AHRR - Association of Artists of Revolutionary Russia. Association of Artists of Revolutionary Russia (AHRR) LEF - Left Front of Art

Name of the genre

Definition

Film name

Director Director

1.Frant

the genre of fantastic literature, based on the use of mythological and fabulous motifs in the fantasy genre in cinema - it is the screen vessels of books, comics (manga) or removed by their reasons.

"Star dust", "Lord of the Rings"

Matthew Von, Peter Jackson

2.Dets

Literary work or movie depicting the adventures of detectives.

"Sherlock Holmes"

Guy Ritchie

3. Film horror

the genre of the art film, horror.

"Child Rosemary"

Roman Polansky

4. Film-catastrophe

the film, whose heroes fell into a catastrophe and try to escape. Specific variety of thriller and drama. Speech can go both about natural disasters and about a technogenic catastrophe.

"Armageddon", "Postozrestra"

Michael Bay, Roland Emmerich

5. Military film

special genre of cinema, distinguished by the theme of war. Such films are distinguished by the presence of reconstructing historical events of paintings. Different types of weapons, battle scenes and panoramic surveys fully reflect the specifics of this genre.

"Silent Don"

Sergey Gerasimov

6. Thriller

Outlice exciting artwork

"Sixth Sense"

M. Knight Syamalan.

7. Melodrama

Drama in which exaggerated tragic is combined with sentimental, sensitive

"With love, rose"

Christian Ditter.

8. Action

Occupant adventure film

"Agent 007"

Sam Mehdes.

9. Western

Film or literary work of the adventure genre about the life of the first settlers of the American West.

"Dancing with wolves"

Kevin Costner

10. Music

Music view or comedy film using pop elements, operetta and ballet.

"Through the Universe"

Julie Taymore

11. Comedy

The work with a funny, funny plot, usually rumbles public or household defects, as well as presenting it on the scene.

"Always say yes"

Peyton Reed

12. "Soap Opera"

one of the genres of television serials, which is distinguished by the consecutive presentation of the storyline in the episodes of TV shows on television and radio.

"Desperate Housewives"

Ways of development of machine art in the 1920s. Ost, Omha, "4 arts" and Ahrra.

In the early years of the revolution, traditional forms of machine painting and graphics continued to develop. The art of the first post-beater decade was created by the hands of masters, naturally related to the art of the boring centuries. The 20s were a rapid time for art.

There were many different groups. Each of them put forward the platform, each performed with his manifesto. The most significant groups, in declarations and in the creative practice of which the main creative processes of the time were reflected, were Agrh, EAS and "4 arts".

The AHRR Group (the Association of Artists of Revolutionary Russia) originated in 1922 (in 1928 he was renamed AHR - the Association of Artists of the Revolution). The AHRR kernel has developed mainly from the former participants in the mobile exhibition partnership. AHRR organized a number of thematic art exhibitions: "Life and life of workers" (1922), "Life and life of the Red Army" (1923), "Revolution, life and work" (1924-1925). Typical features of the works of Akhrovtsev are a clear narrative, conservative "realistic", an attempt to recreate a historical or modern event. Artists Agrhr sought to make their painting an accessible mass auditor of the pore and therefore their work often mechanically used the long-witting language of late movement. They actively embodied their slogan of "artistic documentaryism": the practice of leaving for nature was extremely common.

Among the artists AHRR, the creativity of I. I. Brodsky is allocated (1883-1939), which set the task accurate, documentary reproduction of events and heroes of the revolution. Wide fame acquired his canvas dedicated to the activities of V. I. Lenin - "Putilovsky's speech", "Lenin in Smolny". Portrait-painting master joined Agrh in 1923. His works of "Delegate" (1927) and "Chairman" (1928), in which the artist reveals the typical social and psychological features of a woman of a new society, an active participant in the production and social life of our country .

Among Portrets Agrh, S. Malyutin played a prominent role. The active participant of the AHRR exhibitions was a major Russian painter of the turn of the XIX-XX centuries. A. E. Arkhipov. In the 20s of the archups creates the life-affirming images of the peasants - "Woman with a jug", "the peasant in the green apron." The creativity of M. B. Grekova (1882-1934) is occupied by a special place in the painting of AHRR (1882-1934). In such pictures of the mid-20s, as the "Tacank" (1925), the movement accuracy of the image is combined with romantic risenness.

Along with AHRR, in which the artists of the older and middle generation, who had the time of revolution, have already been greatly creative experience, the Group Ost (Society of Stankovists), organized in 1925 played an active role in the artistic life of those years, organized in 1925. She united the artistic youth of the first Soviet artistic university - Vhowemas.

Members remained for realistic painting in an updated form, opposing it to impreit art and constructivism. The main task of the coolest, as well as "Akhrovtsy," considered the struggle for the revival and the further development of the machine painting on a modern topic or with modern content.

The main theme of Russia, the industrialization of Russia, recently still agrarian and backward, the desire to show the dynamics of the relationship between modern production and man.

Another important theme that artists worked on, was the life of the city and the city man XX century. The third round of the plots is mass sports.

Artists sought to develop a new embracing language, concise on form and dynamic composition. For works, the exacerbated formation of the form is characteristic, its non-separation, the dynamics of the composition, the graphical clarity of the pattern. In search of a language, adequate to their shaped-thematic aspirations, "the coolest" appealed no longer to movement, but to the traditions of European expressionism with its dynamism, sharpness, expressiveness, to the modern traditions of the poster and cinema.

One of the most talented representatives of the Ost group was A. A. Deineka. The closest declarations of the OST are his paintings: "At the construction site of new workshops" (1925), "Before descending to the mine" (1924), "Football players" (1924), "Textiles" (1926). From among the rest of the members, the remaining close to Daenek in the nature of their works and in the style of Yu. I. Pimenov, P. V. Williams, S. A. Luchishkin.

In contrast to the coolest, youth in its composition, the group of two others, which occupied an important place in the artistic life of those years creative groups - "4 arts" and OMX (society of Moscow artists), - united in themselves the masters of the older generation, creatively established in the pre-revolutionary time, With a special trepidation of the conservation of pictorial culture relate to the problems and considered a very important part of the work itself his language, plastic form.

4 arts

Society "4 arts" originated in 1925

Society was founded by artists who were previously in the world of art and a blue rose.

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

Artists who were in the group "4 arts", the creative manner was very different from each other. P. V. Kuznetsov is working on the most diverse themes of the nature and life of the Soviet East.

The works of Petrov-Vodkina are such as "after the fight" (1923), "The girl at the window" (1928), "Anxiety" (1934), the most fully expressed the ethical meaning of various periods - milestones in the development of Soviet society. His picture "Death of the Commissioner" (1928), like the "defense of Petrograd" Deines, written in opposition to specific publicism.

The society of Moscow artists (OMX) emerged in 1927 as a result of the unification of members of the artistic groups "Moscow painters", "Makovets" and "Being". Among the founders were S. V. Gerasimov, I. E. Grabar, I. I. Mashkov, M. S. Rodionov, V. V. Nomen, N. A. Udaltsova, R. R. Falk. The members of OMH, the core of which amounted to the former participants in the joining "Bubnovaya Valet", sought to transfer the material diversity of the world with the help of a plastic combination of color and shape, energetic smear.

In 1928-29, the Company was replenished with members of Moscow artistic groups "The shop of painters", "Being", "Four Arts", "Heat-Color" and others (among them - A. I. Kravchenko, N. P. Krymov, A. V. Fonvizin, A. V. Shevchenko). Special attention was paid to improving the professional level of artists. An important role in the activities of OMX last period belongs to the artistic and industrial workshop created in March 1928.

Painting 20th century. Unions of artists

Features of painting 20VEK:

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

Start 20 century - popular impressionismFor which the clean, bright, almost childhood perception of life, admiration for the world.

Wide popularity in the first two decades received avant-garde As an expression of protest, self-expression, even the riot.

In the early 20th century, many associations of artists seem to find new forms, self-expression styles.

Artists actively take part in the life of the country, conduct art exhibitions, are involved in the creation of campaign posters, decorations of avant-garde performances.

Years of the USSR domination of one method socialist realism With its clear frames and tasks.

At the end of the 20th century, it was possible to use in painting completely new technologies - computer graphics, photographs, digital agents.

Unions of artists of the 20th century

Note:

about the work of specific artists of the 20th century on the site there are separate articles, the material continues to prepare.

about the artistic directions of the 20th century there will be a separate article. Watch for publications.

Material prepared: Melnikova Vera Aleksandrovna

AHRR - Association of Artists of Revolutionary Russia since 1928 - AHR - Association of Revolution Artists The most numerous art grouping of the 1920s, which included painters, graphs, sculptors founded in 1922, dissolved in 1932.

AHRR was founded in Moscow in May 1922. The incentive for its creation was spent by Pavel Radimov, the latest head of the mobile partnership at the last, 47th exhibition of the partnership, held in 1922 in the House of Enlightenment and Art Workers in Leontyevsky Lane in Moscow. This speech was called on the closure of the exhibition "On the reflection of life in art" and put the realism of the late mobile phone to the sample for the embodiment of today: the life of the Red Army, the life of workers, the peasantry, the figures of the revolution and the heroes of labor, understandable to the people's masses. " This report was met by the fierce attacks of the "left" front - anti-garde artists who also stagnated to the revolution service. Pavel Radimov got up at the head of the new merger. Avangard was declared "harmful fabrications."

The first Organization took place on the apartment of Portraity Malyutin, one of the authoritative masters of old Russia. In May 1922, AHRR was founded, at the same time adopted the Charter, the name was approved, the Presidium (Chairman of P. A. Radimov, Comrade Chairman A. V. Grigoriev, Secretary E. A. Katzman). Others included in the core of the organization - P. Yu. Kiselis, S. V. Malyutin. On May 1, 1922, "Exhibition of Artists of the Realistic Direction for Help of the Horseing" opened on Kuznetsky Bridge, which was considered to be considered the first AHRR exhibition.

