Proletkult. The elements of struggle led to the destruction of cultural monuments, caused not only by military actions during the period civil war and foreign intervention, but also policies aimed at crushing bourgeois culture. Thus, many sculptural monuments and works of ancient architecture associated with religious cult were demolished or destroyed.

The second problem is the problem of class politics in art. All forces were involved in solving it: “bourgeois” and “proletarian”, destructive and creative, Soviet and non-Soviet, “left” and “right”, cultural and ignorant, professional and amateur.

The principles of social development proclaimed by the state largely determined the gradual movement of art. There was a kind of layering of forces, from the addition of which a vector of the real state of art was formed. On the one hand, this is the power of self-development of art, where the patterns of movement of forms contained in the nature of artistic creativity were reflected; on the other hand - the influence of social forces, public institutions, interested in this and not another movement of art, in certain of its forms. Thirdly, the dictates of state policy, which, relying on social forces or not relying on them, had an unconditional impact on the structure of art, on its essence, on its evolutionary and revolutionary potential. Since the late 1920s, politics has clearly begun to distort the normal process of development of art, to exert certain pressure on it by prohibiting or condemning certain “non-proletarian” manifestations.

Artists and artistic associations of the 20s.

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. Art, obsessed with the idea of ​​searching, was diverse; it seethed and seethed, trying to keep pace with the era and look into the future.

The most significant groups, whose declarations and creative practice reflected the main creative processes of that time, were AHRR, OST and “4 Arts” (8, p. 87).

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. The AHRR declaration was set out in the exhibition catalog of 1922: “Our civic duty to humanity is an artistic and documentary capture of the greatest moment in history in its revolutionary impulse. We will depict today: the life of the Red Army, the life of workers, peasants, revolutionaries and heroes of labor.” .

AHRR artists sought to make their painting accessible to the mass audience of that time. In their work, they often mechanically used the everyday writing language of the late Wanderers. AHRR organized a number of thematic art exhibitions, the very names of which are: “Life and Life of Workers” (1922), “Life and Life of the Red Army” (1923), “Revolution, Life and Labor” (1924 - 1925), “Life and Life of Nations USSR" (1926) - talk about the tasks of directly reflecting modern reality.

The peculiarity of the practice of the “Akhrovites” was that they went to factories and factories, to the Red Army barracks, in order to observe the life and everyday life of their heroes there. During the preparation of the exhibition "Life and Life of the Peoples of the USSR", its participants visited the most remote corners Soviet country and brought from there a significant number of sketches that formed the basis of their works. AHRR artists played a major role in the development of new themes, influencing representatives of various artistic groups of that time.

Among the artists of the AHRR, creativity stands out I.I.Brodsky(1883 - 1939), who set as his task an accurate, documentary reproduction of the events and heroes of the revolution. His paintings dedicated to the activities of V.I. became widely known. Lenin. The birth of the pictorial Leniniana is based on the painting “Lenin’s Speech at the Putilov Factory”, painted by Brodsky in 1929, and one of his most famous works, “Lenin in Smolny” (1930), depicting Lenin in his office at work. Brodsky saw Lenin many times and made sketches of him (12, p. 92).

Brodsky's works have an important quality - authenticity, which has great historical educational significance. However, the desire for documentation sometimes led to an empirical, naturalistic interpretation of the event. The artistic significance of Brodsky's paintings was also reduced by the dry naturalism and dietetic coloring characteristic of a significant part of his works.

Master of portrait-painting G.G.Ryazhsky(1895 - 1952) 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 the country . Its “Chairwoman” is a worker-activist. Her posture and gesture reveal self-esteem and relaxedness as evidence of a woman’s position in the new working society.

Among portrait painters, AHRR played a prominent role S.V.Malyutin(1859 - 1937). The portrait gallery he started before the revolution was supplemented during Soviet times with portraits of V.K. Byalynitsky-Biruli, A.V. Lunacharsky and many others. Among them, the most interesting is the portrait of Dmitry Furmanov, painted in 1922, which convincingly reveals the image of the writer-warrior, a representative of the new, Soviet intelligentsia.

A major Russian painter was an active participant in AHRR exhibitions turn of the XIX century- XX centuries A.E. Arkhipov. In the 20s, Arkhipov created images of peasant women - “Woman with a Jug”, “Peasant Woman in a Green Apron”, “Peasant Woman with a Pink Scarf in Her Hand”, etc. These paintings were painted with a wide brush, temperamentally and colorfully.