Agrh from the first of his steps was enlisted by solid material support from the leadership of the Red Army (Voroshilov). In a number of practical tasks recorded in the Charter of the Association, they included: the provision of "material, scientific and technical assistance" by artists and figures of visual arts, "All-term promotion of the development of artistic creativity and visual abilities among workers".

With Agrh, the mobile partnership was actually merged, the last chapter of which Radimov became the first chairman of Ahrra. Starting from this point, Movies as an organization actually stopped their existence. In addition, the desire for realism, Akhrovtsi was attracted to their camp of mature painters who rejected the avant-garde (for example, A. E. Arkhipov, N. A. Kasatkin, V. K. Bialynitsky-Biruly, V. N. Miskov, E. I. Capital , K. F. John, V.N. Bakseyev, M. B. Greeks, etc., as well as sculptors M. G. Manizer, S. D. Mekurov, N. V. Krandiyevskaya). Among those who later replenished Rows of Agrh, there were also a lot of painters who received recognition to revolution: I. I. Brodsky, B. M. Kustodiyev, E. E. Lancere, F. A. Malyavin, I. I. Mashkov, . S. Petrov-Vodkin, A. A. Flylov, etc.

In addition, a powerful organization actively chose smaller artistic associations. In 1924, members of the New Society of Painters entered Agrh, in 1926 - Bubnovietovtsev Group, in 1929, artists from the association "Being" in 1931 - from the society "Four Arts". In 1926, "Moscow painters" included in Agrh. In 1931, a number of members of OMX (Society of Moscow artists) passed into AHR, which is why Moscow society broke up.

For 10 years of its existence, the faithful line of the Agrh party has become the largest artistic organization of the country. She rapidly grow up: by the summer of 1923, she had about three hundred members. Regional and republican branches began to emerge. By 1926 they had already about forty. Among the first, branches appeared in Leningrad, Kazan, Saratov, Samara, Nizhny Novgorod, Tsaritsyn, Astrakhan, Yaroslavl, Kostroma, Rostov-on-Don. A number of adjacent groups arose, for example "Association of Artists of Red Ukraine" (AHCHC), 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, "Production Bureau" (Head A. A. Volter), 1925 - Information Office, Central Bureau of AHRD branches. "Ahrr was an organization extremely numerous, mobile and omnipresent. Unlike the "stationary" artistic associations, AHRR, continuing the movement traditions, showed its work in many cities. Even those in opposition to the AHRR artistic program, many associations stretched to some of its trends - not from conjunctural considerations (this, of course, also happened), but from the desire to feel like the desired viewer, time. " In 1920, the Association acquired an increasing number of supporters, enjoying the support of the state and strengthened their positions in favor of new structures. In 1925, at the initiative of students of Moscow and Leningrad art universities, the union of young people was created - OMAHRR (the union of the youth of the Association of Artists of Revolutionary Russia), which soon gained the status of an autonomous organization with its charter. In addition, "AHRR too persistently showed dictatorial trends; And sometimes it was rather this circumstance than only his artistic principles, caused a decisive opposition of many artists and entire associations. "

In 1928, I took place at the AHRR Congress, who accepted a new declaration and made a change in the name of the association - to AHR (revolution) from AHRR (revolutionary Russia). By the end of the 1920s, the Association was in a state of half-life: a separate "union of the youth of the Association of Artists of the Revolution" was formed (OMAHR, from 1928), which was mainly attached to the RAPC ("Russian Association of Proletarian Artists"), a number of previous leaders and new members established their own "Union of Soviet artists" (from 1930). " In the end, Agrh, along with all other artistic associations, was dissolved in 1932 by the decision of the Central Committee of the CPSU (b) of April 23 "On the restructuring of literary and art organizations". The principles of relationships with the authorities and the display of Soviet reality were based on the principles of the Union of Artists of the USSR. AhR, like other artistic associations, was part of the Unified Union of Soviet artists (SSH).

In the 20s, the flourishing period of the Russian avant-garde, also wanting to work for the benefit of the revolution, Agrhre strongly opposed himself to these masters used by the new artistic language. Based on the legacy of the mobileians, who believed that in the picture didactic content, much more important than artistic value, and "Art should be clear to the people", the association created a canvas that did not cause the mass audience to rejection with their complexity. One of the components was the realism of painting, the second is the choice of topics based on the social and party order (revolution, Soviet life and labor). The AHRR Declaration was set forth in the 1922 Exhibition catalog: "Our Civic Duty to Humanity is the artistic and documentary capturing the greatest moment of history in his revolutionary rush. We will show today: life of the Red Army, the life of workers, the peasantry, the leaders of the revolution and the heroes of labor ... We will give a valid picture of events, and not abstract fabrications that discrediting our revolution in the face of the international proletariat. " The main task of the Association's members considered the creation of genre paintings on the plots from modern life, in which they developed the traditions of painting of the Movies and "closer to art to life." "Artistic documentaryism" and "heroic realism" became the slogans of AHRR. The Masters of the Association sought to create canvas, "understandable and relatives", affordable "perception of workers' mass" (as well as party leaders), such an art that would truthfully reflect Soviet reality. " In subsequent years, they wrote: "Soviet reality of those years have found an incarnation in the true and intelligible works of leading Masters Agrh." This activity was highly appreciated by the Soviet government.

The ideology of AHRR-AHR AHRR climbed in a brutal struggle with representatives of other artistic groups who did not hold for realism and plot painting. Akhrovtsi fought with the left directions in art, appreciated, in their opinion, a great harm for realistic painting, sought to prove the need for the existence of a machine-based plot painting, fought with the slogan "Art for Art." Although AHRR has absorbed many smaller artistic groups, she in particular did not disdain their ranks from ideologically alien artists. So, in 1924, the AHRR re-registration commission makes a decision to exclude from among its members a number of artists, former Bubnovitovtsev, "as an alien ideology of AHRR and a common friendly life. To eliminate both people who are unnecessary ballast of the organization who are not responding to ideologically Lobanov, Rodionova, Maksimova, Vysimaltseva. " Of the most important opponents of Ahrra, it is worth noting her close in everything, except for some ideological and artistic subtleties, the Ost, competition with which continued after the victory of Akhrovtsev over the avant-gardists.

Agrh especially vigorously manifests itself in the years of the great fracture, when publishes in the journal "Art in the mass" of calls: "Artists of the revolution, fight for the Primfinplane! Artists of the revolution, all for plants and factories for a great historical case - active participation in fulfilling a five-year plan. Place the wall newspaper, boards for socialization, red corners, paint portraits of the heroes of the struggle for the Promfinplan, beat the caricatures of the Radiars, Ravach, Walkers, Letunov, Beach Bureaucratism, detect the insertion! Artists of the Revolution, to carry out all this work, deploy the socialization among themselves in the highest forms and phases (through brigades, a public tug, etc.), declare yourself with drummers, join the brigades organized by opporption, eliminate the lag of all isfront from the general front of the struggle For socialism! Fight for five years in four years! "

Artistic characteristic of painting Typical features of the works of Akhrovtsev - this is a clear narrative, conservative "realistic", an attempt to recreate a historical or modern event (that is, heroized documentary). Artists Agrhr sought to make their painting an affordable mass viewer of the pore, and therefore in their work they often used the long-witting language of late movement. In addition to "heroic realism", there were also trends in their work and naturalism, although this, as the Soviet critics later celebrated, "often led to fineness and illustrative." They embodied their slogan "artistic documentaryism": the practice of leaving to nature was extremely common. The painters went to the factory and plants, in the Red Army barracks to watch the life and life of their characters. Their activity began with sketches at the Moscow factories (Dynamo, etc.) in 1922, where he almost immediately went by the Radimov with comrades. 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 became the basis of their works. The concept of creative business trips was embodied: the painters went on trips along with the expeditions of the Academy of Sciences, scout geologists, builders.

Artists of AHRR played a big role in the development of new ones for Soviet art, for example, the Soviet landscape, having an impact on representatives of various art groups of that time. Of course, they influenced the addition of the theory of socialist realism in painting. Additionally, AHRR used the inventions of the Agitprom, since its task was not only to create canvas on topical topics, but also to let them into people, replicating on posters and postcards. Also, despite software-antimoderist installations, elements of modern (symbolism and impressionism) constantly make themselves to know, but as it were in a grated version, alien fantasies. " Most of the most significant artists of Ahrra studied painting in the royal time on the basis of a program of an academic pattern or received their skills directly from the teachers of this school (for example, the 1st Soviet battlestall Mitrofan Greek studied at the 1 -th battleist of the Imperial - Franz Roule). This led to the fact that the works of prominent Ahrovents are not weak in the drawing, nor along the composition with a flavor, and today they have not only historical, but in many cases and significant artistic value.

Exhibitions 1922 - "Exhibition of Pictures of Artists of Realistic Direction to Help the Holoring" (Salon on the street Kuznetsky Bridge) 2. 1922 - "Life and Genus of the Red Army" (Museum of Fine Arts). The catalog published the AHR Declaration 3. 1922 - exhibition of paintings, etudes, sketches, graphics and sculptures "Life and Life Workers" (Moscow, Scientific Club in the House of Unions) 4. 1923 - "Red Army. 1918-1923 "(Museum of the Red Army) 5. 1923 -" Corner named after V. I. Ulyanova-Lenin "(First Agricultural and History and Industrial Exhibition, now the territory of the CPS. O) 6. 1924 -" Revolution, life and labor " (GIm) 7. 1925 - "Revolution, life and Labor" (Museum of Fine Arts) 8. 1926 - "Life and Life of the Peoples of the USSR" (formerly agricultural exhibition, now the territory of the CPS. O; Leningrad - in the abbreviated composition, the halls of the Academy of Arts ) 9. 1927 - "Exhibition of sketches, etudes and sculptures of artists of the Moscow organization AHRR" (Museum of the Revolution) for the decade of the anniversary of the October Revolution (AhRR Declaration is published in the catalog) 10. 1928 - "X Years of the Red Army" (Central Telegraph Building), Participation in the exhibition attracted artists from other associations; The AHRR Declaration is published. There were such different things on the manner and the content of things as the "defense of Petrograd" of Deines, "Death of the Commissioner" Petrova-Vodkin, "Fergana partisans" P. Kuznetsova, Taman's campaign of Sokolova-Skal, "Order of the occurrence" of Shukhmin et al. 11 . 1929 - "Art in the Mass" (Stadium of the MAOSPS, now the territory of the CPD. O). The AHR Declaration and the Ox Declaration (Society of Stankovist Artists) were published in the catalog. In 1928, AHRR organized two mobile exhibitions for Moscow workers. In 1928, the first OMAKH exhibition (Moscow) opens, in 1929 two OMAHR exhibitions took place (one of them represented the work of the textile section). In the future, the AHRR artists take part in various thematic exhibitions: 2. "Painting, drawing, film-photo, printing and sculpture on the topic" Life and life of the Soviet Union "(1929) 3." First Mobile Exhibition "(1929), 4 . "Red Army in Soviet Art" (Moscow, GTG), 5. "Exhibition of works of revolutionary and Soviet topics" (1930, GTG), etc.

Isaa to Isra Ilvich Bro Danief (1883-1939) - Soviet and Russian painter and schedule, teacher and organizer of art education, Honored Artist of the RSFSR (1932), one of the main representatives of the realistic direction in the Soviet painting of the 1930s, the author of extensive visual Leninians. Isaac Brodsky was born on December 25, 1883 (January 6, 1884) in the village of Sofiyevka near Berdyansk (at that time - the Tavrichesky province, now - the Zaporizhia region of Ukraine), in a Jewish family. Father was a merchant and landowner, a merchant of the second guild of the city. Nogaisk Tavrichesky province. The younger sister of Raisa (1894-1946) was a musician, graduate of the St. Petersburg Conservatory. In 1896 he graduated from Berdyansky City School. He considered his homeland Berdyansk. Since childhood, she showed talent to painting. From 1896 to 1902 he studied at the Odessa Art School at L. D. Iorini, K. K. Kostandi and G. A. Ladyzhensky. Then moved to. St. Petersburg and continued his studies in the metropolitan Academy of Arts. For five years she studied at the Academy of I. E. Repin. In 1909-1911, the Academy went to the German Empire, France, Spain and Italy, in particular, visited on the island. Capri M. Gorky. Until the October Revolution of 1917 and in 1920, Brodsky participated in exhibitions at the Academy of Arts, was the exhibitor of the "Partnership of Southhouse Artists", "Partnerships of Mobile Art Exhibitions", "Societies to them. A. I. Kindji, "Communities of Artists". In the summer of 1917, he begins the portrait of Alexander Kerensky (already in 1918, when the temporary government was overthrown), and after the October Revolution, portraits of Bolshevik leaders actively writes. Brodsky worked a lot on creating images of Soviet leaders, primarily V. I. Lenin and I. V. Stalin. In addition, Brodsky was engaged in the reorganization of art education in the USSR. From 1932 he was a professor, and from 1934 - Director of the All-Russian Academy of Arts. To work in the Leningrad Institute of Painting, Sculptures and Architecture, the Leningrad Institute of Painting, Sculpture and Architecture I. I. Brodsky, K. F. John, P. S. Naumova, B. V. Johanson, A. I. Lyubimova, R. R . Frenz, N. F. Petrova, V. A. Sinai, V. I. Shuhaeva, D. I. Kiklik, N. N. Punin, V. N. Meshkova, M. D. Bernstein, E. M. Cheptsova , I. Ya. Bilibina, M. G. Manisers, P. D. Buchchina, A. P. Ostroumov-Lebedev, A. E. Kareva, B. A. Fogel, L. F. Ovsyannikova, S. V. Potelkova , I. P. Stepashkin, K. I. Rudakov and others. His disciples were such well-known artists and teachers as A. I. Laktionov, Yu. M. Nonflower, V. M. Oreshnikov, P. P. Belousov, M. P. Zheleznov, N. E. Timkov, A. N. Yar . Kravchenko, P. K. Vasilyev, M. G. Kozhell and others. Brodsky died on August 14, 1939 in Leningrad. He was buried on the literal walkways on the Volkovsky cemetery. . In the center of Leningrad (Art Square, 3 - House of the Glenchev-Kutuzov), the Museum of the artist was created - the Museum-Apartment I. I. Brodsky, which is the Department of the Research Museum of the Russian Academy of Arts. In September 1940, Lassalya Street near Nevsky Prospect was renamed Brodsky Street (in 1991 she returned the historical name - Mikhailovskaya Street). The name of Brodsky wears the Berdyansky Art Museum founded in 1930, where the artist handed over about 200 paintings by Russian artists from his meeting.

I. I. Brodsky (1883 -1939). Speech by V. I. Lenin on the wires of the parts of the Army's paint on the Western Front on May 5, 1920. 1933.

Mihai L VASY LEVICH FRU NZA (party pseudonyms Miha Ylov, three foundies, arresses, literary pseudonyms Serge Petro in, A. Shu Ysky). January 21 (February 2) 1885, Pishpek, Semireche Nawa region - October 31, 1925, Moscow - Revolutionary, Soviet state and military leader, one of the largest 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). Narcar Defense K. E. Voroshilov on a ski walk. 1937 Clement Epret Movich Voroshov (January 23, 1881, Village Upper, Ekaterinoslav Province (now the city. Lisichansk Lugansk region) - December 2, 1969, Moscow) - Russian revolutionary, Soviet military leader, state and party leader, Civil War Participant, One Of the first marshals of the Soviet Union. Since 1925, the People's Commissar on Military and Maritime Affairs, in 1934- 1940, the People's Commissar of the USSR Defense. In 1953-1960 - Chairman of the Presidium of the Supreme Soviet of the USSR. Twice hero of the Soviet Union, the hero of socialist labor. Member of the Party Central Committee in 1921-1961 and 1966-1969. Member of the Organizing Bureau CCP (b) (1924-1926). Member of the Political Bureau of the Central Committee of the CPSU (b) (1926-1952), a member of the Presidium of the CPSU Central Committee (1952-1960). Voroshilov belongs to the duration of the stay in the Politburo of the Central Committee of the CPSU (b) (CPSU Central Committee), the Presidium of the CPSU Central Committee (34, 5 years).

Mitrofan Borisovich Greek real name - Martichenko Mitrofan Pavlovich (June 3, 1882, x. Sharpaevka, Yanovsky parish, Donetsk district, Donetsk region - November 27, 1934, Sevastopol) - Soviet artist-battalist of Russian Cossack. Born in the Cossack family, on the farm Sharpaevka region of the Don Troops (now Rostov region). At first, he received painting in the Odessa Art School (at Keery Kostandi), then found himself in the St. Petersburg Academy of Arts, where I. Repin and F. A. Roubo was studied - the classic of the battle genre. He became the founder of the Soviet battle genre. In the first world war was on the front, from where many sketches brought. In the Civil War, fought in the Red Army, where he left the volunteer. Documented the feats of the first equestrian army of Budenny. There was a member of AHRR. He lived in Novocherkassk and in Moscow. The most famous works of the artist: "Trippeters of the first equestrian", "Tacanka", "Fight of Egorlykskaya", "The frozen Cossacks of General Pavlov". He headed the team that creates the Panorama of the Assault of Perekap (1934).

Ryazhsky Georgievich (Egorovich; January 31 (February 12), 1895 - October 20, 1952) - Soviet painter, teacher, professor. Secretary of the Presidium of the Academy of Arts of the USSR from 1949 to 1952. Academician Ah USSR (1949). Honored Art Worker of the RSFSR (1944). Born on January 31 (February 12), 1895 in the village of Ignatievo Moscow Province of the Russian Empire. In 1910-15, he studied in the drawing classes of Prechistensky Evening courses in N. N. Komarovsky; In the studio M. V. Leblana, R. A. Kicklanova, MM Seversow, took lessons in the workshop of Anna Goluboyna (1917). In 1918-1920 He studied at the State Free Art Workshops - Vhutemas at Casimir Malevich. In 1922, he organized a knife group, then taught in correspondence drawing courses, from 1929 to 1931 - in Vhutein, he worked at the 1905 memory school, from 1934 - at the Moscow Art Institute. V. I. Surikova, since 1940 - Professor. Honored Art Worker of the RSFSR (1944). Active member of the Academy of Arts of the USSR (1949). I wrote mostly female portraits. In 1937, the work of G. G. Ryazhsky "Delegate" and "Chairman" were awarded a large gold medal at the international exhibition in Paris.