Close observation and attention to new phenomena of life marked the work of E.M. Cheptsov (1874 - 1943), who continued the Peredvizhniki traditions in the field of everyday life. His painting “Meeting of the Village Cell” (1924), which depicts village activists of the first years of the revolution, is widely known. The author's observation and sincerity, the simplicity of the appearance of his characters, the artlessness of the surrounding accessories made Cheptsov's small, modest work of art one of the the most interesting samples art AHRR.

The same can be said about one of the works of landscape painter B.N. Yakovleva (1880 - 1972). His “Transport is getting better” (1923) is a modest and at the same time profound story about the difficult era of the first years of the revolution, about the daily work of people. Calmly and simply painted, this painting is one of the first examples of industrial landscape in Soviet painting.

A special place in the painting of the AHRR is occupied by the work of M.B. Grekov (1882-1934) - the founder of the battle genre in Soviet art. For a decade and a half - until the end of his life - he was busy creating a series of paintings dedicated to the First Cavalry Army, in the campaigns and battles of which the artist took part. In his work, especially in the early period, the traditions of Vereshchagin clearly make themselves felt. Grekov's main character is a people who took upon themselves all the difficulties of the war. Grekov's works are life-affirming. In such paintings of the mid-20s as "Tachanka" (1925), the Itinerant precision of the image is combined with romantic elation. Later, continuing the unique pictorial chronicle of the First Cavalry Army, Grekov created epic canvases, among which the paintings “To the Kuban” and “Trumpeters of the First Cavalry Army” (both 1934) stand out.

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- VHU-TEMASA. (3)

The main task of the association was considered to be the struggle for the revival and further development of easel painting on a modern theme or with modern content by the OST artists, as well as by the Akrovites. However, the creative aspirations and methods of OST artists had characteristic differences. They sought to reflect in individual facts the new qualities of their contemporary era in relation to the previous era. Their main theme was the industrialization of Russia, which had recently been agrarian and backward, and the desire to show the dynamics of the relationship between modern production and people.

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). The figurative pathos of Deineka - the skeleton found a way out in journalistic graphics, in which the artist acted as an illustrator in magazines for wide reading - such as “At the Machine”, “Atheist at the Machine”, “Spotlight”, “Youth”, etc. The central work Deineka's Ostov period was the painting "Defense of Petrograd", painted in 1928 for the thematic exhibition "10 Years of the Red Army". This work reveals the main pathos and meaning of the innovative traditions of the most life-giving OST and which found their development in Soviet art of subsequent periods. Deineka embodied in this picture all the originality of his style, reduced the means of expression to a minimum, but made them very active and effective (8, p. 94).

Among the other members of OST, those closest to Deineka in terms of the nature of their works and stylistic characteristics are Yu.I. Pimenov, P.V. Williams, S.A. Luchishkin. Created in the same period, the works “Heavy Industry” by Pimenov, “The Hamburg Uprising” by Williams, “The Ball Has Flew Away” and “I Love Life” by Luchishkin identified and innovatively reflected the important qualities of modern reality,

In contrast to the Ostov group, which was youthful in its composition, there were two other creative groups that occupied an important place in the artistic life of those years - “4 Arts” and OMH. (Society of Moscow Artists) - united masters of the older generation, who had developed creatively in pre-revolutionary times, who treated the problems of preserving pictorial culture with special reverence and considered the language itself, the plastic form, to be a very important part of the work. The “4 Arts” Society arose in 1925. The most prominent members of this group were P.V. Kuznetsov, K.S. Petrov-Vodkin, M.S. Saryan, N.P. Ulyanov, K.N. Istomin, V.A. Favorsky.

The works of Petrov-Vodkin - such as “After the Battle” (1923), “Girl at the Window” (1928), “Anxiety” (1934), most fully express the ethical meaning different periods- milestones in the development of Soviet society. His painting "The Death of a Commissar" (1928), like Deineka's "Defense of Petrograd", painted in connection with the exhibition "10 Years of the Red Army", in contrast to specific journalism - the basis of Deineka's figurative decisions - gives his philosophical solution to the task: through facts that generalize ideas about events occurring throughout planet Earth, through identifying the ethical essence of these events. A commissar is a person who, both in life and in death, performs a feat in the name of humanity. His image is an expression of the invincibility of bright ideas that will win in the future, regardless of and despite the death of the most active bearers of these ideas. The dying commissar's farewell look is like a parting word to a detachment of fighters before an attack - he is full of faith in victory.