Sergey Vasi Lepius Maly Tin (September 22, 1859, Moscow, Russian Empire - December 6, 1937, Moscow, RSFSR, USSR) - Russian artist, architect. The Son of the merchant, was born, lived, worked in Moscow. The author of the painting of the first Russian Matryshka. 1883-1886 - He studied at the Moscow School of Painting, Sculpture and Architecture (Music), in the workshops at I. M. Skinichnikova, V. E. Makovsky and other teachers 1886 - received a small silver medal, in 1890 - the title of a non-class artist 1891- 1893 - taught the drawing at the Moscow Elizabethan Institute; In 1903-1917 - in men. 1890 - An artist in the Russian private opera S. I. Mamontov 1896 - a member of the Moscow partnership of the artists of 1900-1903 - in Talashkino, Knyagini M. K. Tenisheva led artistic workshops who served as an example for the further development of the Russian art industry. A member of the Association "World of Art" 1903 - in the Union of Russian Artists. 1913 - a member of the "Mobile Partnership" of 1914 - Academician of the Academy of Arts 1918-1923 - He taught in GSM-Vhutamas 1918-1921 - participated in the creation of "Growth Satira" 1922 - one of the organizers of the Association of Artists of Revolutionary Russia "1927-1 1931 - Member of the Art Group" Association of Artists-Realisti

Boris Vladimirovich Johanzo N (13 (25) of July 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 Academy of Arts of the USSRs 1958 to 1962. Academician Ah USSR (1947). People's Artist of the USSR (1943). Hero of Socialist Labor (1968). The winner of the two Stalinist first degree premiums (1941, 1951). Member of WCP (b) since 1943. Boris Johanson was born in Moscow in the family of serving Swedish origin. The initial art education received at the Studio School P. I. Kelin. 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 an artist-decorator in the theaters of Krasnoyarsk and Alexandria (Kherson province). In 1922-1931, consisted of the Association of Artists of Revolutionary Russia. One of the most significant representatives of Soviet easel painting of the 1930s. In his work, he turned to the most appreciated at this time the traditions of Russian painting of the XIX century - the legacy of I. E. Repin and V. I. Surikov. Interpreting it, he contributes to his works "New revolutionary content, consonant era." His paintings are especially known: "Interrogation of the Communists" (1933) and "at the Old Ural Plant" (1937). In 1937-1961, he taught at the Rampin Institute in Leningrad, since 1939 - in the qualitudinal appessor. From 1964 he worked in Moscow, taught at the art institute. V. I. Surikova. Since 1953 he was a vice president, and in 1958- 1962, President of the Academy of Arts of the USSR. In 1965-1968 was the first secretarization of the board of the Union of Artists of the USSR. Since 1962, Johanson was the editor-in-chief of the encyclopedia "the art of countries and peoples of the world." Deputy Sun of the USSR 7 -to convocation (1966-1970). Delegate XX and XXIII CPSU Congresses. Died on February 25, 1973.

Ost (OKT) Society of artistovankovists - an art group, founded in 1925 in Moscow by a group of graduates of Vhowemas, led by David Stenenberg. A characteristic feature of creativity remains the sign of Soviet reality (industrialization, sports, so on.) With the use of techniques of modern European expressionism. Existed until 1931. Leading artists of OST played an important role in the development of Soviet machine, as well as monumental painting, book graphics, poster, theatrical and ornamental art.

The creation of an association in 1924 was held the first discussion exhibition of associations of active revolutionary art (Moscow, Tverskaya st., 54), where students of Vhutemas took part in the following groups: "Proxists" (S. Luchishkin, S. Nitrin, K. Redko, N . Sharkin. A. Tyshler; The group was formed in 1922). "Specifications" (P. Williams, K. Vyglov, V. Lushin, Yu. Merkulov; stated from the group of "projectists" in 1924). "Group of Three" (Alexander Deineka, together with Yu. Pimenov and A. Goncharov) for the next 1925, together with the other graduates who joined them, founded the Ost, whose chairman, as the most respectable and "foreman", was chosen Sterberg, teacher Vhowemas, whose students (as well as V. A. Favorsky) were most of the participants in the association. The founders of the founders were Y. Annenkov, D. Sterönberg, L. Weiner, V. Vasilyev, P. Williams, K. Vylov, A. Daineka, N. Denisovsky, S. Kostin, A. Labas, Yu. Merkulov, Yu . Pimenov. The charter remains adopted in September 1929. Chairman of the Company - D. P. Stergenberg. The composition of the Board in 1925-1926. - L. Weiner, P. Williams, N. Denisovsky, Y. Pimenov; 1927 - P. Williams, Yu. Pimenov, L. Weiner, N. Shifrin.

Ideology The name of the grouping is the Society of Stankovists Society - was associated with turbulent discussions about the fate and appointment of art. A group of modern abterses of painters fundamentally rejected the machine forms of creativity for the tasks of artistic and manufacturing, that the members of the future remained not by moral. Actually, the Sterberg, even in his post in the department, as a teacher, contributed to the development of this production art, but as a painter and a member of Osta began to defend the fruitfulness of machine tools. "Antistankovistovistrics", and then AHRR, became the main opponents of Ost. P. Williams. "Autocheg", 1930, GTG. One of the most famous paintings remains expressiveness, ease of smear, as well as a modern topic - cars after education in 1922 Ahrra - Association of Artists of Revolutionary Russia and its struggle with "formalism" (Russian avant-garde) was naturally the appearance of Ost - association of artists, which also , like Agrh, preferred Soviet topics, but did not reject the instruments of the artistic language, invented in the twentieth century. Unlike Akhrovtsev, who focused on a very naturopic realism of the Movements, the coolests considered their aesthetic ideal the latest European trends, especially expressionism. Partly, this was due to the fact that the majority of members of the union were the issues of Vhowemas - young people, striving to "express the energy and the vigor of the young country." The representative of an older generation was only Sterberg. Ost began to call "the left left among the right groups."

Researchers note that at first there was a lot of purely speculative experimental ferments and mischiefs in the program and practice, but another thing is important - a creative atmosphere has reigned in this society, a greedy interest in the revolutionary novelty of modern reality reigns, to new forms of life, and not Only to new forms of painting and graphics for themselves. The OST did not take for the revolutionary topics of the Civil War (the best samples of which were presented by Akhrovtsy), but preferred peaceful, light topics, "Signals of the XX century", the typical phenomena of modern peace reality: the life of the industrial city, industrial production, sports and others in the educational The plan was determined by "orientation on art youth." They sought to reflect in separate facts new qualities of the modern era. Main topics: Industrialization of Russia, recently an agrarian and backward, desire to show the dynamics of the relationship between modern production and man. The life of the city and the city man of the XX century. Mass sports (football, tennis, sports competitions and cross, gymnastics), which also became a characteristic feature of the life of the Soviet society.

Members remained for realistic painting in an updated form, opposing it to impreit art and constructivism. OST claimed the importance of the vitality of machine forms of art. The main task of the coolest, as well as "Akhrovtsy," considered the struggle for the revival and the further development of the machine painting on a modern topic or with modern content - what they were completely different from Lef. The strict reality of the 1920s of the OST was inclined to see in poetically and implement in a professionally and logically constructed picture, thus entering the controversy and with documentaryness of AHRR, and with more distracts of avant-garde.

From the statute of the Ost: considering that only the art of high quality can have such tasks, it is necessary in the context of modern art development to put forward the main lines for which the work should go (...) a) refusal of distraction and movement in the plot; b) refusal of sketchiness as a phenomenon of disguised dilettanism; c) the refusal of pseudo-seasanism as the discipline of the form, drawing and colors; d) revolutionary modernity and clarity in choosing the plot; striving for absolute skill (....); e) the desire for a finished picture; g) orientation for artistic youth.

Artists sought to develop a new embracing language, concise on form and dynamic composition. For works, the exacerbated formation of the form is characteristic, its non-separation, the dynamics of the composition, the graphical clarity of the pattern. "In search of a language adequate to their figurative aspirations," the coolest "appealed no longer to movement, but to the traditions of European expressionism with its dynamism, sharpness, expressiveness, to modern traditions of poster and cinema with a free and accurate sense of space, the ability of acute , expressive impact on the viewer (especially stylistically with German expressionism). " "They needed a loud and clear voice, a concise and expressive art language, they boldly introduced in the pictures of graphs, poster, frescoes." "The stylistics was very advanced, including the elements of the constructivist installation, as well as the techniques for figurative and deconstruction, characteristic of expressionism and surrealism."

"All these new tasks have identified new methods. One of the principles of composite construction of the picture becomes fragmentary space. The plot to which the image is devoted to, ceases to be closed, becomes an organic part of the infinite world. Enlighten and put forward the silhouettes of people. By portraying them in contrast and color, and the size of the rest of the rest, the artists emphasize their dynamic power. Ost stankovism, thus, absorbs elements of monumental painting, for a long time by providing this type of art living space inside itself. It is even more important to note and emphasize that the Soviet era experienced a pressing need for monumental pathos of its figurative embodiment, but at the same time the Soviet state did not have enough sufficient funds for the development of urban planning and the synthesis of architecture with monumental art in those years. "The alloy of modern plotics with modern formal means (.....) Course taken by outer. The course is fundamentally quite correct, from which the fruitful results could be expected, "the critic I wrote Tougyandhold. "The corresponding tradition made itself felt for many years, actively influencing both the official and informal Russian isoissession (it is the OST - even to an even greater degree than a bubbnaya currency - became a stylistic base for harsh style in the 1960s)" .

Deineka leaves the Ost 1928 for considerations of a principled nature. One of the reasons for the care was his disagreement with the management of the Company, primarily with the Sterberg, who did not like that the youth is not limited to the search for a pictorial form, but invades the adjacent arts - a poster, a magazine drawing, theatrical scenery, tries to have their own strength in creating monumental thematic compositions. As Daneki researchers, "after successful speeches in the genre of the thematic picture of Sisterberg and adjacent to him, a group of artists began to move on the position of chamber stolenism with an emphasized conditional interpretation of the world. Their formal-stylistic experiments often accepted laboratory character, enjoyed in an overly artificial form. Daeneck and his like-minded people in the outskirts sought to innovate in the ideological and thematic field of art. " There were considerable discrepancies between the OST members in assessing the importance of individual species and genres of art. "The most consecutive stacks defended the priority of purely picturesque work on the magazine drawing, poster, monumental panel, adherents of intimate-lyrical painting expressed claims to those who were fascinated by the search for a large era style. Most likely, Dieneci was not satisfied with the intracerence of artists, the desire of some members of the association to approve the priority of pure formal innovations over the search for a specific meaningful imagery. Already in 1928, two groups of artists, characterized by their creative positions, were clearly defined inside it.

One of the groups (Williams, Deineka, Luchishkin, Pimenov, etc.) for the image of urban life, new technique, industrial landscape, sports, young, physically developed people. Their work distinguished the dynamism, clarity of the composition, the graphic in the transmission of forms. Another group that united around the Sisterberg (Goncharov, Labas, Tyshler, Shifrin, etc.), worked in a more free manner of prefering the lyricity and painting of the rational organization of works.

Initially, professional debates and controversy between members of both groups soon acquired political color. Having increased the strengthening of ideological censorship and political attacks by Ahrra, and later Rapha, the society was concluded (he was accused of formalism, bourgeois individualism, etc.). In early 1931, the coolers came to the decision that one of the groups should come out of society. Artists headed by Sterberg, followed by the old name. The remaining artists soon abandoned the name of the Ost and declared themselves as a new union - "Isoress" ("Brigade of Artists"). (Some of the participants also moved to the "October" organized in 1930, which Daenek entered).

Board of the remaining part Ost: D. Sterönberg (Chairman), A. Labas, A. Tyshler and A. Kozlov. "ISROBAND" (Y. Pimenov, P. Williams, etc.) made accusations against his recent comrades and assurances that from now on they will be "for journalism in art as a means of exacerbation of a figurative language of art in the struggle for working class combat missions »". Management Board: V. P. Kraigunov - Chairman; Adlivankin, Williams, Luchishkin, Pimenov). In the end, the Ost and his heirs, along with all other artistic associations, was dissolved in 1932 by the decision of the Central Committee of the CPP (b ) dated April 23 "On the restructuring of literary and art organizations". His balances joined the Moscow branch of the Union of Soviet artists.

Members of the Ost of Total Ost united more than 30 artists Main: Annenkov, Yuri Pavlovich Williams, Petr Vladimirovich Volkov, Boris Ivanovich Goncharov, Andrei Dmitrievich Daenek, Aleksandrovich Kupreyanov, Nikolai Nikolayevich Labas, Alexander Arkadyevich Luchishkin, Sergey Alekseevich Merkulov, Yuri Aleksandrovich Pimenov, Yuri Ivanovich Tyshler , Alexander Grigorievich Stergenberg, David Petrovich Other: Axelrod, Meer (Mark) Moiseevich Alpeevsky, Valery Sergeevich Antonov, Fedor Vasilyevich Brato, Rostislav Nikolaevich Barsh, Alexander Osipovich Berendgof, Georgy Sergeevich Bulgakov, Boris Petrovich Buinsky, Sergey Nikolaevich (from 1928) Weiner, Lazar Yakovlevich Vasilyev V. Vyglov, Konstantin Aleksandrovich Gorshman, Mezdel Khaimovich Denisovsky, Nikolai Fedorovich Doblovsky, Millina Vasilyevich Zerinov, Ekaterina Sergeevna Kishchenkov (Lik) L. I. Klin, (Klynkov) Ivan Vasilyevich Kozlova, Claudia Afanasyevna Kostin, Sergey Nikolaevich Kostyadn, Sergey Avksenseevich Kudryashev, Ivan Alekseevich Igumnov, Andrei Ivanovich (with 1929) Lushin, Vladimir Ivanovich Melnikova, Elena Konstantinovna Nikritin, Solomon Borisovich Nissky, Georgy Grigorievich Parhomenko K. K. PERUTSKY, Mikhail Semenovich Prostzskaya A. I. Ppkov, Ivan Georgievich Prusakov, Nikolai Petrovich Zakkin, Nikolai A. Kraigunov, Vladimir Petrovich Sifrin , Nison Abramovich Schpitsyn, Alexander Vasilyevich Ellonen, Victor Wilhelmovich merchants, Vasily Vasilyevich

The most famous paintings of the cozers are: P. Williams, "Autocheg" (1930), "Hamburg Uprising" D. Stergenberg, "Old man (old)" (1925), "Aniska" (1926) A. Deineka, "At the construction site of new shops" (1926), "Before descending to Shakht" (1924), "Football players" (1924), "Textiles" (192 6), "Defense of Petrograd" (1928). A. Labas, "First Soviet Airship" (1931), "The first steam locomotive at Turksib" (1931) S. Luchishkin, "The Ball flew" (1926), "I love life" Y. Pimenov "Heavy Industry". Pictures after the dissolution of the association: "New Moscow" (1937); "Wedding for tomorrow's street" (1962).

David Petrovich Stergenberg (14 (26), 1881, Zhytomyr - May 1, 1948, Moscow) - painter, schedule, one of the main representatives of the Russian visual art of the first half of the 20th century. Youth and Paris period were born in a Jewish family in Zhytomyr. He was a student of the photographer in Odessa, was fond of revolutionary ideas. In 1906, emigrated from Russia to Vienna as an active participant of Bund. From 1907 to 1917 lived in Paris. In Paris, he was engaged in phototype and studied painting first at the school of fine arts, and then at the Academy A. Vitti. Among his fellow students was the Dutch artist Kees Van Dongen. Sterleberg lived in the famous Paris Stalanter "Beehive". The artist experienced the effect of creativity of the Cezanne and Cubism field. Since 1912, he participated in the expositions of the Paris Salon. Later, he joined the independent salon, brings together with other artists of the Paris school: Lipsshitz, Kisling, Diego River, Marc Chagall and other. Pictures of Sterberg Paris period are often contradictory and heterogeneous. The artist's recognizable style will be developed only by the end of stay in Paris.

Return to Russia after the October Revolution of 1917, Sterberg returns to Russia, where the political past and acquaintance with the People's Commissar of Enlightenment A. V. Lunacharsky played a role. A familiar with the Parisian creativity of the Sisterberg, Lunacharsky appoints it the head of the department of drug addict. Along with Nathan Altman and other figures of Russian culture, he took part in the conference of writers, artists and directors on cooperation with the Soviet government in Smolny in Petrograd (St. Petersburg). In 1918, an exhibition of participants in the Jewish Society for Assistance to Art, in which Sterberg participated along with Altman, Baranov-Rostin and Lisitsky took part in Moscow. From 1918 to 1920, he was the head of the visual art of the People's Commissariat of Enlightenment. In 1918, he published his program article "The Objectives of Contemporary Art" in the news of the Petrograd Council. From 1920 to 1930 he taught in Vhutama. In 1922, in Moscow, Steryenberg took part in the exhibition of Jewish artists, whose participant was and Mark Chagall. In the same year, he wrote an essay for the catalog of the first Russian art exhibition in the Gallery Wang Dimemen, in Berlin. He was a member of the combination of Comfuts (Futurist Communists). In the LeF, it was refused in connection with the negative of the theoreticals of the LEF of machine arts. In 1925-1932, the founder and supervisor of the Society of Stankovists (OST). The Sterberg played a significant role in the formation of Soviet art, especially in the post-revolutionary period, when the Division of the Narkomples united the avant-garde artists who rejected the former official art. Sisterberg paid great attention to the organization of exhibition and art education issues. The main task of Soviet art Stergenberg saw in the need to increase the picturesque culture, thereby underestimating the significance of the story, socially active art

Andrei Dmitrievich Goncharo in (1903-1979) - Soviet painter and schedule, artist books, theater artist, teacher. Popular artist RSFSR (1979). Corresponding Member AH USSR (1973) Andrei Dmitrievich Goncharov was born 9 (June 22) in 1903 in Moscow. I took the first lessons on the drawing in the private studio K. F. John. In 1917-1919 he studied at the 59th labor school. In 1918 he entered the second state-owned art workshops (former Moscow School of Painting, Sculpture and Architecture), where he first worked in the workshop I. I. Mashkova, and then moved to the workshop A. V. Shevchenko. In 1921 he entered the Graphic Faculty of Vhowemas, where he studied at the department of engraving on a tree at V. A. Favorsky. Since 1923, he constantly worked as an illustrator in newspapers, magazines, publishing houses (Izvestia CEC, "Academia", "Young Guard", Gichl et al.). Participated in the design of the All-Russian agricultural and shrub industrial exhibition. In 1924, first put on the first discussion exhibition of the associations of active revolutionary art (Moscow, Tverskaya st., 54) as part of the group of three with A. A. Deinekoy and Yu. I. Pimenov. Since 1925, a member of the Society of Stankovists (OST). In 1927, he graduated with honors from the Graphic Faculty of Vhutemas (Vhuteina) with the title of artist-printing. He began to teach in the territory of the Frunzen Department of People's Education of 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 - Associate Professor of Leningrad Vhutein. In 1930-1934 - Associate Professor of MPI. In 1934-1938 - Associate Professor of MGahi named after V. I. Suricoywa. During the Great Patriotic War (1941-1945) served in the ranks of the Red Army. He worked as the released editor and the artist in the journal "Frontskaya Humor" (edition of the 3 -th Belarusian Front), and then the main artist of the exhibition "Polyatribota in parts of the 3 -th Belarusian 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 in. Moscow Printing Institute, where from 1950 to 1974 he was heading the department of drawing and painting. In 1958, Goncharov awarded the title of professor. In 1959, Goncharov created four main panels for the Soviet exhibition in New York. [In 1960, the book A. D. Goncharov "On the Art of Graphs" was published, and in 1964 - the book "Artist and Book". In 1971- 1979, Goncharov served as Chairman of the Jury of the All-Union Annual Competition "Art of the Book". Corresponding member AH USSR (1973). A. D. Goncharov died on June 6, 1979 in Moscow.