Petrov-Vodkin’s philosophical ideas find adequate plastic expression. The depicted space seems to extend over the spherical surface of the planet. The combination of forward and backward perspective convincingly and poignantly conveys the “planetary” panorama of what is happening. Imagery problems are also clearly resolved in the color system. In his painting, the artist adheres to the principle of tricolor, as if personifying the primary colors of the earth: cold blue air, blue water; brown-red earth; greenery of the plant world.

A significant mark on the history of Soviet painting was left by the artists of the OMH group, which was organized in 1927. Many of them became close to each other in the pre-revolutionary years in the “Jack of Diamonds” association. The most active in OMX were P.P. Konchalovsky, I.I. Mashkov, A.V. Lentulov, A.V. Kuprin, R.R. Falk, V.V. Rozhdestvensky, A.A. Osmerkin. art portrait artistic

In their declaration, the OMKh artists said: “We demand from the artist the greatest effectiveness and expressiveness of the formal aspects of his work, which form an inseparable part from the ideological side of the latter.” This program feels close to the 4 Arts group.

One of the most prominent exponents of this program in Soviet art of the early years was P.P. Konchalovsky. He sought to combine the “Jack of Diamonds” trends with the heritage of Russian realistic artists, which greatly expanded his creative range and helped him more organically enter Soviet art of the 20s. Such works of the master as “Self-Portrait with His Wife” (1922), “Portrait of O.V. Konchalovskaya” (1925), “Portrait of Daughter Natasha” (1925) are distinguished by their coloristic integrity and the intensity of individual colors. In those same years, P.P. Konchalovsky is attempting to create thematic paintings, among which the best are “Novgorodians” (1921) and “From the Fair” (1926). The artist is interested in traditional images of “Russian peasants” - powerful, stocky, living surrounded by familiar objects, according to the laws of old customs and, together with their environment, constituting something typically national.

Artists and artistic associations of the 30s.

The 30s in the history of Soviet art are a difficult period, reflecting the contradictions of reality itself. Having perceived the considerable changes taking place in society, the pathos of industrialization, the masters of art, at the same time, almost did not notice the major social contradictions, did not express the social conflicts associated with the strengthening of the personality cult of Stalin (1).

On April 23, 1932, the Party Central Committee adopted a resolution “On the restructuring of literary and artistic organizations.” This decree liquidated all previously existing artistic groups and indicated general ways and forms of stabilization and development of all creative forces of Soviet art. The resolution weakened the confrontation between individual associations, which became so acute at the turn of the 20s and 30s. But on the other hand, unification tendencies have intensified in artistic life. The avant-garde experiments that made themselves felt in the 1920s were interrupted. A struggle unfolded against so-called formalism, as a result of which many artists were forced to abandon their previous conquests.

The creation of a single union coincided with the approval of the principle of socialist realism formulated by A.M. Gorky at the First All-Union Congress of Soviet Writers. Socialist realism assumed the inheritance of the traditions of realistic art of the 19th century. and aimed artists at depicting reality in its revolutionary development. However, as the further practice of Soviet art showed, the term “socialist realism” turned out to be insufficiently capacious and adequate to the complex and multi-layered trends of the new culture. Its formal application to artistic practice often gave it the role of a dogmatic brake on the development of art. In the conditions of social restructuring of the 80s, the term “socialist realism” was subject to discussion in professional circles at different levels.

Many of the progressive trends that emerged in the 20s continued to develop in the 30s. This applies, for example, to the fruitful interaction of different national schools.

Artists from all republics of the Soviet Union took part in large art exhibitions organized in the 1930s. At the same time, republican exhibitions are organized in Moscow in connection with the ten-day national art. Issues of national art are of particular concern to artists from the fraternal republics.

In the 1930s, the practice of government orders and creative trips for artists expanded. The largest exhibitions are organized: "15 years of the Red Army", "20 years of the Red Army", "20 years of the Komsomol", "Industry of Socialism", "Exhibition best works Soviet painting" and others. Soviet artists participate in international exhibitions in Paris and New York, they carry out work for the All-Union Agricultural Exhibition in Moscow, in connection with the preparation of which a significant number of monumental and decorative works were created, which, in essence, meant an important stage in the revival of monumental painting as an independent form with its own goals and patterns art. These works expressed the tendency of Soviet art towards monumentalism.

The artist became one of the most significant representatives of easel painting of this period Boris Vladimirovich Ioganson(1893 - 1973), who turned in his work to the highest traditions of Russian painting of the 19th century. He interprets the legacy of Surikov and Repin, introducing new revolutionary content into his works, in tune with the era. From this point of view, Ioganson’s paintings “Interrogation of Communists” (1933) and “At the Old Ural Factory” (1937) are especially important.