Alexander Arkadyevich Laba from (February 19, 1900, Smolensk - August 30, 1983, Moscow) - Soviet artist, member of the Ost Group, a representative of the Russian avant-garde 20 --x - 30s. Born in Smolensk February 19, 1900. Parents - Arkady Grigorievich (Izik Girshevich) and Haya Shaulovna Labas. At the age of 6 began to engage in painting in the private studio of the artist V. Musketov. In 1910, Father Labas, a journalist and the publisher, moves with his family to Riga, and in 1912 to Moscow. Labas enters the imperial Stroganovsky Art Purpose School. In parallel, he is engaged in the studio F. Rerberg, then in the studio I. Mashkova. Since 1917, he is studying at the state art workshops (later Vhutemas), first in the workshop of F. Malyavin, and then in the workshop of P. Konchalovsky. He studies at K. Malevich, V. Kandinsky, P. Kuznetsova, K. Istnom, A. Lentulova. In 1919, the artist 3rd Army of the Eastern Front. Since 1924, at the invitation, V. Favorsky teaches painting and flowering in Vhutamas. In the 20s - 19th, she was engaged in the design of performances in the theater of the revolution, the theater them. V. F. Commissionerzhevskaya, State Jewish Theater (Goslet). Panorama and diorams for Soviet pavilions at the World Exhibition in Paris (1937), the World Exhibition in New. York (1939), for the main Pavilion of the Survival (1938-1941). One of the founders of the OST (Society of Stankovists). In the 20th and early 30s, an active participant in international exhibitions (XVII International Exhibition of Arts, Italy (Venice), 1930, XXX International Exhibition of Painting in the USA (Pittsburgh, Baltimore, St. Louis), 1931, exhibitions in Holland, Germany, Sweden, Latvia, Switzerland, England, South Africa, France, Japan, Spain. In 1935 -36. Accused of formalism, his work is not acquired by museums, are not accepted at exhibitions.

Alexander Grigorievich You Shler (July 14, 1898 Melitopol - June 23, 1980, Moscow) - Soviet painter, schedule, theater artist, sculptor. Honored Art Worker Uz. SSR (1943). Laureate of the Stalin Prize of the Second Degree (1946) Alexndre Tyshler was born in Melitopol (now - the Zaporizhia region of Ukraine) in the family of an artisan. In 1912-1917 he studied at the Kiev Art School, in 1917-1918 - in the studio Alexandra Exter. In 1919, Tyshler volunteer joined the Red Army; When managing the South Front, I made posters for the growth windows, illustrated the first buckwari in the languages \u200b\u200bof peoples, before the revolution did not have written writing: Kalmyk, Mordovsky, Tatar, as well as to Yiddish. In 1921, after demobilization from the army, he entered Vhutemas, studied in the workshop of Vladimir Favorsky. In 1927, Alexander Tyshler made his debut as a theater artist, issued a number of performances in Belarusian Jewish theater in. Minsk. In 1930 he worked in Moscow, collaborated with many metropolitan and Leningrad theaters; Since 1935, the performances of the Gostemoskovsky Jewish Theater. In the early years, the theatrical works of Tychler were inherent in the features of expressionism, generally characteristic of his work of this period: emphasized fancy, often the arbitrariness of stage images, - in the future the style of the artist changed. From the mid-30s, starting with King Lira in Gostel and Richard III in the Leningrad BDT (both - 1935), the central place in the theatrical work of Tyshler took Shakespeare. Many of his work contributed to the world "Shakespearean"; The tyshler created scenic images, permeated with expression and tense emotionality, easily transforming structures based on the principle of the People's Square Device. In the post-war years, these features of Mature Tyshler were transformed in different ways in the production of Soviet and modern foreign drama, including in the performances of Misteria-Buff, V. V. Mayakovsky in the Satire Theater (1957), "Optimistic Tragedy" Sun. V. V. Vishnevsky in the Moscow Theater of Drama and Comedy (1956), "Holy Jeanne" B. Show in Lenkom (1958), Opera "Not Only Love" R. K. Shchedrin in Gabt (1962). A. G. Tyshler died on June 23, 1980. Buried in Moscow on the Kuntsevsky cemetery.

Alex Ndrovich Dina Ka (1899-1969) is a Soviet painter, schedule and sculptor, teacher. Academician Ah USSR (1947). People's Artist of the USSR (1963). Hero of Socialist Labor (1969). Laureate of the Lenin Prize (1964). Member of the CPSU since 1960. Aleksandrovich Deineka was born 8 (May 20) 1899 in Kursk in the family of the railwayman. Initial education received in 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 a threat, headed the section from the Growing, drawing out the agitoes, theatrical productions, participated in the Defense of Kursk from Belykh. From 1919 to 1920, Deinek served in the Red Army, where he led the artistic studio at Kursk political management and the "Growth windows" in Kursk. From the army was sent to study to Moscow, in Vhutemas on the printing department, where his teachers were V. A. Favorsky and I. I. Nivinsky (1920-1925). Years of apprenticeship and communications with V. A. Favorsky, as well as meetings with V. V. Mayakovsky became of great importance in the creative formation of the artist. The creative appearance of Deineki was bright and clearly manifested in the first major exhibition in 1924 (the first discussion exhibition of the associations of active revolutionary art), in which he participated in the group of the group of three (jointly with A. D. Goncharov and Yu. I. Pimenov). In 1925, Daenek became one of the founders of the Society of Stankovists (OST). In these years, they were created the first Soviet genuinely monumental historical and revolutionary painting "Defense of Petrograd" (1928). In 1928, Deineka came out of Ost and became a member of the Oktyk Association, and in 1931 - 1932 - a member of the Russian Association of Proletarian artists (RAPC). In 1930, the artist created expressive in colors and composite respects "Mechanization Donbass", "Physical culture". In 1931, work was very different in their mood and the subject of the work: "On the balcony", "Girl at the window", "Merpering of the Interventory".

The new stage in the works of Deneki began in 1932. The largest work of this period is the picture "Mother" (1932). At the same years, the artist created the poetchiness of the work: "Night landscape with horses and dry herbs" (1933), "swimming girls" (1933), "noon" (1932), "behind the curtain" (1933), etc. Along with The works of lyrical sound appeared social and political work: "unemployed in Berlin" (1933), filled with anger drawings to the novel "Fire" by A. Barbus (1934). Since the beginning of the 1930s, Deineka appeals to the topic of aviation ("parachute over the sea", 1934), illustrations to the children's book of the pilot G. F. Baidukova "through the pole in America" \u200b\u200b(published in 1938). He wrote a number of picturesque works, one of the most romantic - "future pilots" (1937). The historical topic has found its embodiment in monumental works devoted mainly to pre-revolutionary history. The artist was made sketches of a panel for exhibitions in Paris and New York (not implemented). The most significant work of the end of the 1930s - early 1940s belongs to the "left march" (1940). During the Great Patriotic War, Deinek lived in Moscow and carried out politicalplacats for the workshop of the military-foam poster "TASS windows". In 1942, together with the artist G. G. Nissky, he traveled to the front under the city of Yukhn. At this time, he created intense and dramatic works. Picture "Painting of Moscow. November 1941 "(1941) - the first in this series. A deepest suffering is imbued with another work - the "burnt village" (1942). In 1942, Deineek created the "Defense of Sevastopol" (1942) filled with heroic pathos (1942), which was a kind of anthem of courage of the city defenders. By the number of significant work of post-war times can be attributed to the cloth "by the sea. Fishermen "(1956)," Moscow Military "," in Sevastopol "(1959), as well as mosaics for the foyer of the assembly hall of the Moscow State University named after M. V. Lomonosov (1956), mosaic for the foyer of the Palace of Congresses in the Moscow Kremlin (1961). Mosaica Deneki decorate the stations of the Moscow Metro "Mayakovskaya" (1938) and Novokuznetskaya (1943). Daenek taught in Moscow in Vhutein (1928-1930), at Moscow Printing Institute (1930-1934), in the MGAHI named after V. I. Surikova (1934-1946, 1957-1963), at the Moscow Institute of Applied and Decorative Art (1945- 1953, until 1948, director), Marha (1953-1957). He was a member of the Presidium (since 1958), Vice-President (1962-1966), Academician-Secretary (1966-1968) of the Department of Decorative Arts AH of the USSR. On June 12, 1969, Aleksandrovich Deineka died. He was buried at the Moscow Novodevichy Cemetery (plot number 7). Works of Deneki are in meetings: KKG them. A. A. Deineki, GTG, TRM, Institute of Russian Realistic Art (IRRI), etc. Works of Deines in connection with the development of the Art Market in Russia In recent years, the demand for works of this artist and the lack of new serious scientific descriptions of his creativity is quite often becoming object of falsification. The picture of the Soviet artist Alexander Deines "behind the curtain" was sold at the London Mac auction. Dougall's for 2 million 248 thousand pounds - without a small 3, 5 million dollars [

Ferdinand Khodler. Speech by Ian students in 1813. 1908 -1909 Ferdinand Hodler (Godler) (it. Ferdinand Hodler; March 14, 1853, Bern - May 19, 1918, Geneva) - Swiss artist. One of the largest representatives of Modern. He wrote in those years landscapes, portraits in the spirit of realism. In 1875, he visited Basel, having studied the work of Hans Hans Holshene, especially his picture "Dead Christ", which led to his attention to the topic of death further. In the works of the 1890s, the influence of several genres, including symbolism and "modern", is traced. Khodler developed a style that called "parallelism", characterized by the symmetric location of the figures in dance or ritual poses.

Peter Vladimirovich Williams (1902-1947) - Soviet painter, schedule, scene and theater artist. Honored Art Worker of the RSFSR (1944). Laureate of three Stalinsky first degree premiums (1943, 1946, 1947). Peter Williams was born 17 (30) April 1902 in Moscow in the family of scientist-technologist V. R. Williams (1872 -1957), Son Robert Williams, American-Mostovik engineer, invited to work in Russia in 1852 and forever remaining in her. From 1909 he visited the Studio School V.N. Meshkova. In 1918, a short time was a student of the medical faculty of Moscow State University. In 1919-1924, he studied in Vhutemas in such masters, as V. V. Kandinsky, I. I. Mashkov, K. A. Korovin, D. P. Sterönberg. In 1922 he participated in the creation of an experimental museum of picturesque culture. In 1922-1924, it was part of the "concoption" group, standing at the Ostockov Ostov (1925-1930). Professor of the Moscow Institute of Applied and Decorative Art (1947). From 1929 he worked as a theater artist. Since 1941, the main artist Gabt, created an emotional, stylistically solid design of performances.