The painting “Interrogation of Communists” was exhibited for the first time at the exhibition “15 Years of the Red Army”. In it, the artist showed the communists who stood up to defend the revolutionary fatherland, and their opponents - the White Guards, who tried to strangle the Soviet state during the civil war. The artist conducts his historical generalization in the traditions of Repin, through showing a specific action in a specific setting. We do not know the names of the people depicted here, especially since the image as a whole is perceived by us as historically universal. The communists in Ioganson's film are doomed to death. But the artist shows their calmness, courage, strength and resilience, which contrast with the anxiety, nervousness, psychological disunity that reigns in the group of White Guards, powerless not only in this situation, but, as it were, in the face of history.

In the painting “At the Old Ural Factory,” written for the exhibition “Industry of Socialism,” Ioganson contrasts the images of the factory owner and the worker, in which he reveals a sense of emerging class consciousness and internal superiority over the exploiter. With this painting, the artist showed the historical conflict between old and new, reactionary and progressive, and established the victorious power of the revolutionary and progressive. These are the new characteristic features of the Soviet historical-revolutionary genre using the example of Ioganson’s painting.

Creativity, multifaceted in images, themes and genres, occupies a special place during this period. Sergei Vasilievich Gerasimov. The most striking work of the historical genre in his work is the painting “The Oath of the Siberian Partisans” (1933), stunning with its open expressiveness, revealed by coloristic expressiveness, sharp drawing, and dynamic composition. Working in the everyday genre, S.V. Gerasimov paid main attention to the peasant theme. The artist approached its solution through a portrait, creating a whole series of convincing peasant images. During the construction of the collective farm village, he wrote one of the most bright portraits"Collective farm watchman" (1933). Among the most significant works of genre painting of the 30s was the painting “Collective Farm Holiday” (1937), which was exhibited at the exhibition “Industry of Socialism”. The largest Soviet art critic, Academician I.E., accurately and succinctly characterizes this picture. Grabar: “When the wonderful canvas “Collective Farm Holiday” appeared, one of the best paintings of the exhibition “Industry of Socialism”, a new, extraordinary growth of the master became obvious. Hardly any of the Soviet artists, except Sergei Gerasimov, could have coped with such compositional, light and color task, and even with the help of such simple means and techniques. It was the sunniest picture in Russian painting during the revolution, despite the fact that it was executed in a restrained plan" (1, p. 189).

The "singer" of the Soviet peasantry was Arkady Alexandrovich Plastov(1893 - 1983), associated with the Russian village by his origin. Throughout his life, he was greatly influenced by the impressions of his childhood spent in close communication with nature, with the land, with the peasants living on this land.

After the Great October Socialist Revolution, Plastov, passionate about work in his native village of Prislonikhe, devoted free time painting, accumulated sketches and impressions for his future works dedicated to peasant life. One of Plastov's first significant works - the painting "Bathing the Horses" full of air and light - was completed by him for the exhibition "20 Years of the Red Army". For the exhibition "Industry of Socialism" Plastov painted a large canvas "Collective Farm Holiday". Another striking work by Plastov from that time is “The Collective Farm Herd” (1938). All of these paintings show some common features. Plastov does not think of a genre scene outside of landscape, outside of Russian nature, always interpreted lyrically, revealing its beauty in the simplest manifestations. Another feature of Plastov’s genre works is the absence of any conflict or special moment in the plot chosen by the artist. Sometimes in his paintings, as, for example, in “The Collective Farm Herd,” there are no events at all, nothing happens. But at the same time, the artist always strives for poetic expressiveness of the picture.

Talent developed in its own way in the 1930s A.A.Deineki. He continued to adhere to his previous themes, plots, favorite images, color and composition systems. True, his painting style is somewhat softened, as exemplified by the best works of the 30s - “Mother” (1932), “Lunch Break in Donbass” (1935), “Future Pilots” (1938). Sports, aviation, a naked trained body, laconicism and simplicity of pictorial language, sonorous combinations of brown-orange and blue are softened in some cases by lyricism, a moment of contemplation. Deineka also expanded the thematic framework of his work, including stories from the life of foreign countries that appeared as a result of trips to the USA, France, Germany and Italy.

Another former OST member - Yu.I.Pimenov(1903--1977) created one of the best paintings of the 30s, “New Moscow” (1937). The landscape of the center of Moscow (Sverdlov Square) seems to be seen from a speeding car, behind the wheel of which a young woman sits with her back to the viewer. New buildings going up, car running fast, light colors, the abundance of air, the breadth of space and the frame of the composition - everything is imbued with an optimistic attitude.