Sergey Alekseevich Luchishkin (May 30 (June 12) 1902, Moscow - November 27, 1989, Ibid) - Soviet artist, theater figure, honored artist of the Russian Federation. Biography and work was born in the family of the benchmark. In 1917-1923 he studied at the declamination courses (since 1919 - the State Institute of the Word). In parallel, it was engaged in 1919-1924 in the free art workshops at A. Arkhipov, and then (when they were transformed into Vhutemas) - Lyubov Popova, Alexandra Exter and Hope of Udaltsova. He was a member of the "Method" group (1924) and "Societies of Stankovists" (OST; from the same year). Participant of the most radical artistic experiments of the 1920s. Following S. Nikritin, conceptual tables and graphs - "projections" of ideas designed to replace the traditional product (coordinates of the pictorial surface, 1924). In 1923-1929, he led the "Procedure Theater" studio, which connected the scenography in the spirit of constructivism with the launches of the theater of the absurdity. Until 1930, the organizer of urban campaigning processions has repeatedly performed, in 1930-1932 he was a artistic director and director of the theater of small forms of the Moscow Prel Tole. In 1932, he entered the board of the Moscow organization of the Union of Artists (MOSC). The game start in connection with absurd and tragedy is characteristic of Luchishkina's best machines (I love life very much, 1924-1926; the ball flew away, 1926; stretching the neck, the collective farm night, 1930). He made the film director of the film Circus (director of Alexandrov, 1936). In the future, he was engaged in a poster, workshops for SVV and the like conjuncture activities. He died on November 27, 1989 in Moscow for the eighty-eighth year of life. Left memories.

Yu Rij Iva Novich Pi Menov (13 (26) November 1903, Moscow - September 6, 1977, Moscow) - Soviet painter, theater artist, scene and schedule, teacher, professor. Academician Ah USSR (1962; Corresponding Member 1954). People's Artist of the USSR (1970). Laureate of the Lenin Prize (1967) and two Stalinist Degree Prizes (1947, 1950). Yuri Pimenov was born in Moscow in the family of a lawyer. In 1920-1925, he studied in Vhutemace in V. A. Favorsky and S. V. Malyutina. At the end of the student in 1925, he became one of the founders of the Society of Stankovists. In the early period, Pimenov experienced a great influence of German expressionism, which largely explains the adapter-dramatic sharpness of his best pictures of these years: "War Disabled" (1926, State Russian Museum), "Give the heavy industry!" (1927); "Soldiers are moving towards the revolution" (1932; both in the Tretyakov Gallery). Over the years, he moved to the updated impressionism, confessing the creative principle of the "excellent moment," an easy and artistic look-impression. In 1962, he was elected a real member of the Academy of Arts of the USSR. In 1966, Pimenov signed a letter of 25 -th cultural and science figures to the Secretary General of the Central Committee of the CPSU L. I. Brezhnev against the rehabilitation of Stalin

Members of the public Basmanov Paul I. Bruni Lev Aleksandrovich Efimov Ivan Semenovich Zholtovsky Ivan Vladislavovich Istomin Konstantin Kravchenko Alexei Ilyich Kuznetsov Pavel Varfolomeyevich Kupreyanov Nikolai Lebedev Vladimir Matveev Alexander Terent'evich Mogilev Aleksandr Pavlovich Mukhin Ignatyevna Nivinsky Ignatievich Nissi Goldman Nina Ilinichna Ostroumova-Lebedeva Anna Petrov -Obkin Kuzma Sergeevich Saryan Martiros Sergeevich Ulyanov Nikolai Pavlovich Favorsky Vladimir Andreevich Shushev Alexey Viktorovich

OMX - Society of Moscow artists about the spokesry of Mosko of the Whistling Hood Tracks - founded in 1928, at the same time the Charter and Declaration were published. In OMX, the former members of the associations "Moscow painters", "Makovets" and "Genesis", as well as members of the "Bubnovy Valtnya". Members of the union were developed by Soviet topics, they sought to convey the material diversity of the world with the help of plastic unity of color and shape, combinations of vigorous modeling of volumes and black and white modeling. The declaration of society read: "We demand from the artist of the greatest effectiveness and expressiveness of the formal aspects of his creativity, forming the inseparable unity with the ideological side of the latter." In 1931, a number of members of OMX went into AHR and society broke up. The society had art-industrial workshops (masters).

Artists O Oh Society united up to 70 members and candidates Gerasimov, Sergey Vasilyevich Grabar, Igor Davidovich Konchalovsky, Peter Petrovich Krymov, Nikolai Petrovich Kubrin, Alexander Vasilyevich Lebedev-Shuisky, Anatoly Adrianovich Lentulov, Aristarh Vasilyevich Mashkov, Ilya Ivanovich Morgunov, Alexey Osmurkin, Alekseevich Narotinsky, Vasily Vasilyevich Rardin, Vadim Fedovich Udaltsova, Nadezhda Andreyevna Falk, Robert Rafailovich Faigin, Moses Alexandrovich Fonvizin, Arthur Vladimirovich Chernyshov, Nikolay Mikhailovich Chirkov, Anton Nikolaevich Shestakov, N. I. Shevchenko, Alexander Vasilyevich, and others.

Family Father - Peter Petrovich Konchalovsky (1839-1904), a well-known writer, translator and publisher. Test - Vasily Ivanovich Surikov (1848-1916), Great Russian Painter, Academician. Wife - Olga Vasilyevna Surikova (1878- 1958) Daughter - Natalia Petrovna Konchalovskaya (1903- 1988), writer Son - Mikhail Petrovich Konchalovsky (1906 -?), Painter in the son-in-law - Sergey Vladimirovich Mikhalkov (1913- 2009), Children's writer, Socialist Hero Labor, author of the Hymn of the USSR and Russia Grandchildren: Ekaterina Mikhalkov-Konchalovskaya (wife of the writer Juliana Semenova) Andrei Sergeevich Konchalovsky (born 1937), film director, People's Artist of the RSFSR Nikita Sergeevich Mikhalkov (born 1945), film director, actor, folk artist RSFSR, Chairman of the Union of Cinematographers of the Russian Federation Virtuka: Egor Andreevich Mikhalkov-Konchalovsky (born 1966), film director Stepan Nikitich Mikhalkov (born 1966), Actor Olga Julianova Semenova (born 1967), journalist, publicist, actress Anna Nikitichna Mikhalkov (1974), actress Artyom Nikitich Mikhalkov (1975), Actor Nadezhda Nikitichna Mikhalkov (1986), actress

Nikolai Andreevich Andreev (October 26, 1873, Moscow - December 24, 1932) - Russian sculptor and schedule, a member of the comradeship of the Movies. Honored Art Worker of the RSFSR (1931). In his work, I gave tribute and impressionism, and symbolism, and realism. The author of the portraits of revolutionary figures, the namanitor "Leninians" (created about 100 sculptural and 200 graphic images V. I. Lenin). 1885- 1891 - studied at the Stroganovsky Art and Industrial School. 1892-1901 - he studied at the Moscow School of Painting, Sculpture and Architecture under the leadership of S. M. Volzuhin; Tested a strong formal effect of P. P. Trubetsky. 1904 - Enters the partnership of Movie.

IVA N DMI TRIEVICH SKDR (real name - Ivanov; January 30 (February 11) 1887, Taktashinsky, now Kurgan region - April 3, 1941, Moscow) - sculptor monumentalist. Ivan Dmitrievich Ivanov was born on January 30 (February 11) of 1887 in the village of Taktashinsky Chelyabinsk County of the Orenburg province (now the village of Takatashi of the city settlement, the working village of Mishkino Mishkinsky district of the Kurgan region). Father - Dmitry Evgrafovich Ivanov (May 1860 or 17 June 1862 - April 8, 1926), Mother - Maria Egorovna (in the virgin Ovchinnikov, daughter of the peasant village Ryapolovo Kovrovsky district of the Vladimir province (approx. 1863 - November 23, 1935). Takatashinsky village - Place Seasonal The work of the carpenter Dmitry Evgrafovich Ivanova, and the permanent place of residence is the city of Shadrinsky district of the Perm province (now in the Kurgan region). Praded Ivan painted the walls in the Transfiguration Cathedral, father and uncle were also builders and Virgin (church painters). But by the main race Dmitry Evgrafovich classes was a carpenter. Ivan Dmitrievich was the third son in the family who had twelve children (three babies died). Presumably Ivana baptized in the Holy Trinity Church from the Island Masley Volost Chelyabinsk County (now in the Mishkinsky district of the Kurgan region). In 1898 Vanya They took it to Yekaterinburg to the Factory of Panfilov merchants, where he was first a boy on the blisters, then a guard and a loader. In 1901, Ivan escaped from the factory. Without any preparation, he successfully passed the exam in the figure in the Ekaterinburg artistic and industrial school, where he studied until 1906 from T. E. Salkalna. In the summer of 1907, Ivan, together with the fellow students, Petrom Drobyshev, went to wander around Russia for those places where Maxim Gorky visited. They visited Kame, the Volga, Don, traveled around the Caucasus, Ukraine, drove into Moscow, Ivan went to St. Petersburg. In the capital, after an unsuccessful attempt to enter the Academy of Arts, Ivan worked, in particular, street singing. Once his voice heard director of the Alexandria Theater M. E. Darsky, who took living participation in the fate of the young man. He helped Ivan to enroll on the highest dramatic courses of the St. Petersburg Theater School, so that he could learn from the singer. In the school I. Shadr continued to draw and engage in sculpture. His drawings came to I. E. Repin, who gave them a high rating. At the request of the St. Petersburg connoisseurs of the talent of Ivan Dmitrievich, Shadrinsky city government appointed him a scholarship. In St. Petersburg, Shadd also visited the drawing school of the Society for the Promotion of Arts N. K. Roerich and Music Educational School. In the capital, Ivan lived until 1908, then served the year in the Russian Imperial Army.