In the 30s, the landscape creativity of G.G. developed. Nyssky (1903 - 1987), a follower of the Ostovites, who adopted from them laconicism, sharpness of compositional and rhythmic solutions. Such are his paintings “Autumn” (1932) and “On the Tracks” (1933). In Nyssa's landscapes one can always see transformative human activity.

Among the landscape painters of the older generation, the work of N.P. is interesting. Krymov (1884 - 1958), who created in 1937 famous painting"Morning in the Gorky Central Park of Culture and Leisure in Moscow." The wide panoramic view of the park, the opening distances behind it, the smooth horizon line that leads the viewer’s eye beyond the canvas - everything breathes freshness and spaciousness.

A. Rylov, whose work was formed at the beginning of the 20th century, in the painting “Lenin in Razliv” (1934) combines landscape with historical genre, achieving a sense of the spaciousness of nature, thoughts, feelings, affirming historical optimism.

The attraction to panoramic landscapes manifested itself in the works of many painters from various republics. This attraction was associated with that keen feeling of the Motherland, native land, which strengthened and grew in the 30s. D.N. Kakabadze (1889 - 1952) in his “Imeretian Landscape” (1934) gives a wide spread of the Caucasian mountains stretching into the distance - ridge after ridge, slope after slope. In the works of M.S. Saryan's 30s were also marked by interest in the national landscape and panoramic views of Armenia.

The portrait genre also developed fruitfully during this period, in which the artists of the older generation P.P. most clearly revealed themselves. Konchalovsky, I.E. Grabar, M.V. Nesterov and some others.

P.P. Konchalovsky, known for his works in a wide variety of genres of painting, created a whole series of portraits of figures of Soviet science and art in the 30s and 40s. Among best portraits V.V. Sofronitsky at the piano (1932), S.S. Prokofiev (1934), V.E. Meyerhold (1937). In these works, Konchalovsky brings his excellent ability to express life through a plastic-color system. He combines the best traditions of old art with an innovative sharp vision of color, a life-affirming, major, emotionally powerful sound of the image.

A true pinnacle of development portrait painting of that period were the works of M.V. Nesterova. Throughout his work, which united the 19th and 20th centuries, Nesterov maintained a living connection with life. In the 1930s he experienced a brilliant rise, rediscovering his talent as a portrait painter. The figurative meaning in Nesterov’s portraits is the affirmation of the creative spirit of the time through identifying the creative pathos of a wide variety of people representing this time. Nesterov's circle of heroes are representatives of the older generation of Soviet intelligentsia, people of creative professions. Thus, among Nesterov’s most significant works are portraits of artists - the Korin brothers (1930), sculptor I.D. Shadra (1934), academician I.P. Pavlov (1935), surgeon S.S. Yudin (1935), sculptor V.I. Mukhina (1940). Nesterov acts as a continuer of the portrait traditions of V.A. Serova. He emphasizes the characteristics, accentuates the gestures and characteristic poses of his heroes. Academician Pavlov firmly clenched his fists placed on the table, and this pose reveals fortitude, contrasting with his obvious senile age. Surgeon Yudin is also depicted in profile, sitting at a table. But the expressiveness of this image is based on the characteristic, “flying” gesture of the hand raised upward. Yudin's outstretched fingers are typical fingers of a surgeon, dexterous and strong, ready to carry out his will. Mukhina is depicted at the moment of creativity. She sculpts the sculpture - concentrated, not paying attention to the artist, completely subordinate to her impulse.

Accessories are presented laconically in these portraits. They fully and actively enter into the characteristics of the depicted people with their color, lighting, and silhouette. The coloring of the portraits is dramatically active, saturated with sonorous, subtly harmonized additional tones. Thus, the complex color in Pavlov’s portrait, built on a combination of the finest shades of cold and warm tones, characterizes spiritual clarity and integrity inner world scientist. And in the portrait of the Korin brothers it thickens to deep blue, black, rich brown, expressing the drama of their creative state. Nesterov’s portraits introduced into art a fundamentally new, life-affirming principle, creative fire as the most typical and vivid manifestations of the state of people in an era of high labor enthusiasm.

The artist closest to Nesterov Pavel Dmitrievich Korin(1892 - 1967). He was brought up among Palekh painters, began his creative path by painting icons, and in 1911, on the advice of Nesterov, he entered the Moscow School of Painting, Sculpture and Architecture. Severely demanding of himself and of people, Korin carried this quality through all his work. IN creative development, and indeed in the life of the artist A.M. played a significant role. Gorky, whom he met in 1931. Gorky helped Korin travel abroad to study best monuments world art.

Maybe that is why the portrait gallery of scientists, artists, writers of our time, which Korin has been creating for many years, began with the image of A.M. Gorky (1932). Essentially, already in this work the main features of Korin as a portrait painter are revealed. The portrait of Gorky is a truly monumental work, where a clearly defined silhouette, a contrasting background, a wide color filling of large areas of the canvas, and a sharp expressive drawing express a historical generalization of the writer’s personality. This, as well as other portraits of Korin, is characterized by a harsh palette with an abundance of dark gray, dark blue, sometimes reaching black, tones. This range, as well as the clearly sculpted shape of the head and figure of the person being portrayed, expresses the emotional qualities of the artist’s own nature (6).

In the 30s, Korine created portraits of actors L.M. Leonidov and V.I. Kachalov, artist M.V. Nesterov, writer A.N. Tolstoy, scientist N.F. Gamaleya. It is obvious that for him, as well as for his spiritual teacher M.V. Nesterov, interest in a creative personality is far from accidental.

The successes of painting in the 1930s do not mean that the path of its development was simple and devoid of contradictions. In many works of those years, the features generated by the cult of I.V. appeared and stabilized. Stalin. This is the false pathos of a pseudo-heroic, pseudo-romantic, pseudo-optimistic attitude towards life, which determines the essence and meaning of “ceremonial” art. A competition arose between artists in the struggle for unmistakable “superplots” associated with the image of I.V. Stalin, the success of industrialization, the success of the peasantry and collectivization. A number of artists have emerged who “specialize” in this topic. The most tendentious in this regard was Alexander Gerasimov ("Stalin and K.E. Voroshilov in the Kremlin" and his other works).

Bibliography

1. Vereshchagina A. Artist. Time. Story. Essays on Russian historical history painting XVIII- beginning XX centuries - L.: Art, 1973.

2. Painting of the 20s - 30s / Ed. V.S.manina. - St. Petersburg: Artist of the RSFSR, 1991.

3. Zezina M.R., Koshman L.V., Shulgin V.S. History of Russian culture. - M.: Higher. school, 1990.

4. Lebedev P.I. Soviet art during the period of foreign intervention and civil war. - M., 1987.

5. Likhachev D.S. Russian art from antiquity to the avant-garde. - M.: Art, 1992.

6. Ilyina T.V. History of art. Domestic art. - M.: Higher. school, 1994.

7. History of art of the peoples of the USSR. In 9 volumes - M., 1971 - 1984.

8. History of Russian and Soviet art / Ed. MM. Allenova. - M.: Higher School, 1987.

9. Polikarpov V.M. Culturology. - M.: Gardarika, 1997.

10. Rozin V.M. Introduction to cultural studies. - M.: Forum, 1997.

11. Stepanyan N. Art of Russia of the XX century. A look from the 90s. - Moscow: EKSMO-PRESS, 1999.

12. Suzdalev P.K. History of Soviet painting. - M., 1973.

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Painting of the 20th century. Artists' unions

Features of 20th century painting:

Painting is distinguished by a variety of forms, methods, and directions.

Early 20th century - popular impressionism, who is characterized by a pure, bright, almost childlike perception of life, admiration for the world.

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Unions of artists of the 20th century

Note:

There are separate articles on the website about the work of specific artists of the 20th century; material continues to be prepared.

There will be a separate article about artistic movements of the 20th century. Follow the publications.

Material prepared by: Melnikova Vera Aleksandrovna

Russian culture of the 20th – early 21st centuries.

18. Name the chronological framework of the “Silver Age” of Russian culture: _

The “Silver Age” is tentatively dated to the 1890s. - the first twenty years of the 20th century

19. “In order for art to flourish, we need not only artists, but also patrons of the arts,” wrote K. Stanislavsky. Name the names of famous Russian philanthropists.

Yuri Stepanovich Nechaev-Maltsov (1834-1913).

Savva Ivanovich Mamontov (1841-1918) _

Varvara Alekseevna Morozova (Khludova) (1850-1917

Maria Klavdievna Tenisheva (1867-1928).