In 1910, Ivan went abroad. First, in Paris, where he was a student of the highest municipal courses of sculpture and drawing at the Academy of De La Grand Schomyer under the leadership of F. O. Roden and E. A. Bardellius. In 1911, Paris teachers sent I. Shadra to internship in Rome to the Institute of Fine Arts. In 1912, Ivan Dmitrievich returns to Russia. In Moscow, he is studying at the Moscow Archaeological Institute. In 1918, the Shadr leaves for Omsk to pick up the family to Moscow, but remained in this city until 1921. There he performed lectures on art. He worked in the politrosvet 5th of the army and in the Sibrevsky. In 1921, as soon as the railway message was restored, the Shadr went to Moscow. In 1926, I. Shadd became a member of the Russian sculptor society, in the future union of Soviet sculptors. Ivan Dmitrievich Shadd died on April 3, 1941 in Moscow. He was buried in Moscow at the Novodevichy Cemetery (Plot No. 2, the tombstone - Sculptor I. Rabinovich, Architects G. P. Golz, A. A. Zavarzin. I. D. Shadd was married to Muscovite Tatiana Vladimirovna Gurieva (1893- August 19, 1974) , buried next to her husband at the Novodevichy Cemetery. There were no children in their family.

Creative activity I. D. Shadd in his workshop in Moscow is working on the sculptural composition "Girl with a paddle" (1m option) In his work, Ivan Shadd was looking for ways to create a monumental realistic sculpture. Numerous memorial structures created by him in 1910-1930 were devoted mainly to the victims of the First World War. They are associated with the traditions of modern and national corrugated currents, differ in drig, heavy rhythms, addiction to the metaphorical understanding of the motive of the human body, frozen in the dead matter of the stone or released from it, sometimes - using elements of folk architecture. Among his early works, the project "Monument to the World Pradition" (1916) is allocated. Later, this work was transformed into an even more ambitious project of the "Monument to mankind". In 1919, the Siberian Cadet Corps for 18 thousand rubles ordered Ivan Shadra a monument to his pupil General Kornilov. In the same year, the sculptor is preparing a project of coronaling Admiral Kolchak, as well as the project of the monument in honor of the liberation of Siberia. In addition, the Kolchakov government of Shadru was charged with the development of sketches of monetary signs of the series "Revival of Russia". However, these projects remained unrealized, since in November 1919 the Interim All-Russian government ran from Omsk, and the city was occupied by the units of the Red Army. In April 1920, I. Shadr takes care 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 Sibrevsky to a monument to Karl Marx. In the summer, the statue was already ready and installed. In Omsk, Ivan Dmitrievich also worked as reliefs with the image of Karl Marx, Charles and Wilhelm Liebknecht and Rosa Luxembourg. I. D. Shadd is the author of the sculptures of the so-called "monetary men": figures of the worker, peasant, Red Army and Sadman (Gypsum, 1922, Russian Museum; Bronze Castings - to the Tretyakov Gallery), created by order of the GoKonak to play on banknotes. The first three sculptures became the basis for the release of the fourth standard issue of the PSFSR postal brands (MARKA) No. 73 -85), the first standard of the USSR (ITC "Mark") No. 99 -194) and partly - for the two subsequent (CFA (ITC "Mark") No. 281 -287, 291 -295). The first in the USSR art marked postal card and a marked envelope came out with "Shadrov" brands. Ivan Dmitrievich sculptures were also reproduced on bonds of loans and state securities of the USSR. The prototypes of their heroes of the sculptor found in the village of the Sadrinsky district of the Sadrinsky district (now in the Ilytyakovsky village council) of Shadrinsky district). In 1923, the Shadr took part in the design of the All-Russian agricultural and shrub industrial exhibition in Moscow. They also showed his sculptures that were successful.

In 1924, Ivan Shadd creates a natural sculpture of Lenin in the coffin, which made him the main master of pre-war sculptural Leninians. For 13 years I. Shadd created 16 sculptural images V. I. Lenin, including for the Central Museum of V. I. Lenin in 1934. One of the most significant work is a monument with the eleven-meter-meter bronze figure, installed in 1927 on the territory of Zemchalskaya hydroelectric power station named after V. I. Lenin (ZASE) in Georgia. This is one of the first monuments V. I. Lenin, he was dismantled in 1991. "Cobblestone - Weapon of the proletariat" (Park of the December Uprising, Moscow) Ivan Shadd created revolutionary-romantic, generalized symbolic images, for example, the burning of the "Fighting of Earth" (1922), the sculpture "Cobblestone - proletariat weapons" (1927). The latter, in addition to Moscow, was installed in Chelyabinsk, Lviv, Shadrinsk, Mongolia and Romania. In 1926, the Shadd goes abroad: he visits France and Italy. In Paris, he sculpts Bust L. B. Krasin, who was then by the USSR herself, and then repeats the portrait in marble. In 1931, the tombstone of V. M. Friece was created by Shadrom. In 1934, Ivan Shadr began work on the sculpture of the "Girl with Punish" for the CPD. On the name Gorky in Moscow. The main model of the sculptor was V. D. Voloshin, a student of the Moscow Institute of Physical Education. The sculpture was installed in the center of the fountain on the main line of the Gorky Park in 1935. However, she was criticized and in the same year she moved to Gorky culture and rest park (Lugansk) | Park of Culture and Leisure Lugansk. Its reduced copy is stored in the Tretyakov Gallery. In the late 1950s, at the insistence of the sculptor's wife, the gypsum work I. Shadra was transferred to bronze. By the summer of 1936, I. D. Shadd created a new enlarged eight meter sculpture from tinted concrete. A model for her was a gymnast from Zoya Bedinskaya (Belorchev). A new "girl with an oars" was installed in the center of the fountain at the same place. The sculpture was destroyed in 1941 with a bombing. It is mistaken that the sculptures of Ivan Shadra served as prototypes to create cheap gypsum copies, which were massively installed in the parks almost throughout the USSR. In fact, their foundation was based on the work of the sculptor R. R. Iodko with the same title, but the figure of the girl was in a swimsuit and with a paddle in his left hand, made by him for the Dynamo Water Stadium Park in 936 1 year. In the late 1930s, the Shadr worked on the project of the monument A. S. Pushkin. In 1939, created sculpture A. M. Gorky in the image of a petrel (Bronze, Tretyakov Gallery). In the same year, he prepared a more classical model of the Monument to Gorky. However, this monument was built from the Belarusian station in Moscow after Ivan Dmitrievich's death by the sculptor V. I. Mukhina with N. G. Zelenskaya and Z. G. Ivanova. Most of the works of I. D. Shadra (in particular, "assault land", "cobblestone - the weapon of proletariat" and others) are located in the Museum of the modern history of Russia in Moscow. I. D. Shadr is the author 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 the hope of allyluve was made by the sculptor on request of the Central Committee of the WCP (b). Ivan Shadd and Sculptor P. I. Taiga were authors of the layout of Lenin Order, the sketch of which was transmitted to them in the spring of 1930.

Sarah Dmitrievna Lebedeva (Maiden's name - Dormilatova, (11) December 23, 1892, St. Petersburg - March 7, 1967, Moscow), Master of the sculptural portrait. Honored Art Worker of the Russian Federation (1945), Corresponding Member of the Academy of Arts of the USSR (1958) was born in the official of the official. He studied at the study school, painting and sculpture of Mikhail Bernstein and Leonid Sherwood (1910-1914), worked in the sculptural workshop of Vasily Kuznetsov (1914). From 1925 he lived in Moscow. Since 1926, a member of the society of Russian sculptors. He participated in the implementation of the "monumental propaganda" plan. In the interwar twenty years created many portraits of their contemporaries: Vyach. Ivanov (1925), Felix Dzerzhinsky (Gypsum, 1925), Alexander Zureup (1927), Abraha Efrosa (Gypsum, 1927), Valery Chkalova (1937), Solomon Mihoeles and Faith Mukhina (both Gypsum, 1939), Alexander Tvardovsky (Gypsum , 1943 and marble, 1950), Vladimir Tatlin (Limestone, 1943-1944), Mariam Aslamazyan (1949), Konstantin Poist (1956) and others. To the best samples of Russian memorial plastics belong to the overwhelmed swan tombstone Boris Pasternak on the Peredelkinsky cemetery (sandstone, 1965). The tombstone is a stele of strict forms with a romantic poet profile in the technique of in-depth relief. By the 40-year anniversary of the death of Pasternak (2000), a monument to Lebedeva, by that time needed in the restoration, was replaced by an accurate copy of the work of the sculptor Dmitry Shakhovsky. The swan belongs to the portrait of Pasternak, made of limestone (1961-1963).

Matveyev Alexander Terentievich (13 (25) August 1878, Saratov - October 22, 1960, Moscow) - Russian, Soviet scaly, art historian; The Master and Pedagogue, who had its own creative impact on the development of modern plastic art. One of the organizers, ideological inspirations and active participants in many creative associations of the first third of the XX century. Professor: Tsutr in Petrograd (1917), Academy of Arts (1918-1948; Director 1932-1934). Doctor of Art History (1939). Honored Art Worker of the RSFSR (1931).

Vlad Mir Andre Evich Favor Rsky (1886- 1964) Russian and Soviet schedule, Master of portrait, xylography and book graphics, art historian, scene, painter monumentalist, teacher and theorist of fine art, professor. Academician Ah USSR (1962; Corresponding Member 1957). People's Artist of the USSR (1963). Laureate of Lenin Prize (1962)

Li Zatar Ma Rkrovic (Mo Rduhovich) Lisi Tsik (book schedule on Idische Signed with the name Leiser (Eliezer) Lisitsky - אליעזר ליסיצקי 10 (22) of November 1890, p. Pochinok Smolensk province (now Smolensk region) - December 30, 1941, Moscow) - Soviet artist and architect, also well known as El Lisitsky. El Lisitsky One of the outstanding representatives of the Russian avant-garde. Contributed to the exit of the supramatism in architecture.