20. 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”

21. 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) M.V. Nesterov;

b) K.S. Petrov-Vodkin;

c) M.B. Grekov;

d) A.A. Plastov

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

a) Pseudo-realism;

b) Eclecticism; c) Constructivism;

d) Classicism

23. Complete the sentences. Alexander Nikolaevich Benois____ _______________ did a lot to popularize Russian art abroad. He organized Russian seasons in Paris. Thanks to him, Russian art received worldwide recognition.

It was ___ Sergei Pavlovich Diaghilev___ who introduced Russian painters to trends new to Russia ________

association: “Jack of Diamonds.” “self-education societies”, ______ “World of Art”

24. Using Internet resources, listen to the final part of “The Poem of Ecstasy” (1907) by Russian composer A.N. Scriabin. What is your overall impression of the nature of the finale music? Present your opinion in the form of a short essay.

It was this characteristic of his contemporaries that touched me. Scriabin’s music is an uncontrollable, deeply human desire for freedom, for joy, for enjoying life. ...She continues to exist as a living witness to the best aspirations of her era, in which she was an “explosive”, exciting and restless element of culture. B. Asafiev

25. This genre of wartime art is characterized by laconicism, conventionality of images, clarity of silhouettes and gestures, and precision of the main idea:

a) Political poster;

b) Eclecticism;

c) Easel painting;

d) Caricature, caricature

26. Which artist’s poster is presented below:

a) A.A.Deineka;

b) I.M. Toidze;

c) A.A. Kokorekina;

d) G.G. Ryazhsky

27. Which of the following musical works was not written during the Second World War?

a) “Cranes” by Frenkel and Ramzatov;

b) “Malaya Bronnaya” by Eshpay and Vinokurov;

c) Rachmaninov’s Second Piano Concerto;

d) Shostakovich's Seventh Symphony

28. Which style, which competed with constructivism, is often called “Stalinist classicism”:

a) Classicism;

b) Eclecticism;

c) Traditionalism;

d) Avant-garde

29. What was the name of the cycle of paintings begun by the artist I.S. Glazunov in 1960?

a) “Kulikovo Field”

b) “Rus' has many faces”

c) “Eternal Russia”

d) “Battle on the Ice”

30. Using Internet resources and reference books, define musical terms: spirituals, blues, ragtime, country. Write it down.

____Spirituals- spiritual songs of African Americans. As a genre, spirituals took shape in the last third of the 19th century in the United States as modified slave songs of African Americans in the American South (in those years the term “jubiliz” was used).

Spirituals significantly influenced the origin, formation and development of jazz. Many of them are used by jazz musicians as themes for improvisation.

___Blues- a musical form and musical genre that originated at the end of the 19th century in the African-American community of the Southeastern United States, among people from the plantations of the Cotton Belt. It is (along with ragtime, early jazz, hip-hop, etc.) one of the most influential contributions of African Americans to world musical culture. The term was first used by George Colman in the one-act farce Blue Devils (1798). Since then, in literary works the English phrase. "Blue Devils" often used to describe a depressed mood.

The blues was formed from such manifestations as the “work song”, holler (rhythmic shouts that accompanied work in the field), shouts in the rituals of African religious cults (English. (ring) shout), spirituals (Christian chants), chants and ballads (short poetic stories).

__Ragtime(English) ragtime listen)) is a genre of American music, especially popular from 1900 to 1918. It is a dance form in 2/4 or 4/4 time in which the bass is played on the odd beats and the chords on the even beats, giving the sound a typical "march" rhythm; the melodic line is highly syncopated. Many ragtime compositions consist of four different musical themes.________________________________________________________________________________ Country, country music(from English country music- rural music) is a generalized name for a form of music-making that arose among the white population of rural areas of the south and west of the United States

Country music is based on song and dance tunes brought to America by early European settlers and draws on Anglo-Celtic folk music traditions. This music was preserved for a long time in almost untouched form among the inhabitants of the mountainous regions of the states of Tennessee, Kentucky, North Carolina].

31. In what genre did such sixties poets as A.A. Galich, Yu. Vizbor, Yu. Kim, V.S. Vysotsky work?

c) Futurism

32. In popular culture there are such phenomena as thriller, hit, comics, oldism, image, kitsch. Give examples of these phenomena

1. Thriller is a genre of works of literature and cinema, aimed at evoking in the viewer or reader feelings of anxious anticipation, excitement or fear.

2. A hit is a hot commodity, the highlight of the season, synonymous with a hit song) - a popular song for a certain period of time, a fashionable song] with a memorable melody (usually a pop song, also a single or in general any work of various genres that is particularly popular.

3. Comics, drawn stories, stories in pictures. Comics combine features of such art forms as literature and fine arts

4. Starism is an exaggerated cult of celebrities, idols among pop music performers, actors, and athletes in capitalist countries. S. is an integral element of the functioning of mass culture. Since the beginning of the 20th century. and especially recently in the West, there has been an increasing tendency for politicians, radio, television and press commentators, presenters to become “stars.” various programs- anchormen (from the English anshor - to anchor, fasten and man - person), whose personal popularity often rests on the image created for them as a “friend”, “father” of the families of listeners or viewers.

5. Image is an artificial image formed in the public or individual consciousness by means of mass communication and psychological influence.

6. Kitsch is one of the earliest standardized manifestations of mass culture, characterized by mass production and status significance. Focused on the needs of everyday consciousness

33. Using Internet resources, watch the film by S.M. Eisenstein “Battleship Potemkin” (USSR, 1925) Write a review of the film you watched.

The sailors of one of the battleships stationed on the roadstead of Odessa rebelled because they tried to feed them wormy meat. The instigators of the riot are sentenced to death, however, during the execution, the rest of the sailors rush to their rescue. The ship's officers are thrown overboard, but the mastermind of the uprising, the sailor, dies in the battle.

The population of Odessa flocks to Vakulenchuk's funeral and supports the crew of the revolutionary ship. The summoned government troops mercilessly shoot civilians on the famous Odessa stairs. The Black Sea squadron is sent to suppress the uprising, but the sailors refuse to shoot at the rebels, and the battleship Potemkin passes through the formation of ships.

At the end of the third act of the film, a red flag raised by the rebels flutters on the mast of the battleship. The film ends with a shot in which the battleship seems to “float out of the film” into the audience.

The film is brilliant and is rightfully considered one of the best of all time.

34. Choose the correct statement.

A) Kitsch is a synonym for pseudo-art, belonging to the lowest strata of mass culture.

C) Kitsch is the highest form of manifestation of artistry in art.

35. Using Internet resources and reference books, characterize some popular genres of modern cinema: fantasy, detective, horror film, disaster film, war film, thriller, melodrama, action film, western, musical, comedy, soap opera. Fill out the table provided:

Genre name	Definition	Movie titles	Stage director
1.Fantasy	a genre of fantastic literature based on the use of mythological and fairy-tale motifs in the fantasy genre In cinema, these are film adaptations of books, comics (manga) or based on them.	"Stardust", "Lord of the Rings"	Matthew Vaughn,Peter Jackson
2.Detective	A literary work or film depicting the adventures of detectives.	"Sherlock Holmes"	Guy Ritchie
3.Horror movie	genre feature film, horror.	"Rosemary's Baby"	Roman Polanski
4. Disaster movie	a film in which the characters are caught in a disaster and are trying to escape. A specific type of thriller and drama. We can talk about both a natural disaster and a man-made disaster.	"Armageddon", "The Day After Tomorrow"	Michael Bay, Roland Emmerich
5. War film	a special genre of cinema, distinguished by the theme of war. It is these films that are distinguished by the presence of pictures reconstructing historical events. Various types of weapons, battle scenes and panoramic shots fully reflect the specifics of this genre.	"Quiet Don"	Sergey Gerasimov
6. Thriller	An action-packed, exciting piece of fiction	"Sixth Sense"	M. Night Shyamalan
7. Melodrama	A drama in which the exaggerated tragic is combined with the sentimental, sensitive	"Love, Rosie"	Christian Ditter
8. Action	Action-packed adventure film	"Agent 007"	Sam Mendes
9. Western	A film or literary work of adventure about the life of the first settlers of the American West.	"Dances with Wolves"	Kevin Costner
10. Musical	A musical performance or comedy film using elements of pop, operetta and ballet.	"Across the Universe"	Julie Taymor
11. Comedy	A work with a cheerful, funny plot, usually ridiculing social or everyday vices, as well as its presentation on stage.	"Always say yes"	Peyton Reed
12. "Soap Opera"	one of the genres of television series, which is characterized by a sequential presentation of the storyline in episodes of series on television and radio.	"Desperate Housewives"	Did you like the article? Share with your friends! Share on Facebook Read also We charm the chosen one for a gift Lamb ribs with potatoes in the oven recipe with photos School after awakening. School "awakening". At school you will learn Syrups for soaking sponge cakes recipes with photos Japanese and Chinese vectors in the civil war in the Far East Vegetarian vegetable omelette without eggs Vegan chickpea flour omelette Power card in love reading Effective top manager: the success story of Alexey Miller Top